First Time Viewings, Part 1
The Invisible Man Returns (1940). No, he doesn't. Although credited on screen as a sequel, this is only a follow-up in the loosest terms with the invisibility serum transported into a new plot with new characters. Misleading as the title may be, the film benefits by placing its own spin on the idea rather than constantly borrowing from the first film or heavily referencing it. The movie is also blessed by a (mainly vocal) early Vincent Price performance as the slowly maddening protagonist - a man who has used the serum to escape capital punishment for a crime he did not commit. While mainly a drama, there are some very funny moments as Price taunts those who have wronged him by pretending to be a ghost. He also has some very human moments as he desperately borrows a scarecrow's clothes, talking to the scarecrow like a dear friend in the process. The screenplay here only ever feels half-baked though with Price's search for those who framed him constantly taking a back seat to the police tracking him down. The antagonists are not particularly memorable either and Price solves the mystery a tad too early in, with the film gaining most of its zest from Price evading the law. His evasions are, however, quite clever - especially when the police try to 'smoke' him out and the special effects here are excellent throughout (a struggling invisible hamster is one of the film's best effects, if a hardly showy one). The dialogue is well scripted too. "Take away one of man's senses and you render him helpless," muses Price at one point, lamenting humankind's debatable inferiority to instinct-based animals. -- #15 (of 22) for 1940, between They Drive By Night and The Philadelphia Story. (first viewing, DVD)
Invisible Woman (1940). Opening with Charles Ruggles comically falling down a staircase, this third entry in the Invisible Man franchise distinguishes itself as something very different from the get-go. While the first two films had their lighter, comical moments, this one is a full blown comedy and with an invisibility machine (as opposed to a serum) this time, The Invisible Woman is so far removed from the other films that it really deserves to be considered on its own terms. It is often said that comedy is the most subjective genre, but it is hard to imagine many watching this film without cracking a smile. Virginia Bruce is perfectly spunky as a model who signs up to an invisibility experiment simply for the adventure of it. The ever-versatile John Barrymore also delivers a fine turn as the kooky inventor of the invisibility machine, successfully playing a character at least twenty years his senior, and Ruggles (of Bringing Up Baby fame) is very funny too as the often baffled servant of Barrymore's financer. John Howard is less interesting as the financer in question with the film at its weakest as he starts romancing the invisible Bruce; the gangster supporting characters are also a little one-note. Clocking in at just over an hour though, the film never outstays its welcome, remaining entertaining to the end with solid special effects as glasses float in the air - and cats too! Bruce's ulterior motive - revenge for being treated unfairly at work - also provides the film with a surprising openly pro-feminist angle, which in turn makes the film partially a tale of female empowerment. -- #11 (of 22) for 1940, between The Great Dictator and Mexican Spitfire Out West. (first viewing, DVD)
The Ghost Breakers (1940). Incorrectly assuming that he shot a man dead, a radio broadcaster flees to Cuba together with a young woman checking out the apparently haunted castle she has inherited in this amiable mix of laughs and chills starring Bob Hope and Paulette Goddard. The set-up does not quite click with Goddard trusting Hope and agreeing to shelter him from the law far too quickly without hesitation for credibility. It also takes around two thirds of the film for the characters to finally arrive in Cuba, but the movie is frequently amusing even if the pacing is often off. Hope does a great job spurting witty one-liners left, right and centre and while his racial slurs towards Willie Best (cast as his manservant) come off poorly, Best's pitch perfect comic timing ensures that his character is still a welcome presence. The Cuban scenes are very well filmed too with appropriately disquieting castle interiors and unsettling light effects; kudos to Oscar winning cinematographer Charles Lang. There are also some very decent special effects (for the time) in the mix, talk of voodoo a la The Serpent and the Rainow and a creepy local man, reported to be a zombie. The film was later remade as Scared Stiff as a Martin/Lewis vehicle in which the characters take even longer to finally reach their ominous destination. It would be interesting to see a version of the story where the majority of the action actually takes place at the castle. That said, without the long and protracted journey, there would be no Hope in a suitcase subplot, which comedy-wise is a clear highlight here. -- #18 (of 22) for 1940, between The Last Alarm and Edison, the Man. (first viewing, DVD)
Rocketeer (1991). Having discovered a top secret jetpack (like that used by James Bond in Thunderball), it is up to a pilot to keep the device away from the clutches of Nazi spies in this action comedy set in Hollywood during the late 1930s. The jetpack is ultimately little more than a Hitchcockian McGuffin with rocketeering aerial theatrics surprisingly minimal, however, the film works magnificently thanks to its accurate portrait of the era in question. The movie provides a fascinating backstage insight into the filming of an Errol Flynn type swashbuckler and Timothy Dalton is excellent playing a Hollywood star based on Flynn himself. There are also fun brief turns by Terry O'Quinn as Howard Hughes, Bob Leeman as W.C. Fields and Gene Daily as Clark Gable in a blink-and-miss-it performance. The film is genuinely funny at times too; "you steer, I'll push" shouts lead actor Bill Campbell before making a stalling truck speed away, while Dalton's adamant claim "I do my own stunts" is a fun reference to his recently completed stint as Bond. It is no surprise though to learn that the film is quite divisive. With thugs who are more goofy than menacing and an awfully sweet central romance, the film well earns its 'family entertainment' rating, however, the historical nature of the story with plugs to old Hollywood actually makes the film more suitable to adults. Whatever the case, it is likely that all sorts of viewers will at least take something out of The Rocketeer. The flag-waving patriotism is admittedly hard to swallow at times, but beyond this an amusing film awaits. -- #38 (of 76) for 1991, between High Heels and The Commitments. (first viewing, Blu-ray Disc)
Once Upon a Crime... (1992). Two vacationing Americans returning a lost dog and two compulsive gamblers and their wives become suspects in an elaborate murder plot in this crime comedy shot on location in Rome and Monte Carlo. The film is notable as American Pie actor Eugene Levy's only ever big screen directing effort and the talented cast includes Jim Belushi, Cybill Shepherd, John Candy, George Hamilton, Joss Ackland and Giancarlo Giannini as the ill-tempered detective leading the investigation. The film derives most of its energy though from the myriad of plot twists and turns throughout with the characters feeling compelled to lie to the police since the truth sounds absolutely unbelievable. This presents a curious dynamic with the characters, especially Candy, getting deeper and deeper into wilder and wilder lies that ultimately end up making him sound guiltier than the truth would have, but it is not a dynamic that is used nearly often enough with the film always aiming for laughs first and foremost. There are indeed several humorous moments that work, thanks largely to the often witty dialogue from the same screenwriting team responsible for Private Benjamin. The film tends to favour tiresome running gags though, such as Giannini's assisstant constantly failing to light his cigarettes and Richard Lewis believing that he is a dead ringer for Al Pacino (he isn't). The pacing is quite brisk though and the lost dog at the centre of the film well-trained (and adorable), so this is a difficult film to dislike even if it constantly feels like it had the potential for more. -- #44 (of 77) for 1992, between The Gun in Betty Lou's Handbag and Strictly Ballroom. (first viewing, Blu-ray Disc)
Flypaper (2011). Trapped on the inside when two gangs coincidentally try to rob the same bank at the same time, an unmedicated man with obsessive-compulsive disorder becomes fixated on the improbable death of a bystander apparently caught in the crossfire in this one-of-a-kind mix of heist movie and murder mystery elements. Suffice it to say, there are several twists and turns along the way and while some plot developments defy credibility, much of the film is plausible. Patrick Dempsey does a very good job in the lead role too. He is just suave enough to remain likeable while hitting on a recently engaged woman, while also very human with his panic attacks and near childlike curiosity regarding the vexing death. There is a perfect dark comical streak to his actions at times, such as how he tries to reenact the crossfire death early on, twirling the victim's gun no less, oblivious to the two gangs closing in on him with their own pointed guns. Taken as a comedy though, Flypaper is an uneven ride. Too much humour comes at the expense of the redneck gang and their incompetence whilst on the job. Rob Huebel is also more annoying than funny with his lame attempts to mentor the other hostages. In general though, the film works well with the quirkiness promised by the odd premise maintained throughout. This is not your average heist comedy in the best possible way. Heist fans will still likely be impressed though by some decent action scenes and excellent banter between the bank robbers who at one point even declare "ten years ago we weren't in a recession" to justify their actions! -- #21 (of 55) for 2011, between Young Adult and The Adjustment Bureau. (first viewing, Blu-ray Disc)
The Help (2011). Upset upon discovering that her mother dismissed their longtime maid without even telling her, an aspiring journalist decides to write a book about the experiences of 'the help' in this surprisingly compelling drama, set in early 1960s Mississippi. The film is very message-heavy and sentimental to boot, and yet it makes for an engaging experience thanks to a slew of well developed characters brought to life by talented actresses. Octavia Spencer, Cicely Tyson and especially Viola Davis provide strong supporting turns as some of the poorly treated African American maids who in many cases care more about the kids whom they are helping to raise than the parents themselves. Emma Stone also delivers a fine turn as the protagonist who only gradually realises the seriousness of her endeavour, however, it is Jessica Chastain who steals the show as a ditzy young woman completely oblivious to how maids are usually treated and overly cordial when hiring one of her own. She has some strong dramatic moments late in the piece too. Sissy Spacek is also great as the mother of the vilest and most racist young woman in the film, but as the young lady herself, Bryce Dallas Howard is absolutely grating. She given no likeable qualities at all and therefore makes for a rather flat antagonist, and many of the other young women in the film do not come across much better. The main characters of the film are relatable and down-to-earth though. This in turn renders their struggles in the face of inequality endlessly interesting - obvious and maudlin though the messages here may be. -- #30 (of 55) for 2011, between J. Edgar and The Best Exotic Marigold Hotel. (first viewing, Blu-ray Disc)
The Iron Lady (2011). Not your average biographical picture, this film about the life of former British Prime Minister Margaret Thatcher is set in the 21st century with details about her life only told through flashbacks and faded memories. It is an approach that proved divisive, with many criticising the film for not just telling her story in a straightforward manner, however, the narrative style is actually one of the film's best assets. It provides an appropriately dreamy atmosphere with an ageing, senile Thatcher wandering around her apartment, confused about where she is, unable to recognise herself on television and often chatting with her deceased husband's imaginary presence. While most of Meryl Streep's plaudits have come from her nailing Thatcher during her years in office, Streep's performance is at its most touching in these senility scenes which paint a greater insight into her thinking than a conventional look through her past could possibly do. The approach is not, however, without its drawbacks. Nobody in Thatcher's life (give or take her husband) is fleshed out in any depth since they only ever pop up in scattered flashbacks. The film does not provide much detail on her life or career ambitions either due to all the cutting back to present-day Thatcher, however, as mentioned, this is not a typical big screen biography. Those interested in Thatcher's time in office may be better served by a documentary. For those interested in the effects of a turbulent political life on a lonely old woman though, this is a hard film to pass up. Streep's ageing makeup effects are especially remarkable. -- #35 (of 55) for 2011, between The Intouchables and We Need to Talk About Kevin. (first viewing, Blu-ray Disc)
The Watch (2012). Distraught over the violent murder of a night shift employee, a variety store manager with too much time on his hands forms a neighbourhood watch, only to find his recruits more interested in socialising and having a good time in this jovial comedy with a science fiction twist. Much of the humour is extremely low-brow and the film is never consistently funny, but the first half is certainly propelled greatly by the gradual bonding between the four main characters. Richard Ayoade (from TV's 'The IT Crowd') and Jonah Hill are particular standouts, but even Vince Vaughn's initially obnoxious character is eventually revealed to be both a deeply caring parent and very lonely isolated man. The science fiction content only works to a limited degree though and rather than strengthen the bonds between the characters, it mostly just leads to lots of mindless action and explosions; certainly many earlier films have done much more with the aliens in suburbia premise - though this is probably the only film which has its characters dance with an alien corpse (!) in one of the film's most bizarre (if silly) scenes. The creature effects are certainly quite decent and there are some pretty neat makeup effects in the mix too, but it is hard not to wonder what the film would have looked like without the science fiction angle. There is a lot of interest in the dynamic of four men joining a neighbourhood security program simply as a way to meet people, but this gets a tad lost here amid the aliens and gross-out humour. When the film is genuinely funny, however, it is very, very funny. -- #45 (of 60) for 2012, between Sinister and Dark Shadows. (first viewing, tv broadcast)
Most people think I'm mad. At least I know I'm mad.
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