Ann Miller Watch: Hit the Deck (1955) and Reveille with Beverly (1943) and The Great American Pastime (1956)

shut the hell up, Tom Ewell

Watched: 08/8 (HtD), 08/9 (RwB), 8/11 (GAP)
Format:  Ann Miller Day of TCM
Viewing:  First for all 3
Decade:  1950's, 1940's


Look, I've been clear about the whole Ann Miller thing, and I'm not going to apologize for it.

It's August, and therefore "Summer Under the Stars" time on TCM, which means 24 hours of movies from one actor each day all month.  And this last week featured Ann Miller day, and here we all are.

Three very different movies.

Hit the Deck (1955) is pretty clearly a "I like Guys and Dolls" and "wow, was On the Town a decent movie" mash-up.  I dunno.  It was fine.  Little Debbie Reynolds is cute as a button.  Ann Miller got a couple of numbers.  It's okay.  It has a lot of deeply sexist set-up that kind of unravels in a pleasant way and has a great few numbers by the women in the movie.  And it's always great to see Russ Tamblyn.  And I need to look into this Kay Armen.  She was terrific.

Reveille with Beverly (1943) is war-time spirit-boosting propaganda and was one of the movies that was essentially an excuse to do a musical variety show with everyone from Duke Ellington to Bob Crosby.  Ann Miller plays a feisty and insanely perky radio host.  The film, however, ends on a very strange pivot as they remind you, all the soldiers are going off to war - and it was this odd, incredibly sad transition, with Beverly still in her show costume watching them go.

The Great American Pastime (1956) is a post-war movie trying to recapture some of the magic of Seven-Year Itch and reminding me "I don't particularly care for Tom Ewell".   What could have been a Bad News Bears instead is kind of a sitcom dad who seems oblivious to the fact he's married to Anne Francis and that Anne Francis has decided Ann Miller is a sexual threat (she is not, which...  I mean).  Anyway - the movie felt really under-written and I kind of hated the way they wrote Tom Ewell's son.  Seemed like a dopey ingrate.


But Ann Miller looked great in all of these movies.  So.

Bruce Watch: Fist of Fury (1972)

Watched:  07/25/2020
Format:  Criterion BluRay
Viewing:  First
Decade:  1970's
Director:  Wei Lo

So, if the *last* Bruce Lee movie I watched I wondered "hey, why didn't they use more of the snow cone girl?" - friends, I have learned that is Nora Miao, and I was not the only one who thought she should get more screentime.  Here she plays the childhood sweetheart of Bruce Lee's Chen Zhen, and she appears in a few of Bruce Lee's big-name movies.

First, I loved Fist of Fury (1972).  Great story, interesting character arc, complex scenarios and amazing fight scenes.  Nothing to not like.  I don't know if the film had a much higher budget than The Big Boss, but it just *looks* better than the prior film, and the story is infinitely tighter.

The story will feel a bit familiar to those of us who've seen Fist of Legend (which you should 100% see), and I'm unclear if this movie is based on a true story of any kind.  I don't think so, but... the movie says it does?

When a Master of a martial arts school dies under mysterious circumstances, his star pupil, a passionate young Bruce Lee, returns to Shanghai to mourn - and, once he's clicked to the fact the death made no sense - seek out justice.  The story takes place in The Settlement, something I had to look up, an international portion of Shanghai that has a fascinating history.

The Japanese come to the funeral for the Master and basically bully multiple schools at once, knowing that the Chinese can't push back.  Except for Chen Zhen, who comes to the Japanese dojo and kicks the living crap out of *everyone* in a dynamic fight sequence.  However, this leads to retribution on several fronts and an impossible situation for Chen Zhen's school.

Bruce realizes this was the girl selling shave-ice in the last movie

At the heart of the film is Chen Zhen's romance with Nora Miao, and their interrupted dreams of settling down and running a martial-arts school, and the opportunity for Lee to do some dramatic acting alongside his angry-young-man work.

Anyway - shocker, this is a good Bruce Lee film.

Bruce Lee Watch: The Big Boss (1971)

Watched:  07/21/2020
Format:  Criterion BluRay
Viewing:  First
Decade:  1970's
Director:  Lo Wei

I've only ever seen two Bruce Lee movies, but - like everyone - I like the *idea* of Bruce Lee.  His byzantine relationship with America and Hong Kong, his cocksure manner that he could 200% back up, his ability to synthesize the old into the new, his drive and his ability to cut to the quick of reality in a few spare words that it comes off as spiritualism.

Be water, indeed.

The Big Boss (1971) is not Lee's first movie.  He'd been a child actor before getting sent to the US (where he was born and so had citizenship - his father touring in the US as a performer at the time of his birth) for street-fighting and headng down a bad path.  Lee had starred in 20 movies or so in Hong Kong, and appeared on US television as Kato and other roles, as well as appearing in the Chandler adapted film Marlowe (he's good, but his exit is not great).

He returned to Hong Kong to find out he was a bit of a star thanks to The Green Hornet, and was hired by Golden Harvest, who put him in The Big Boss.  By American standards of 1971, it's a low-budget production.  The story is fairly straightforward.  And Lee is used very strangely.

According to an interview attached to the disc, The producers weren't sure which of the two main characters at the start of the film would be the hero of the story, so Lee's character just sort of watches from the sidelines.  Apparently the producer, Raymond Chow, liked what he saw, because he canned the director and put Lee in the rest of the film - and the rest is history.

When he's finally allowed to cut loose, Lee is like a magnesium flare suddenly bursting into the film.  His martial arts are totally different, he's the fully formed, swagger-prone Lee you know.  The beginning of the movie is a decent set-up, if a bit stiff, but once Lee enters the fray (breaking a promise to his mother not fight), the rest of the movie takes off like a shot.  Including simple, dramatic scenes.

In a way, it's like seeing a character dropped in from another movie, and I am not bagging on 1970's martial arts films, but there's a reason The Big Boss kick-started Lee's superstardom.  He's really frikkin' good and clearly an innovator of character and fighting style. 

I won't oversell the actual film.  It's creaky and clunky, and marginally more adult than I had expected (some light nudity and sexuality paired with an axe to the head or two, and piles upon piles of dead people).  And there are plot holes.  But when it takes off, you don't really care all that much. 

Mostly I want to know what happened to the girl you see selling snow cones at the beginning.  I kept thinking she'd be relevant - but not so much. 

Here's to you, snow cone lady.

Watch Party Watch: The Stepford Wives (1975)

Watched:  07/17/2020

Format:  Amazon Prime Watch Party

Viewing:  First

Decade:  1970's

Director:  Bryan Forbes

The Stepford Wives (1975) is a movie you will absolutely guess how it works and what it is, and how it will end, and you should absolutely still watch it.  

Starring Katharine Ross (Butch Cassidy and the Sundance Kid), it's a New York City woman with two young girls and a husband as they move into the suburban town of Stepford, CT.  Good schools, big houses and yards, it's a post WWII dream.  Immediately we learn that Joanna's (Ross) husband didn't actually consult with her about the move, which she found out was a done deal after she saw the house and agreed to it.  But she let that slide.

Noirish Melodrama Watch: The Sign of the Ram (1948)

Watched:  07/20/2020
Format:  TCM on DVR
Viewing:  First
Decade:  1940's
Director:  John Sturges

A sort of gothic noir, The Sign of the Ram (1948) is a peculiar film.  Set in a sprawling English countryside home, a seemingly happy family welcomes a new secretary into the fold (Phyllis Thaxter).  She's to be the aid, in particular, to the beautiful, young, wheelchair bound stepmother to the family. 

The film is a showcase for actress Susan Peters who had screen success until a hunting accident left her in a wheelchair.  She's actually fantastic in the role, which is that of the antagonist.  This is, apparently, the screenplay she finally accepted after being asked to play a chipper Pollyanna overcoming adversity in offer after offer.  I'll not play armchair psychologist, but it's a hell of a heel turn for Peters to take on - but she nails it, showing tremendous range in the single role (young actors, take note: you can play all sorts of things with an angry character and none of them have to read "angry"). 

That said, there's something both entirely believable about the tension at the center of the film - a family completely dominated by the iron willed matriarch who plays everyone like puppets without them ever noticing it - and a sense of melodrama that skews a bit too much toward telegraphing where the film is headed. 

It's well shot, Peters and Thaxter are great, but I can't say it was exactly my cup of tea.  It was clearly made in the shadow of stuff like Rebecca, but never quite hits those notes.  But for a solid melodrama, you could do worse.

Musical Watch: Hamilton (2020)

Watched:  July 3, 2020
Format:  Disney+
Viewing:  First
Decade:  2020/ 2010
Director:  Thomas Kail

Certainly the most discussed musical in decades - and with far better reason than most (whether you like it or not) - Hamilton had become a cultural event well before Disney+ released a recorded version of the show on the platform on July 3rd.  This was not a film adaptation like we've seen in the last few years - like Les Miserables or even Cats.  Movie stars who can carry a tune were not swapped out for the Broadway cast, and we're not decades away from shows debuting, making a splash, touring and becoming so ubiquitous, you might as well make a movie because why not?

Instead, Hamilton (2020) as released is the version shot on stage roughly four years ago, starring mostly the original cast, which - since 2016 - has since scattered to the four winds, seeking their Hamilton-derived fortunes (I actually like Leslie Odom Jr's new record, Mr., for whatever that is worth to you).  The film existing is a wonderful change for Broadway, who has told themselves lots of stories about the need for the immediacy of theater's live experience and has usually only dropped original cast recordings as documents of how a show was conceived and presented.  Directed by the show's actual director, Thomas Kail, the "film" of Hamilton is thoughtfully, and, indeed, artfully shot.  Heck, last week "One Perfect Shot", a twitter account with the best in cinematography, included a shot from Hamilton.

French Noir Watch: Elevator to the Gallows (1958)

Watched:  07/18/2020
Format:  TCM on DVR
Viewing:  First
Decade:  1950's
Director:  Louis Malle


Look - I'd never seen this movie, thoroughly enjoyed it, and would quickly recommend. But I can also imagine it hits the buttons of every pretentious film dork out there.

A shining example of (a) made in the 1950's, (b) being French (b) more or less New Wave (c) noir, (d) with a fatalistic, downbeat ending and (e) the soundtrack is by Miles Davis.  Ferchrissake - I can just see my film school instructors getting the vapors talking about this one.

And, you know, deservedly so.

Monroe Watch: "The Seven Year Itch" (1955)

Watched:  07/12/2020
Format:  TCM on DVR
Viewing:  First
Decade:  1950's
Director:  Billy Wilder

I found this movie some hard going, but given it starred Monroe and was directed by Billy Wilder, I'm going to give it some grace.  It's not just a product of its time, it's a distilled crystallization of its time.  Add in that it's been so copied from, borrowed from, and it's novelties have been so co-opted and, in fact, are a mainstream method of visual comedy for the past 20 years, it's a bit odd to see it in its nascent form.

Based on a stage play, The Seven Year Itch (1955) is a movie about a married man who sends his wife and young son out of New York City and into the country during the hot summer months so he can get some work done, kick cigarettes and lay low.  Until he returns home the first night and finds Marilyn Monroe living upstairs, sub-letting his neighbor's apartment.

Random Watch: Palm Springs (2020)

Watched:  07/15/2020
Format:  Hulu
Viewing:  First
Decade:  2020's
Director:  Max Barbakow

To get it out of the way: this movie featured a song I used to love but had not heard it in 30 years, and it kind of freaked me out.  So here's to The Brazilian, from Invisible Touch by Genesis.*  Middle School Me was delighted to hear it again.

Also - to get it out of the way:  SPOILERS

I highly recommend watching this movie with zero spoilers, including skipping the trailer.

Random Watch: Troop Zero (2019)

Watched:  07/09/2020
Format:  Amazon Streaming
Viewing:  First
Decade:  2010's
Director:  Bertie, Bert

I walked into this with zero expectations, pretty sure it was a Troop Beverly Hills sort of thing, but it's a smart, sweet movie with a sort of indie feel I haven't seen in a movie in a while.  But, in a weird way, for kids with storylines the adults will get even if the kids watching the movie don't quite get what the adults are saying to each other.

It's the rare movie about underdogs that is kinda actually pretty realistic about underdogs, as well as how kids can expect the world to want to keep them that way.  You will likely laugh, you may get a bit weepy. 

Anyway - why isn't Viola Davis on Mt. Rushmore yet?

Screwball Watch: My Man Godfrey (1936)

Watched:  06/28/2020
Format:  TCM on DVR
Viewing:  First
Decade:  1930's
Director:  Gregory La Cava

This movie got a scad of Oscar nominations and was very big upon its release.  It's a comedy about class, wealth, those who have money and those who don't in a contemporary picture released in the thick of the Great Depression.

Kaiju Watch: Godzila and Mothra - The Battle for Earth (1992)

Watched:  07/01/2020
Format:  BluRay
Viewing:  First (somehow)
Decade:  1990's
Director: Takao Okawara

Do you like pointless Indiana Jones rip-offs?  Confusing plot twists that come out of nowhere?  Psychics?  and our friends, the Twins/ Fairies/ Cosmos?  Sad Japanese people talking about how we're all boned anyway, because we're destroying our own environment?  Disappearing mullets? Plot threads that begin, are very important, and left unresolved?  Most of all - do you like MOTHRA?

Well.

Godzilla and Mothra: The Battle for Earth (1992) is here to deliver the goods.

Comedy Watch: Eurovision Song Contest - The Story of Fire Saga (2020)

Watched:  06/27/2020
Format:  Netflix Streaming
Viewing:  First
Decade: 2020's
Director: David Dobkin


I am not going to write this up and/ or oversell it.  But it was better than I thought it would be, and I got to see Pierce Brosnan play an Icelandic fisherman.  And now I know who Rachel McAdams is after Jamie explaining to me who she is once a year for twenty tears.

Doc Watch: Becoming (2020)

Watched:  06/26/2020
Format:  Netflix
Viewing:  First
Decade:  2020's
Director:  Nadia Hallgren

I'm aware Michelle Obama is a polarizing figure, what with encouraging kids to eat healthy and being an interesting, intelligent counterpart to her husband.  But, hoo boy, in a period of American journalism which seems distant and we can hope is on the ash-heap, the press sure tried to find ways to make her a villain. 

Tweetalong Watch: (Spawn of) Slithis (1978)

Watched:  06/26/2020
Format:  Amazon Streaming
Viewing:  First
Decade:  1970's
Director:  Stephen Traxler

Literally nothing happens for 97% of the movie.  I hated everyone in it but the woman named "Jeff".  Well, I also liked the monster. 

But it is a movie named not after a monster, but after radioactive mud.  Which.  Come on, guys.

Doc Watch: Thelonius Monk - Straight, No Chaser (1988)

Watched:  06/27/2020
Format:  TCM
Viewing:  First
Decade:  1980's
Director:  Charlotte Zwerin

I am not a jazz aficionado - that's NathanC's gig.  I honestly haven't put on a Thelonius Monk album in a while - maybe years.  I did go through my jazz phase twenty years ago, so, yeah, I still have those albums. 

TCM has been doing a series called "Jazz in the Movies", which I haven't watched much of, but decided to record a couple of films one night, and had heard that Thelonius Monk: Straight, No Chaser (1988) was an exemplary doc.  This reputation was earned, and I am sure jazz fans all know it.

For folks like myself who are only vaguely aware of Monk, it's a fascinating crash course to get you past simply enjoying the music and understand the man who made it.  Shocker of all shockers - a pre-eminent jazz artist has a complicated life and personal issues.  Unlike Miles Davis, the wounds aren't as self-inflicted, but they do weigh on him. 

Culled from footage shot on a late career tour and post-death interviews with colleagues, the doc paints a portrait of a complicated man who was *loved* by the people who knew him and couldn't help but stand in awe of his genius.  And, yeah, I don't use the word genius a lot - but the names tied to Be-Bop sure seem like they deserve it.

It wasn't hurt at all by the intro and outro conversations on TCM by Eddie Muller (who knew he knew jazz?) and his majesty Wynton Marsalis (and, yes, I've see Marsalis play live once and it was worth every penny). 

The doc gives the music room to breathe, and reminded me how and why I went through that jazz era.  And what I'll be listening to after Jamie turns in tonight. 

Noir Watch: Underworld USA (1961)

Watched:  06/26/2020
Format:  Noir Alley on DVR
Viewing:  First
Decade:  1960's
Director:  Samuel Fuller

One of the things I enjoy about watching noir and older films is figuring out how great some directors really were.  I still haven't watched enough Samuel Fuller, but I have yet to see a Fuller movie that didn't hit me over the head like a 2x4, and Underworld U.S.A. (1961) is no exception.

Tweet-a-Long Watch - "Basket Case" (1982)

Watched:  06/19/2020
Format:  Amazon Streaming
Viewing:  First
Decade:  1980's
Director:  Frank Henenlotter

We've been taking suggestions from the peanut gallery for Friday night Tweet-a-Long, and Lauren brought this one.

Horror isn't really my thing, but sometimes the movies hit me just right, and that was the case with Basket Case (1982).  A no-budget film that relies on a strong concept, some non-Henson-inspired puppetry and a go at stop-motion that would do Gumby proud, it's just simply way better than it seems like it should be. They go with less-is-more approach to our friend in the basket, and make sure a heaping helping of the horror is the descent our lead is on, acting out of love and Stockholm Syndrome.

Essentially the story follows a young man who hits NYC with *something* in a wicker basket - his conjoined twin from whom he was separated at a young age, with the intention the twin would die.  Both have lived, and now seek revenge on the doctors who performed the surgery.

Along the way, the more normal brother begins to get an idea of what it would be to fall in love - which is at odds with his brother for any number of reasons I'll leave it to you to find out.

Anyway - good pick, Lauren!

Doc Watch: Making the Apes - The Artists Who Changed Film (2020)

Watched:  06/21/2020
Format:  Amazon Streaming
Viewing:  First
Decade:  2020's
Director:  William Conlin

There's not much to spoil here - it's a fact based documentary on the people behind the iconic make-up for the run of the original 5 Planet of the Apes films, the TV show and more.  It does a good job of contextualizing the state of the art in the mid-60's and how they got there, starting in the Lon Chaney era. 

Really, what I liked is that - as much as it's about the make-up and creation of - it gives personality and stories to the people who were there and made a vision a reality.  We sometimes forget there are minds and lives behind the people who aren't the writers, directors and actors - but those unseen wizards who rise at 2:30 AM to be at work by 4:30 AM to get the actor on the set by morning, looking like a gorilla?  Those are people who fell in love with monster make-up to such a degree, that's how they love and what they've chosen to do. 

And, of course, for the people involved, Planet of the Apes - which won an honorary Academy Award for make-up before it became a staple of the Oscars - was a major turning point in the lives of a lot of people in the Hollywood make-up industry.  It was sort of the digital T-Rex of its day. 

It's currently streaming on Amazon, and if you're any kind of POTA fan, I recommend giving Making the Apes: The Artists Who Changed Film a go. 

Noir Watch: Backtrack (1990) and Murder by Contract (1958) w/ JAL & Ryan

Watched:  06/11/2020 (Backtrack) & 06/16/2020 (Contract)
Format:  Amazon Streaming and TCM Noir Alley
Viewing:  First / Second
Decade:  1990's/ 1950's
Director:  Dennis Hopper/ Irving Lerner

More ways to listen - choose an app


We're back with more noir - neo and otherwise! It's two movies about weirdo hitmen filmed 30 years apart. One is from the go-go 90's and has a lot of surprises, and the other is a cult classic of noir, about a man who just wants enough money to get that house he's had his eye on. Both have casts worth discussing and off-kilter approaches to their form. Join JAL and Ryan as we make our way through two features that don't get that many mentions.

The Signal Watch PodCast · 107: "Backtrack" (1990)/ "Contract for Murder" (1958) - Noir Watch w/ JAL & Ryan

Music:
The Executioner Theme - Perry Botkin, Murder By Contract score


Noir Playlist:

The Signal Watch PodCast · Noir Watch