Frankenstein Watch: Son of Frankenstein (1939)

The third Frankenstein movie in the Universal Monsters line of films is not terribly well known among the normals but it's a staple for monster kids.  People who don't know the movie often ask "why is Frankenstein wearing that furry shirt?" when they see pictures from the movie, and - honestly, it's a legit question.*  Son of Frankenstein (1939) picks up a generation after the events of Bride of Frankenstein, when the literal child of Henry and Elizabeth Frankenstein returns to Frankenstein castle to reclaim the family homestead, and, as it turns out, help restore The Monster to fighting form after finding him in a catatonic state.

The movie is not directed by James Whale, and of the original cast, only Karloff returns.  It lacks some of vision of the prior installments, but picks up on and expands some elements, visual and otherwise.  It also softens the story a bit more, providing us with a more sympathetic Dr. Frankenstein in the son of the good doctor.

Overall, it's fairly watchable with some pretty great bits, and at least tries to maintain some level of A-list distinction before the Frankenstein movies would descend down the slope to matinee material.  It's not exactly the world's best movie, but it's still a Halloween-worthy treat.

Halloween Watch: Frankenstein (1931)

My Halloween viewing is a little slowed by the arrival of Luke Cage on Netflix, but Sunday night TCM presented a Frankenstein Triple Feature.  They'll be showing Frank movies all October on Sundays (and Christopher Lee, star of the month on TCM, will be Mondays, so check for Hammer Horror).

This year marks the 85th Anniversary of the release of James Whale's screen classic, Frankenstein (1931).   So, I appreciate the Franken-centric approach to Halloween that TCM is going for all month long.

Turner Classic kicked it off right with the three Frankenstein pictures that defined the monster and mad scientists for the 20th and early 21st Centuries.  They showed the Universal movies that started with the 1931 Universal feature, Frankenstein, starring Boris Karloff as "The Monster".  Then, of course, TCM went right into Bride of Frankenstein and Son of Frankenstein.*

I've seen Frankenstein numerous times since first watching the film back in college, and I've written on the topic often enough that I've given Frankenstein it's own tag on the site.  I'm a fan, and I watch the movie at some point every October.

Super Krime Double Bill: The Mask of Fu Manchu (1932) and The Castle of Fu Manchu (1969)

The Alamo is an interesting place because they do show exploitation films, they do show controversial material, and at those special screenings, they usually have a host put a frame around what you're about to see.  This movie was shown as part of the "Super Krime" series which also contained last week's Danger: Diabolik, but was the riskier showing, certainly.  For pop-cultural anthropologists, there's a lot to chew on here from the casting to the racial issues to the pre-code genre-ambiguity and content and - for modern pop-culture which so often includes super-villains in the mix, Fu Manchu lays out the blueprint for so much of what would come afterwards.

By today's standards, your grandparents were racist as hell.  Even if they were hip, bohemian folks - by the rules of what non-awful people consider decency and mannered public discourse, what you'd hear come out of Grandma and Grandpa's mouths was likely to get them the side-eye at Thanksgiving - but we're all a reflection of a time and a place.  Attitudes change.  Society, hopefully, advances.  Insert your own election-related joke here.

I am not a paid or professional film historian or scholar, but I have an interest in the history of pop culture and the film industry as well as genre film and whatnot.  A few years ago, I came across a picture of Myrna Loy playing the daughter of Boris Karloff in a film I'd never seen.  The catch: they're both in yellowface as the nefarious Fu Manchu and his daughter.

A bit more digging told me that this movie was once a favorite, included in some circles as a premier classic horror film of sorts.

But you can't get access to a Fu Manchu film all that easily (and there are many), and it's something that doesn't screen all that often - a bit like the President's Day sequence in Holiday Inn (which they simply excise when they show it as it doesn't advance the plot, but it does feature a whole lotta your beloved Hollywood favorites in black face*).  And, yeah, I saw the movie featured yellowface, and cast most of the Eastern hemisphere in a nasty light, so it made a bit of sense to me that the studio was in no big hurry to remind the world they had the film in the collection.

Nick & Nora Watch: Another Thin Man (1939)

After two great movies in a row, the third installment of the Thin Man series, Another Thin Man (1939) feels like a project that just didn't gel as well as it could have.

I recently completed reading The Return of the Thin Man, which is less a book and more the lost story-treatments and scripts that Dashiell Hammett worked on during his tenure in Hollywood and some editorial/ historical notes about what was going on with Hammett in relation to the work.  Frankly, you're probably better off just watching the two movies it covers - After the Thin Man and Another Thin Man, but completionists will find the book worth checking out.

The gist of the notes about this third movie indicate that not only was Hammett sort of done with Nick and Nora before he even started work on the movie, the credited screenwriters, Frances Goodrich and Albert Hackett - who had worked with Hammett on the two prior films - were also ready to call it a day.

All in all, the film does work.  Let's not call it a troubled film.  But the alchemy that caught everyone's attention in the original that semi-carried over to the sequel, is fizzling a smidge by this installment.

Nick & Nora Watch: After the Thin Man (1936)

It's been years since I watched After the Thin Man (1936), which is kind of funny, because I have the poster for the movie hanging on the wall of my house.  I'd also gotten some of the details of the movie criss-crossed with other Thin Man films as I'd watched most of them in a blitz several years ago, and hadn't watched any of them but the first one again in a while.

I'm currently reading Return of the Thin Man, which is a fairly recent release as far as Hammett writings go.  It's not a book or short story, but the film treatment he worked on for the second and third Thin Man films, along with historical material for context.  While I remembered parts of the movie, most of what was in the treatment jived with what I could recall from the movie, so I was curious to see what was different.

Weimar Watch: Threepenny Opera (1931)

Obviously near-post-silent German film isn't my usual deal, nor Brechtian musical comedy.  The closest I'll get to that is a fondness for Fosse's Cabaret and that I have all of the albums by The Dresden Dolls.  And, you know, Tom Waits and others have carried through the spirit of the movement through to the modern era.

I haven't seen much in the way of G.W. Pabst's directorial efforts, although I'm well aware, from film school, he's one of those names you're supposed to be able to drop.  He was a giant of German cinema in the pre-Nazi days, and brought Louise Brooks out of Hollywood and over to Weimar Germany, and I've seen Pandora's Box.  A contemporary of Fritz Lang and F.W. Murnau, going to the pictures in Germany back in the day must have been something.

Disney Watch: Snow White and the Seven Dwarfs (1937)

On Nathaniel Capp's recommendation, I'm currently reading Walt Disney: Triumph of the Imagination, a Disney biography from a couple of years ago (and, spoiler: it's fantastic).  Naturally, part of reading the book is the reminder it is that I haven't seen a bunch of Disney films and cartoons in years and years.

The last time I remember seeing Snow White and the Seven Dwarves (1937) was during a theatrical run in summer of 1993 when I was working at The Disney Store and we were semi-required to go see the animated films so we could talk to customers about them.  Don't worry, they paid us to do so.  Terrific perk, and I would have been going, anyway.  And while it's likely I've seen it since then, it had to have been on VHS, to date the last screening I took in.

You guys can be cynical and weird about Disney's feature films, but I only feel that way about certain eras of their movies, and even then - not entirely.

But it all started, first, with a mouse.  And then with Snow White.

Screwball Watch: The Awful Truth (1937)

It seems like this is the 3rd of 4th movie I've seen from about this era in which the theme is "rich people in New York ponder divorce, remember they like each other.  Everyone is polite.  Big Laughs."

It is funny.  It works.  Both Cary Grant and Irene Dunne are really terrific.  Irene Dunne is quite lovely and wears a wide array of architectural dreams as gowns.  It's all very light and fluffy and fun, and I will remember nothing about the movie later, but that doesn't mean I wouldn't recommend it.  Because it also has a very cute dog named "Mr. Smith".

Wonderland Watch: Alice in Wonderland (1933)

Well, this was an interesting one.  I meant to tune in for the first fifteen minutes to see what this movie was like, and then realized I'd watched the whole thing.

Silent Watch: Tabu (1931)

I just watched the F.W. Murnau film Tabu: A Story of the South Seas (1931).   But the write-up will not be here.  More on that to come, I suppose.