Monday, April 6, 2009

Yippie-kai-yay! A Chapter Play

The Oregon Trail
VCI Home Video // 1939 // 296 Minutes // Not Rated

Reviewed by Steve Evans


“With smoking guns he held off bandits to save the wagon trains…and the girl he loved!” ~ From the promotional poster.

Another ancient Universal Studios serial finds new life on DVD with VCI Home Entertainment, which now owns the licensing rights to many of these old chapter plays. Decent bonus materials compensate for a mediocre print and a creaky storyline in 15 chapters padded with plenty of stock footage from the Universal vaults.

A bit of plot…
Mysterious bandits intercept wagon trains laden with settlers en route to Oregon. The Cavalry calls in trail scout Jeff Scott (bad-ass Johnny Mack Brown) to crack the case in his own two-fisted way. Back east, bad guy Morgan leads a syndicate that controls the Pacific Northwest fur trade. They don’t want Oregon overrun by settlers as this will only cut into their profits. The evil corporation men order their hired thug Bull Bragg and his gang to stop the wagons from getting through. Bull and his boys reroute the simple settlers by changing trail markers, guiding innocent people into hostile Indian territory, across dangerous rivers, and down the wrong roads. It doesn’t take too long for Scott, Col. Custer, and our other cowboy heroes to figure out what’s going down, but it does take 15 chapters for them to prevail. Jingling and jangling their spurs to the rescue, Scott and his crew manage to capture Bull several times, but the sadistic brute always escapes to fight another day — at least until the final installment of this not-bad serial.

Historical Context
Directors Ford Beebe and Saul A. Goodkind cranked out dozens of serials for Universal in the 1930s and ‘40s. Beebe would go on to direct the first classic Flash Gordon serial with Buster Crabbe in the title role. To hold down costs, Universal Studios and the boys often raided older films and other serials for action footage, be it train wrecks, large-scale Indian attacks, or unusual stunts such as covered-wagon crashes. These were cost-cutting measures not likely to be noticed, since folks probably wouldn't remember films or serial chapters they saw a year or even a month ago, and remote controls with rewind buttons were still half a century away (and anything like it would be the stuff of science fiction serials like Buck Rogers — also with Buster Crabbe).

The real stars of these old serials were the stuntmen, whose feats of daring-do were actually incredibly dangerous; reckless even by lunatic standards. When we see a cowboy playing chicken with a locomotive or falling over a cliff, that’s the real deal, film fans. There’s no slick CGI to gloss over the illusion; some of the early stuntmen got mangled for their art. The horses didn’t have an easy time of it, either. Horsing-around stunts that were routine 75 years ago would never pass muster with the SPCA today, so when you see a cowboy and his pony go whoopsie! — cartwheeling across the prairie in one of these old cowboy shoot-’em-ups — you’re watching shenanigans from a bygone era.

What’s on the Disc, Steve?
I’ll tell ya. The print used for this transfer of The Oregon Trail is quite hazy. Considerable damage is also evident throughout the picture in the form of scratch lines and specks of dirt popping up here and there. Since this is the only known DVD available of The Oregon Trail, fans must take what they can get. Holding out for a better print seems a dubious strategy, as the market for vintage Hollywood serials is already narrow. A crystal-clear print of almost any title from the golden age of serials would be worth watching, but the restoration would be prohibitively expensive — and so there’s no money to be made for the people who own the rights to these cinematic anachronisms. It’s simple economics, borne on demand. Even the finest examples of the genre, like the Flash Gordon serials, look like a glass of muddy water on DVD. If the companies that own the rights to the greatest serials aren’t willing to restore them, don’t bet the ranch that an obscure Johnny Mack Brown cowboy flick will be returned to its former glory on state-of-the art telecine equipment. Even in this presentation, prepared from apparently ancient film elements, VCI suggests a retail price of $30 for the two-disc set.

The mono audio crackles with age, but the dialogue comes through.

Chapters 1-10 occupy the space on Disc One; the remaining five chapters and supplements are on Disc Two. Extra features include a nice poster gallery that advances automatically, plus cast biographies, and a quartet of trailers for other films in the VCI catalogue. There are cool animated menus, too — a thoughtful touch.

The Contrarian View
Don’t look for scintillating screenwriting or trenchant drama in the old serials. This was shoot-’em-up-action for the preadolescent crowd (now the aging cognoscenti — like my beloved father — who will fondly recall the joys of Saturday matinees long ago).

Characters in this serial are either dumb as cement or prone to violent outbursts that can be settled only by guns or a fistfight. This is what audiences of the 1930s paid to see. They got their money’s worth.

Coda
The Oregon Trail
offers nearly five hours of breathless, hell, hyperventilating excitement and death-defying thrills that go perfectly with popcorn and a cold drink on a rainy Sunday afternoon. VCI does a better job of packaging and presenting these old serials on DVD than anyone in the business.

Now, then, cowboy: Seein’ as I’m in charge of this-here website, I say ol’ Bull Bragg is guilty as sin and sentenced to swing — if big, bad Johnny Mack Brown can ever catch him.

Copyright © 2009 by Steve Evans // dba Cinema Uprising. All rights reserved.

Sunday, April 5, 2009

Forgotten Terrors (that shoulda stayed that way)

Forgotten Terrors:
The Phantom // 62 Minutes
Tangled Destinies // 56 Minutes
The Intruder // 66 Minutes
Dead Men Walk // 64 Minutes
Released by Image Entertainment

Reviewed by Steve Evans
On this pleasant Sunday morning in early spring, I offer for your consideration a quartet of public-domain horror flicks from the cheapest studios in the business. Guilty pleasures or gawdawful productions? I leave that to your gentle wisdom, dear reader.

This double-sided disc contains four itchy and scratchy films, two to a side, from 1930s “poverty row” studios. Production houses like Monogram and PRC (Producers Releasing Corporation) could take an idea, turn it into a shooting script, film the project, and get the reels in theaters in a matter of weeks, all for a few thousand dollars. This is not a compliment. Image and sound are nothing to get all tingly about, either.

A bit of plot…

Side 1
The Phantom (1931)
The titular phantom is a master criminal who escapes Death Row and teams up with a creature called “The Thing” (no relation to a certain Marvel Comics character). Together they go on a rampaging murder spree, with the Phantom vowing to kill the daughter of the district attorney out to catch him. The daughter and a crusading newspaper reporter track the Phantom to an insane asylum for a climactic showdown.

Tangled Destinies (1932)
A plane bound for Los Angeles makes an emergency landing in the desert. Passengers and crew find refuge in a convenient and apparently deserted (but fully furnished) farmhouse. When the lights go out, the film turns into an “old, dark house” mystery, featuring murder and a fortune in stolen diamonds hidden somewhere on the premises.

Side 2
The Intruder (1933)
When a guest is murdered aboard the S.S. Intruder, the ship capsizes before the onboard detective can crack the case. The survivors guide their lifeboats to an uncharted island where they are attacked by a killer gorilla and a wild man roaming the jungle. The shipwrecked gals in this little party find a cozy place to sleep, but wake up to discover they’re snoozing in a cave full of skeletons. Meanwhile, the murderer is still on the loose. The Intruder stars the improbably named Monte Blue, who made more than 277 films, starting as a stuntman in D.W. Griffith’s silent classic, Birth of a Nation.

Dead Men Walk (1943)
This film is a variation on Dr. Jekyll and Mr. Hyde with the novelty of vampirism thrown in for good measure. George Zucco (who appeared in the 1939 version of The Hunchback of Notre Dame) stars in a dual role as the Clayton brothers. Lloyd is a respected New England doctor; evil twin Elwyn rises from the dead as a bloodsucking Nosferatu. Elwyn and his hunchbacked servant Zolarr (Yes! Bug-eyed Dwight Frye from Frankenstein!) go on a killing spree. Only the kindly Dr. Clayton can stop these fiends. Golly.

Historical Context
Public domain titles are films on which the copyright has long expired, meaning anyone with recording and duplication equipment, and access to the prints, can make copies and sell ’em at whatever price the market will bear.

Each feature on this disc runs about an hour, so there’s no big time commitment if you seek a quick fix of low-budget chills and thrills. But be forewarned: this is low-rent stuff. The writing on occasion isn’t half-bad (check out The Intruder, which is the best of the four flicks on this DVD), but for every tight line of dialogue, there’s a sloppy scene setup, a guy in a flea-bitten gorilla suit, or obvious model ships crashing around miniature waves. With the few exceptions noted above, the actors in these films are people you’ve never heard of. Forgotten Terrors is indeed an apt title for the disc.

What’s on the Disc, Steve?
Not much, I’m tellin’ ya. Video and audio are atrocious; as bad as you can imagine. About the best that can be said is the image is visible and the dialogue is (usually) intelligible. The video transfers appear as though someone used a digital camera to record the films while screening each picture in a semi-darkened theater, while possibly filming the pictures through a glass of mud. There are chapter stops for each film, but these can be accessed only while the picture is running, e.g., skipping from one chapter to the next in succession. There is no separate menu to jump directly to a specific chapter, which is annoying. There are no extras.

Coda…
For collectors of creaky old horror films (which do hold an undeniable appeal among the cognoscenti) this disc might be worth a looky. But the package is criminally overpriced at a suggested retail of $20. I could go $10 — tops — if I really had to have these low-rent films, but $5-$6 would be perfectly reasonable for this particular disc, given the poor quality of the recordings and the lack of extra content or basic conveniences like a chapter menu.

“Unclean!” he declared, holding his nose.

Copyright © 2009 by Steve Evans // dba Cinema Uprising. All rights reserved.

Friday, April 3, 2009

The Black Swan: A Classic of Piracy on the High Seas

Reviewed by Steve Evans

“Seas ablaze…with black villainy, with fiery romance, with breathless deeds of daring…in the roaring era of Love, Gold and Adventure!” ~ From the promotional poster.

Opening Shot

This pirate flick features the second greatest Captain Morgan. No, the other one. So settle in with popcorn and a cold drink, and watch these rogues set sail on the cobalt seas of the Caribbean. Pieces of eight!

A lush, Technicolor pirate film, The Black Swan features a superb cast, solid special effects (for 1942), and spectacular swashbuckling. Since the action is limited mainly to the opening and an exciting, climactic sea battle, it is really the seemingly effortless acting by Maureen O’Hara (The Quiet Man), Tyrone Power (The Mark of Zorro), and George Sanders (All About Eve) that holds the film together. Thomas Mitchell (Stagecoach, Gone With the Wind) and George Zucco (The Mummy’s Tomb) provide comic relief and villainy, respectively. This is another quality entry in the attractively-priced Fox Studio Classics series.

A bit of plot…
Reformed English pirate Captain Morgan (Laird Cregar, Blood and Sand) now enjoys respectability and the governorship of Jamaica following a truce between his native country and Spain. Settling into the life of a bureaucrat, Captain Morgan employs some of his former colleagues in crime to rule the island and wipe out the remaining pirates of the Caribbean. For his chief lieutenants he hires buccaneer Jamie Waring (Power) and Tommy Blue (Mitchell), a curmudgeonly pirate who holds lifelong allegiance to Waring.

All’s well until the brutish Captain Leech (Sanders) and his first mate Wogan (Anthony Quinn, The Guns of Navarone), refuse to lay down their cutlasses in favor of attacking gold-laden ships. Leech gets his intelligence from Roger Ingram (Edward Ashley), a disgraced Jamaican official who wants to impeach Morgan so he can regain control of the island for corrupt former governor Lord Denby (Zucco). Ingram also has his eye on Lord Denby’s gorgeous daughter Lady Margaret (O’Hara). But Buccaneer Jamie Waring has other ideas when he catches a glimpse of Margaret’s emerald eyes and fiery hair.

When Waring and his old pal Tommy Blue are double-crossed and have to flee Jamaica, they kidnap Lady Margaret so she can’t marry Ingram. The wily pirates hastily assemble a crew and set to sea after the vile Leech, captain of The Black Swan, the fastest ship on the Caribbean.

Romance blooms as Waring and his pirates race to Tortuga where Captain Leech plans to loot the entire fleet of the Spanish Main in an explosive, swashbuckling climax.

Historical context and significance
Here’s a rollicking adventure with solid production values and a rambunctious cast who rival Errol Flynn and his band of cutthroats in Captain Blood, another classic pirate film. Power and Sanders display a remarkable facility with sword and sharp wit, while the ever-stunning O’Hara deploys a feisty temper and gorgeously defiant attitude — her greatest traits. George Sanders was always a reliable villain and cad, here almost unrecognizable under a red beard and bushy Barrymore eyebrows (above, left). For classic film fans who’ve only seen Sanders play reserved, arrogant characters in films such as Rebecca and especially All About Eve, this pirate adventure is proof positive that the great British actor could carouse with the best of them. His fencing against Powers is a marvel of choreography.

The Black Swan delivers solid entertainment, marred only by an overlong and talky second act. The production values are first-class, with simply gorgeous Technicolor cinematography to bring the vibrant color of the tropics to vivid life. Even the obvious model work involving the pirate ships holds up well in this age of excessive computer-generated imagery.

An Academy Award winner for best cinematography, the film was also nominated for best music score and best special effects.

This pirate adventure is a worthy addition to the Fox Studio Classics series, although I suspect it’s no accident the studio originally scheduled the release of the DVD to coincide with the opening of a certain Johnny Depp pirate movie that would go on to pillage the box office.

What’s on the Disc, Steve?
I’ll tell ya. The restored image is luscious, with glowing colors and deep, true blacks. The restoration is a razor-sharp and first rate effort, as evidenced by a short feature on the extras menu illustrating the before and after condition of the print. A commentary track by knowledgeable film historian Rudy Behlmer complements the recollections offered by actress O’Hara, who turns 89 this year. Her commentary on the film is delightful. The disc also features an original theatrical trailer. Audio is clean in a choice of remixed Dolby stereo or the original mono, with three available language tracks.

The Contrarian View
The film drags during the middle section. It’s all talk and exposition when we really want to get down to swordplay and cannon fire. Those who’ve seen Disney’s Pirates of the Caribbean trilogy shouldn’t expect comparable eye-popping visuals from this 1942 film. A more apt comparison would be with one of Errol Flynn’s swashbuckling epics or even The Crimson Pirate starring Burt Lancaster. By that standard, The Black Swan sails as an equal.

Coda
Though there’s plenty of violence, the film is not sufficiently savage to warrant an Arrrrr! rating.
Oh, hush.

Copyright © 2009 by Steve Evans // dba Cinema Uprising. All rights reserved.

Thursday, April 2, 2009

Billy Wilder's Stalag 17

Stalag 17: Special Collector’s Edition
Paramount // 1953 // 120 Minutes // Not Rated

Reviewed by Steve Evans
Today we explore an acclaimed World War II drama of spies and sabotage, honor and bravery. Our setting is the German prison camp Stalag 17, unwelcome home to American POWs. Some want to escape, others merely want to survive, and a few have private agendas of their own.

Opening shot…
William Holden earned an Oscar at last for his performance in this classic dramatic-comedy of prisoners of war. Legend has it that Holden flung his Academy Award backstage after his victory speech, muttering that he should have won for Sunset Boulevard (the story may be apocryphal, but he was right). Still, Holden’s work in Stalag 17 remains a masterpiece of unwavering, smart-ass cynicism. This was back in the day when the Academy still dished out Oscars based on ferociously good acting, rather than politics or sentiment.

A bit of plot…
U.S. Air Force officers and enlisted men scheme to survive as prisoners of war in Stalag 17. Cynical Sgt. J.J. Sefton (William Holden, The Wild Bunch) bribes the German guards and trades cigarettes for fresh eggs and other luxuries. His philosophy is dog-eat-dog. While the other prisoners plot to escape, Sefton cuts deals and sells shots of homemade hooch in exchange for his fellow prisoners’ Red Cross packages.

Escape from Stalag 17 appears impossible. The first two U.S. officers who try to break free are machine-gunned to death seconds after crawling out of their tunnel. The German guards always seem to be one step ahead of their prisoners. When the barracks leaders realize there must be a spy in their midst, suspicion falls on Sefton, who’s always paying the Nazis in exchange for favorable treatment. The caustic Sefton ridicules accusations that he’s an informer, but his reputation for verbal abuse and shady dealing hasn’t made him any friends in the barracks.

Historical context and significance
Director Billy Wilder (Some Like it Hot, The Apartment) worked in every film genre. He also directed one of the first pictures formally recognized as film noir: Double Indemnity. A Jewish émigré who fled Nazi-occupied Austria, Wilder took on quite a challenge when he decided to co-write the screenplay for Stalag 17, adapted from a 1951 Broadway play. But Wilder had an unerring ear for bitterly cynical dialogue and he was a genius at blending pessimism with comedy. The result three years earlier had been the celebrated Sunset Boulevard — still the best movie ever made about Hollywood. So perhaps a dramatic comedy set in a POW camp wasn’t too much of a stretch for the ambitious director. The result earned Wilder his fourth Oscar nomination for Best Director.

Holden is the standout in a perfect cast that includes a young Peter Graves (Mission: Impossible) and Robert Strauss, reprising his Broadway role as “Animal” Stosch, the deranged POW with a Betty Grable obsession. Strauss received an Oscar nomination for his show-stealing performance.

What’s on the Disc, Steve?
I’ll tell ya. Some of the casting decisions raised eyebrows half a century ago, but today come off inspired. Wilder hired director Otto Preminger (Anatomy of a Murder) to co-star as the casually cruel camp Kommandant. Like Wilder, Preminger was a Jew who fled the Nazis as they rose to power. Unlike Wilder, Preminger was extremely uncomfortable with this material and especially his prominent role as a German officer (above left, at center). These concerns are detailed in the 25-minute feature on the making of the film, included as an extra feature. This is worthwhile viewing, as the short documentary makes it clear that Wilder’s persuasive personality brought out the best in his collaborators. We learn that Holden wasn’t interested in the project and even walked out after the first act of Stalag 17 during its Broadway run. At that point Wilder toyed with the idea of casting Charlton Heston in the lead, but contractual obligations and conflicting schedules blocked that plan. So the director went back to Holden and put on a full-court press.

Other disc extras include a making-of featurette, and a feature-length commentary from two of the surviving actors and co-playwright Donald Bevan, who shares his thoughts about the adaptation of Stalag 17 from stage to screen. More poignant is a short series of interviews with actual survivors of Stalag XVIIB, as it was called. In chilling detail they recount the monotony and misery of that existence. Hearing their stories, we’re left with the sobering realization that few tragedies in life could be greater than rotting away so many lost years inside a Stalag. A photo gallery of production stills rounds out the extra features.

The Contrarian View
If a German prison camp seems an inappropriate setting for a comedy, just remember that the long-running television show Hogan’s Heroes — which was inspired by this film — carried the concept practically into slapstick.

Coda
A Billy Wilder classic, Stalag 17 endures both as middle-brow comedy and bracingly cynical character study.

Copyright © 2009 by Steve Evans // dba Cinema Uprising. All rights reserved.