MST3K Watch: Killer Fish (1979)

Watched:  08/12/2019
Format:  Netflix MST3K - The Gauntlet
Viewing:  First
Decade:  1970's

Sometimes movie stars just want to take a vacation and maybe shoot a movie while they're there.  You see it all the time in these peculiar movies that don't look very good but star people who actually cost some money - and the movie is in, say, Hawaii.  They're called "postcard movies", and the deal is usually that the star maybe asks for less because they're being put up in a really nice hotel in Maui for two months to make some romcom or whatever.  Their family comes out and they go boogie-boarding on their days off.

I kind of suspect something similar was afoot in 1979 when Killer Fish went into production.  The movie doesn't have the world's biggest stars, but in '79 Lee Majors was a pretty big deal and Karen Black was still bankable.  I imagine selling the movie as "come down to Rio de Janeiro for a couple months" was a pretty good deal.  I'd also mention, this movie was part of the short-lived Fawcett-Majors Productions, a go at producing from when Lee Majors and Farah Fawcett were Hollywood's foremost couple.  And, no, you've never heard of this movie or the other films that they produced.

Western Watch: The Ox-Bow Incident (1943)

Watched:  08/11/2019
Format:  TCM on DVR from a looooong time ago
Viewing:  first
Decade:  1940's

Well.  Between this and The Lost Weekend, I picked quite the double-bill for the weekend.

I mean, I knew.  I'd rented this movie twice in college but when I'd think about what it was about, I'd never hit "play" on the ol' VCR.  And I'd recorded it a half-dozen times on the DVR and never watched it.  But this time I did.

The Ox-Bow Incident (1942) is about a small town in the old west who finds out that a local rancher has been killed, and so they pull together a posse to go track down the killers.  It's a mish-mash of local color and yahoos, rationalizing why they don't need to follow the rules, exactly, and supported by the ineptitude and slack nature of some local authority.

Wilder Watch: The Lost Weekend (1945)

The Lost Weekend (1945) is one of those movies that you always know you should watch, but when you know what it's about, it's sort of hard to get fired up to put on.  But with Billy Wilder behind the camera and with a "co-written by" credit, it did nudge me toward "okay...", and knowing it featured Ray Milland, whom I like well enough, and Howard Da Silva, whom I really like, it put it in the "yeah, I need to see that" direction.

But in the past month two things happened.  (1) I read that Wilder wrote the movie after working with Raymond Chandler to write Double Indemnity.  Chandler certainly suffered from alcohol addiction and, as it will, the addiction impacted his professional and personal life.  I'm unclear on whether Chandler was dry during Double Indemnity, but I'm also sure working with Wilder would drive him to drink.  While the two never got along, it's noteworthy that whatever he saw and respected in Chandler was mixed up with how he saw his alcoholism.  (2) Our own JimD referenced the movie and asked me when the last time was that I'd seen it, which was "never".  Mid-tweet response I decided to watch the movie this weekend.

PODCAST: "Crawl" (2019) and 'Rogue" (2008) - Gator/ Croc Cinema! w/ SimonUK and Ryan

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Watched:  Crawl 07/31/2019, Rogue 08/06/2019
Format:  AMC Barton Creek and DVD
Viewing:  First for both
Decade:  2010's/ 2000's

SimonUK and Ryan take a bite out of two movies that burst from the depths to surprise us. We compare and contrast a pair of films that rolled us over and made us take notice, but definitely felt we could sink our teeth into.



Music:
Crocodile Rock - Elton John, Don't Shoot Me I'm Only the Piano Player
See You Later, Alligator - Bill Haley and the Comets


Playlist - SimonUK Cinema Series:

Noir Watch: Thieves' Highway (1949)

this quote is exactly what Jamie said to me when we met

Watched:  08/04/2019
Format:  Noir Alley on TCM on DVR
Viewing:  First
Decade:  1940's

There's a surprising number of movies about or including the work of "trucking" in this category we call "noir".  I suppose it makes sense given the world of people operating mostly alone, moving from place to place by day and night.  Add in the shadiness of transportation companies and both the folks sending and receiving goods, and it's fertile soil for drama.  And it's not like people like myself who've never ridden in a truck are oblivious to truckstop shenanigans. 

But who would have thought moving produce would lead to excellent noir drama?  But, at it's core, Thieves' Highway (1949), which is 100% about moving produce, contains a lot of what I think of when I ponder what comprises the "noir movement".  Characters in over their head pursuing goals due to hubris or lust (this one has both), a disaffection with the status quo and everyman status, a woman on the make pulling the wool over some schmuck's eyes...  it's all there.  Plus a heavy played by Lee J. Cobb and a morally gray protagonist played by Richard Conte.

Christmas in July Watch: A Christmas Wish (2016)

Watched:  07/21/2019
Format:  Hallmark Channel's Christmas in July
Viewing: First
Decade:  2010's

I was suffering a fever and whatnot over the weekend, and that's part of why this happened.

Around July 1, The Hallmark Channel began running Christmas movies 24/7, and I guess that's the gameplan through the end of the month.  It's clearly a trial balloon to see if they should just go ahead and launch a fulltime Christmas movies channel, as in - all year it's Christmas.  Which would make Jamie snap, and, thus, I support this idea.

Noir Watch: The Tattooed Stranger (1950)

Watched:  07/18/2019
Format:  Noir Alley on TCM on DVR
Viewing:  First
Decade:  1950's

So....  I don't know that I'd want to actually recommend The Tattooed Stranger (1950) to anyone.  It's far more of a curiosity of production than it is a watchable or good movie, and in the right, riff-able hands, could be wildly entertaining.  Pre-film, Muller explained that it had been a producer of RKO's Pathe office, who wanted to try their hand at cheap narrative films, exploiting their guerrilla film making know-how from decades of documentary films  and using the wealth of actors in NYC.

3D Noir Watch!: Inferno (1953)

absolutely no one swings into action on top of a couple having a cuddle in the course of this movie

Watched:  07/11/2019
Format:  Alamo South Lamar
Viewing:  First
Decade:  1950's

Well, somehow Wednesday became my Robert Ryan double-bill day.  SimonUK and I headed over to the local cinema to take in this novelty 1953 film.  Ostensibly noir, this movie is both in technicolor (not a disqualifier) and in 3D (a curiosity for noir, to say the least).  It also takes place in the desert and is 65% a tale of survival in extreme conditions, and - while I get why it gets lumped in with noir, I'm a bit on the fence. 

If the movie borrows from noir, it's trying to borrow from the best - in some ways asking "yes, but what if the husband in Double Indemnity had lived?" and pairing it with a survival tale in which the husband is not on an urban railroad track but thrown from a horse in the Mojave Desert. 

Noir/ Lupino Watch: On Dangerous Ground (1951)

Watched:  07/10/2019
Format:  Noir Alley on TCM on DVR
Viewing:  First
Decade:  1950s

If I were to buy this movie on Bluray (and it's Lupino, so don't count me out), I would wish it had Eddie Muller's conversations which bookended the showing on Noir Alley.  Muller says he's doing "barroom, not classroom", but I'll argue that by showing a wide variety of films on Noir Alley and talking about why we should pay attention, discussing what happened during production, etc... and not just lauding whatever it is we're about to see, Noir Alley is one of the best movie-watching experiences and educations you can hope for.  And, yeah, he makes it all as casual as a talk over cocktails. 

On Dangerous Ground (1951) is directed by Nicholas Ray and stars two of my favorite denizens of Noir Alley, Ida Lupino* and Robert Ryan (here wearing a coat and hat and a tough cops face in a way I wish with all my heart I could pull off).  I'd meant to watch it some time ago, and I can't recall why it fell off the list - but now was the time!  Muller certainly discussed details of the film and production, but his real focus was on the Bernard Herrmann score.  And it is very, very much a Bernard Herrmann score, which is almost off to see against an RKO b&w cop picture. 

Noir Watch: Woman on the Run (1950)

Watched:  06/30/2019
Format:  BluRay
Viewing: First
Decade:  1950's

First - this poster is doing Ann Sheridan no favors.  She's a gorgeous woman, and here she looks like a wax museum figurine that's been set too close to a lamp.  Second - like many-a-noir, this title isn't actually accurate.  The movie is about a woman seeking out her husband, who is a dude "on the run".  Unless this is when I find out "on the run" in this era meant "she's just moving about quickly", which I don't think it did.

Romance Watch: Sabrina (1954)

Watched:  06/29/2019
Format:  TCM on DVR
Viewing:  First
Decade:  1950's

Everyone but me has seen this movie, but we were staying in on a Saturday and it seemed like a good option for a bit of a light movie and to check off a viewing box.

Somehow, until about two years ago, it had escaped my notice that Sabrina (1954) was actually a Billy Wilder film, and so I wanted to give it a real shot, and I'm glad I did - it did surpass whatever bar I'd set for the movie.  The movie isn't exactly what I expected, which was to see two brothers in escalating conflict, trying to win over Audrey Hepburn.  You can read that as: I didn't want to watch two middle-aged guys duking it out over an ingenue for 2 hours - but it's not really that.

Noir Watch: The Shadow on the Wall (1950)

Watched:  06/27/2019
Format:  Noir Alley TCM on DVR
Viewing:  First
Decade:  1950's

The core idea of this movie is so... evil... I almost think it'd make for a swell comedy. 

Ann Sothern - a sort of "America's sweetheart" of the era - plays a woman who murders her own sister but can pin it on her brother-in-law.  BUT!  Her niece saw the whole thing, so she won't go to the gas chamber, she's in a race to kill the little girl before Nancy Davis (read: Nancy Reagan) helps the the little girl recover her memory.

I mean, you can imagine the Looney Tunes quality of repeated murder set-up after murder set-up to kill a bright-eyed little girl who is working through her cloudy memories by playing dolls with Nancy Reagan. 

This movie plays it straight, is a lesser entry in everyone's resume but that of child actor Gigi Perreau (still living, people!), and is good enough as yet another entry in the "psychology is a an alchemical force toward unlocking the mind" films of the era.  It does co-star a pre-Ronald-betrothed Nancy Davis, who is better than I figured she'd be, but still very much Nancy Reagan.*  It does not feature nearly enough Zachary Scott, whom I always like. 

My favorite scene is one where Sothern poisoned the little girl's chocolate milk and it seems like anything can happen in this particular set-up, shot from the kids' eye level as her friend wanders in to see why she isn't drinking her milk.  Just great stuff. 


*I'm sorry - the lady just seemed like a scold all the time when I was a kid, and she feels that way here, too

Noir Watch: Nobody Lives Forever (1946)

Watched:  06/28/2019
Format:  Noir Alley on TCM on DVR
Viewing:  First
Decade:  1940's

A bit of lighter, post-war crime drama. 

Garfield plays a former con-man coming back to New York to reclaim the girl he left when he enlisted, and the wad of money he left in her hands.  She's thrown in with a club-owner and spent the money, and so he heads out to LA to reconnect with an old friend.

Running into some pre-war fellow goons, he's turned onto a scheme to rip-off a wealthy widow, who turns out to be less tired old lady and instead the lovely Geraldine Fitzgerald.  Trouble ensues.

The movie is so light in places and features so many comedic bits, it barely feels like noir - but structurally, it fits the bill.  Nothing ground-breaking here, but Garfield shows his chops as a strong leading man, and we get some great character actor performances and Fitzgerald demonstrates why she flirted with major stardom.

WWII Watch: Tora! Tora! Tora! (1970)

Watched:  06/25/2019
Format:  TCM on DVR
Viewing:  First
Decade:  1970's

A fascinating oddball of a movie - part epic, part recreation, part disaster film, part meditation on the futility of war, Tora! Tora! Tora! (1970) is an all-star retelling the of the real life events leading up to, and a recreation of, the attack on Pearl Harbor.

Originally this was supposed to be two separate movies, one Japanese and one American.  And it almost is - the Japanese parts were directed by Japanese directors (Kurosawa was notoriously fired off the film!), and the American parts: an American director.  I can only wonder how that would have worked in practice, perhaps better.  Both sections reflect the mistakes made along the way - failure of diplomacy, duplicitous use of diplomatic formalities, bureaucratic loggerheads, etc...  Each section reflects back the stance of the home country on what happened at Pearl Harbor in tone and approach, which can make for something of a split-personality to the film that doesn't always work, but probably informs the viewer in 2019 what was felt a generation after the war.

Seafaring Watch: The Sea Wolf (1941)

Watched:  06/21/2019
Format:  BluRay
Viewing:  First
Decade:  1940's

For some reason folks try to file this movie under "noir", and... maybe...?  But I'm going to just go ahead and say "drama".  I'm not willing to do mental the work to turn a Jack London story on a boat into a noir.

I actually broke one of my own rules and purchased this BluRay a couple of months ago having had never seen the movie.  Honestly, I looked at the starring names, looked at the source material and the name of the director and figured "I've spent money on far worse films".

A wildly timely movie - perhaps depressingly so - as the original story by novelist Jack London was adapted to reflect the times.  A man on the run played by John Garfield joins up with a ship (agreeing after almost getting shanghied).  Meanwhile, an escaped convict (Lupino) is hiding on a ferry to San Francisco when it's struck by a steamship.  She and a writer (Knox) are rescued by the crew of The Ghost, but with no intention of setting them back to land.  The Ghost is a 1900-era pirate ship, and those aboard are a crew of the worst of society, who hate themselves almost as much as they hate each other (and assume the worst in everyone).

Rock Watch: Bohemian Rhapsody (2018)

Watched:  06/15/2019
Format:  BluRay
Viewing: First
Decade:  2010's

One of my earliest memories is being about three, hanging from the inside of the garage door and singing "We Will Rock You" and kicking the garage door to the beat.  Who knew a 3 year old would have that kind of appreciation for a Brian May guitar lick?

It's hard to piece together what I knew about Queen and when. It doesn't help that time for kids is so distended, and what were minor hiatuses for the band were epic blocks of time to me back then.  I do remember them coming back into my consciousness with "Radio Gaga".  I remember a bit of Live Aid on playback (but not live).  I remember Freddie passing.

And, of course, anyone around at the time remembers the post-mortem, Wayne's World supported explosion of "Bohemian Rhapsody", a song I can't say I'd heard before.

Noir Watch: Nora Prentiss (1947)

watched:  06/15/2019
format:  Noir Alley on TCM
viewing:  First
Decade:  1940's

Eddie Muller intro'd this movie by discussing how this film was marketed and considered "a woman's picture", and from what I've gathered about Women's Pictures of the mid-20th Century, I can see why that label got dropped on it.  But had he not mentioned this in the opening, I'd have seen this as soft-boiled noir and maybe mentioned women's films in passing.  Bear in mind, one of my favorite movies if Mildred Pierce, which one can see as equal parts Women's Picture and Film Noir, so that's not taking a particular stance, it just changes the formula a bit.

Silent Watch: Pandora's Box (1929)

Watched:  06/12/2019
Format:  TCM on DVR
Viewing:  First
Decade:  1920's

I've been meaning to watch this movie for decades.  Literally.  I've even owned a copy of it for a few years, but - let's be honest - unless you're one of the Silent Film buffs, it takes a bit of extra energy and focus to get through a 2-hour silent movie.*

I first stumbled across Louise Brooks just as I exited film school (I believe the doc Looking for Lulu was airing on cable), and back then, finding her work was incredibly difficult.  I rented a few films in which she appears as a minor or background character, but the GW Pabst stuff eluded me.  The DVD copies you were supposed to be able to get were expensive and of notoriously bad quality.  But, the past few years, various groups have been restoring and making available some of that height-of-her-career/ powers material.

Noir Watch: Dead Reckoning (1947)

Watched:  06/06/2019
Format:  Noir Alley on TCM on DVR
Viewing:  First
Decade:  1940's

I know it seems like I heap praise on every single noir that comes along, but I'm usually trying to find some good in the film or a reason it was included in Eddie Muller's Noir Alley line-up.

Muller himself warned us up front that Dead Reckoning (1947) wasn't going to shake the Earth, and in practice - the movie has a wide variety of components that, if I were to tell you "it stars so-and-so, it has this and that plot element, it has a unique location" you'd be nodding and getting noir-jazzed for the movie.  But, in execution...  the movie just feels like a lesser picture almost immediately, and it just never manages to catch fire.

Action Watch: John Wick 3 (2019)

Watched:  05/24/2019
Format:  Alamo Mueller
Viewing:  First
Decade:  2010's

I'm not sure what to say about the John Wick franchise.  It is what it is.  A celebration of cinematic violence in a world set up specifically to support deeply stylized violence with no sense of consequences (despite what the movie keeps trying to say is the theme, but which, in no way, resonates with anything we're seeing).  Essentially a self-playing videogame, the movies are about the glamour of killing, and being unkillable in a world where the only real humans are a few named characters, with a sub-class of nameless henchmen, and then NPC's of the rest of humanity sort of appearing as shapes and colors the assassins can disappear into, but who aren't really there.