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Reviews
Reckless Decision (1933)
THE 'GOOD' OLD DAYS
As vintage exploitation films go, this one is pretty good at giving us a look at 1930's mores and attitudes. This is something these cheaply made melodramas expressed more frankly than the A product from the major studios, which is what makes them fascinating despite their lack of slick production values. If anything, it only adds a crude sense of realism befitting the sleazy subject matter.
It's also interesting to see actors like silent screen veteran William Farnum and Eddie Woods, who appeared in many reputable films during this era, notably as James Cagney's pal in THE PUBLIC ENEMY (1931).
Drácula (1931)
A Curiosity Piece At Best
Let me begin by saying there is no contest here. Tod Browning's DRACULA is superior to this alternate Spanish version directed by George Melford. For starters, there's Bela Lugosi, whose iconic performance cremates Carlos Villarías' laughably inept portrayal. The Spanish actors standing in for Dwight Frye and Edward van Sloan are likewise poor substitutes. While Lupita Tovar is more provacative than Helen Chandler, that doesn't make hers a 'better' performance -- it's just a different interpretation. The inserts of Lugosi standing in for Villarías are jarring, as are several similarly mismatched shots.
Although the Spanish version is praised for its mobile camera, the English version actually employs it more; one need only watch closely to witness dolly and tracking shots throughout. As for that tiresomely celebrated dolly-in on Dracula in the Spanish version -- let's stop it dead in its tracks by pointing out that it calls attention to itself by a bumpy ride.
The Spanish version needlessy drags on a half hour longer than the English, in which Browning showed his savviness as a scenarist by streamlining the talky script and tightening the pace. A couple of horrific shots of Dracula's brides and the Count rising from the ship's hold (spoiled by Villarías' grimacing) aren't enough compensation for all the padding. A bad example of poor staging occurs in the concert hall scene. Melford has all his actors in a medium shot conversing in the dark, and what's more they do so during the performance! Browning handles this key scene much better by staging the discussion during an intermission, and we get more intimate reactions to what is being said.
A glaring mistake occurs during Renfield's initial meeting with Dracula; at one point Renfield's crucifix is in plain sight of the vampire who doesn't seem to mind it one bit.
They should have changed the locale from London to Spain or Mexico, then at least the language would fit in.
At best, the Spanish DRACULA can be viewed as a curiosity piece exemplifying a practice Hollywood utilized at the beginning of the talkie era for its foreign market.
Gus Arnheim and His Ambassadors (1928)
A REAL TOE-TAPPER
This early Vitaphone entry showcases one of the most popular bands of the era. As a fascinating, historical piece of pop culture, it satisfies the appetite of anyone who appreciates big band music of the Roaring '20s.
The sound quality is excellent as is generally the case with these shorts, a testimony to the fidelity of the Vitaphone technology at that point in the development of sound films. The image quality of this print isn't up to the level of most extant Vitaphones, but nothing that distracts the viewer's attention.
It is fortunate that these films have survived as a valuable soure of reference to the styles and mores of a bygone era.
The Cowboy and the Girl (1928)
INTERESTING TIME CAPSULE
It must be remembered these Vitaphone shorts are products of a bygone era and should be appreciated on that level. At that time, the novelty of sound films itself was a major selling point and vaudeville was still popular entertainment. These shorts attempted to duplicate the experience of a live theatrical show, which makes criticism of their static camera setups a rather moot point.
This film adheres to the conventions of a live stage performance, which is fine as it is not intended to convey anything else other than the talents of these two people. The entertainment value it contains for modern audiences will depend on one's appreciation for past modes of pop culture. For those fortunate enough to possess that capacity, these Vitaphone gems provide a fascinating, fun-filled experience indeed.
Done in Oil (1934)
Funny and Over the Top Todd/Kelly Romp
"Done in Oil" (1934) is a pretty funny Thelma Todd/Patsy Kelly entry in which Thelma tries to pass herself off as a French artist with Patsy gumming things up for her pal as usual. There is a lot of uninhibited '30's humor which may not be up to today's PC standards, but it was another era and they were able to get away with it. Adding to the shenanigans is the hilarious Arthur Housman doing his trademark drunk character. Housman was a regular on the Hal Roach lot and appeared in several Todd/Kelly shorts. TCM runs these from time to time, and anyone who is a fan of the delightful Thelma Todd (like me) will want to check this one out. She was a true beauty as well as a seasoned comedienne, appearing with comic greats Laurel and Hardy, Charlie Chase, Buster Keaton, Wheeler and Woolsey and The Marx Brothers. It's good to see so much of her work becoming more readily available.
King Kong (1933)
The King Still Reigns Supreme
"King Kong" is one of those rare films that just gets better and better with age. This is because we watch it now as a 1930's fable that has transcended its own time and has become an American myth. The undiminished, primordial energy it continues to generate derives from all aspects of production; from Willis O'Brien's masterly stop-motion animation and Murray Spivack's innovative early sound mix, to Max Steiner's brilliantly evocative, operatic music score.
The performances as well are in perfect sync with the larger than life premise of this adventure/fairy tale classic. Fay Wray's iconic portrayal of the Beauty who kills the Beast set the standard for every damsel in distress that followed, and her lusty screams are the female equivalent of Johnny Weismuller's celebrated Tarzan yell. Most amazing of all is Kong himself, who projects such a distinctive personality that we willingly dismiss the fact that he is only a visual effect. Who can forget those expressive, blinking eyes of his at the hotel window when he recognizes Fay Wray?
But even beyond all the indelible imagery, the film also rates high marks for its wholly original screenplay, which has a subtext that is based on the real life experiences shared by producers Merian C. Cooper and Ernest B. Schoedsack in making expeditionary films. This essential, autobiographical approach drives the first third of "King Kong" and serves effectively as build-up to the wild fantasy that ultimately takes over. The film is as much a personal work from its creators as is anything by Erich Von Stroheim or Charlie Chaplin, and this explains in part why the remakes fall far short of the original. Consider: The "Old Arabian Proverb" following the opening credits was written by Cooper, the character of Carl Denham (played with appropriate 30's style, two fisted gusto by Robert Armstrong) was fashioned after Cooper, the girl shy first mate, Jack Driscoll (Bruce Cabot in a rare heroic turn), was based on Schoedsack, and the pilots machine gunning Kong in that famous, fantastic finale atop the newly built Empire State Building are actually Cooper and Schoedsack.
Besides presenting an allegory on the destructive power of both unrequited love and modern civilization, "King Kong" interweaves fact and fiction with such clever subtlety that audiences are, perhaps, still largely unappreciative of this unique aspect of the film. While the narrative is ostensibly simple, there's a lot more under the surface that penetrates our subconscious, and a closer examination reveals some intriguing parallels and timeless themes that go beyond social/cultural boundaries. It's simply a great, shrewdly conceived piece of escapist entertainment that endures, inviting us back for repeated viewings so that when all is said and done, we realize that there is really only one Kong.
Long live the King!