THE ROCKY HORROR PICTURE SHOW (1975, UK/USA) ***½
dist. Twentieth Century Fox (USA), Fox-Rank (UK); pr co. Twentieth Century Fox / Michael White Productions; d. Jim Sharman; w. Jim Sharman, Richard O’Brien (based on the musical play by Richard O’Brien); pr. Michael White; ph. Peter Suschitzky (DeLuxe. 35mm. Spherical. 1.66:1); m/l. Richard O’Brien; ed. Graeme Clifford; pd. Brian Thomson; ad. Terry Ackland-Snow; rel. 14 August 1975 (UK), 26 September 1975 (USA); BBFC cert: 15; r/t. 100m.
cast: Tim Curry (Dr. Frank-N-Furter – A Scientist), Susan Sarandon (Janet Weiss – A Heroine), Barry Bostwick (Brad Majors – A Hero), Richard O’Brien (Riff Raff – A Handyman), Patricia Quinn (Magenta – A Domestic), Nell Campbell (Columbia – A Groupie (as Little Nell)), Jonathan Adams (Dr. Everett V. Scott – A Rival Scientist), Peter Hinwood (Rocky Horror – A Creation), Meat Loaf (Eddie – Ex Delivery Boy), Charles Gray (The Criminologist – An Expert), Jeremy Newson (Ralph Hapschatt), Hilary Farr (Betty Munroe), Pierre Bedenes (A Transylvanian), Christopher Biggins (A Transylvanian), Gaye Brown (A Transylvanian), Ishaq Bux (A Transylvanian), Stephen Calcutt (A Transylvanian), Hugh Cecil (A Transylvanian), Imogen Claire (A Transylvanian), Tony Cowan (A Transylvanian).
A colourful adaptation of Richard O’Brien’s cult musical play sees Sarandon and Bostwick as a newly engaged couple who have a breakdown in an isolated area and must seek shelter at the bizarre residence of Dr. Frank-n-Furter (Curry). The production puts a capital C into Camp with Curry giving a powerhouse performance as the transgender doctor. The foot-tapping and witty musical numbers have translated well, and whilst the choreography is a little loose, it adds to the charm. Sarandon and Bostwick make a likeable hero/heroine pair and O’Brien is suitably spooky as Curry’s handyman. Whilst it could never replace the live experience, the film serves as a good document of a truly original work. US release was edited to 98m. Followed by SHOCK TREATMENT (1981).
Today, when information is instantly available at the push of a button or the swipe of a finger it is hard to imagine a world of research before the internet made everything so easy. But just thirty to forty years ago to find out stuff you had to go to the library or buy books on whatever subject you wanted to research. That involved time, expense and shoe leather. My passion is for films (or to the Americans…movies). Now, you can look up any film in a matter of seconds and get full cast, crew and technical data as well as expert and public opinion on any movie from a variety of online sources. These include the Internet Movie Database (IMDb), American Film Institute and British Film Institute databases, All Movie Guide, Rotten Tomatoes, Metacritic and the Movie Review Query Engine. But back in the 1970s, the only way to research information and opinion on films was via physically published encyclopaedias and film/movie guides.
My own interest in films began in my early teens back in the early-mid 1970s and over the years I have collected nearly all the major printed film guides available and still have the latest editions of each in my personal library. My fascination with the guides confirmed the writers and editors had come up with a successful and easy to use format aimed at movie fans such as myself. But what was the catalyst?
The answer goes back to the late 1950s, when television was beginning to threaten cinema as the entertainment of choice. Households were increasingly being released from austerity post-WWII and the TV served to bring moving pictures into their homes, albeit on a very small screen. Old movies began to find their way into the TV schedules and viewers were having to make their own choices on what to watch. A movie would require one and a half or two hours of attention, so discerning consumers were becoming more selective. Was the movie scheduled worth two hours of their time? The need for an authoritative guide was becoming apparent. Step in Steven H. Scheuer. Scheuer developed his TV Key preview column to help guide viewers and sift out the wheat from the chaff. “In the middle of the night I woke up, and it was absolutely clear to me that the whole approach to TV criticism was backward. It was being covered the same way as books and plays and movies. You were told on Thursday by a newspaper critic that there had been an interesting program on Tuesday. It was live. So, you couldn’t see it if you missed it.” (Clavin 1992)
The column was distributed by the King Features Syndicate and covered everything from live drama and soap operas and included news programmes. Interest in his column grew to such an extent that he was published in 300 newspapers. The problem was the newspapers’ TV guide sections were limited to just one or two pages and Scheuer to just a column. Daily newspapers were not only short of space, but they also had bigger priorities with home and world events demanding pages of coverage. Old movies had also increasingly started to occupy the schedules. Scheuer decided to expand his column to include previews of the movies being aired.
The natural next step was to produce a book that included short summaries of all movies likely to be broadcast on TV. TV Movie Almanac and Ratings was published by Bantam in November 1958 and had a capsule review coverage of over 5,000 movies available for TV showings across 244 pages. The marketing stated: “This new, handy guide for television movie fans describes, carefully rates and helps you pick all the important movies you will want to see on your TV screens during the year.” The book immediately sold out. A second edition was published in 1961 and a third in 1966, re-titled TV Key Movie Reviews & Ratings. The third edition again immediately sold out and was republished as TV Key Movie Guide and then by its fourth printing in March 1968 as Movies on TV – a title (suffixed with and Videocassette from 1988) it would retain for the remainder of its seventeen-edition run through to 1992.
Whilst Scheuer had a monopoly of the market through the 1960s, rival publisher Signet was looking to produce an alternative. The publisher’s attention had been drawn to an 18-year-old student who was publishing and editing his own magazine, Film Fan Monthly. The student’s name was Leonard Maltin. Signet invited the young Maltin in and asked him how he would improve on Scheuer’s book. Maltin replied he would add more cast names, a director credit, a note of the film’s original run time, and whether it was in black and white. Signet took the risk and signed Maltin up. The result TV Movies was published in 1969. It was a huge endeavour for someone so young, although Maltin did have help with half of the 8,000 reviews the book included. At this stage, Scheuer was updating his own book every two or three years. Maltin would not produce a second edition for another five years. From 1980, both books would be updated every couple of years with Scheuer and Maltin alternating until each settled on an annual update from 1987 as the number of competitor books started to increase.
In the UK, the first accessible guide published was Angela and Elkan Allan’s The Sunday Times Guide to Movies on Television, which was published in 1973. Like Scheuer’s early editions, the book was skimpy on detail and had a lower coverage of around 5,000 films. With Scheuer’s book readily available in the UK as an import the Allans’ book failed to get a regular update. A second edition did not follow until 1980, and by then a major new player had entered the UK market.
Leslie Halliwell was a film buff with an extraordinary encyclopaedic knowledge of cinema. Halliwell had grown up in Bolton in Northern England and was a keen cinemagoer. He was involved in his school’s film society and undertook research to learn more about the industry. Through journalism, he found his way to becoming a researcher and buyer for Granada TV calling on his vast knowledge of the cinema for new purchasing deals. In 1965, Halliwell published his Filmgoer’s Companion, which listed many major stars, directors, producers, writers and technical crew as well as most of the classic films. The book proved immensely popular and would be updated on a regular basis. In 1977, Halliwell published his Halliwell’sFilm Guide. The guide was at this point the most comprehensive on the market, the author noting: “When I pick it up, with something of an effort, I can scarcely believe that I typed every word with my two overworked and untrained index fingers. But I did.” (Binder n.d.) The first edition covered 8,000 English-language films, but the guide was quickly expanded via an update every two years to double that count of films (including foreign entries) by 1988. Halliwell passed away in 1989, but his Film Guide would be continued by other editors until its last edition in 2008.
The 1980s and 90s saw the demand for movie reference books grow considerably with the advent of home video. The public could now consume movies new in the cinema when scheduled on TV or by choice from video rental shops. Many guides in this period concentrated on the new home entertainment medium. Those emerging during this period that achieved some longevity included Consumer Guide’s Rating the Movies (from 1982), Roger Ebert’s Movie Home Companion (from 1985), Mick Martin & Marsha Porter’s Video Movie Guide (from 1985), Time Out Film Guide (from 1989), Variety Movie Guide (from 1990), Elliot’s Guide to Films on Video (from 1990), Videohound’s Golden Movie Retriever (from 1990), Virgin Film Guide (from 1991), TLA Film & Video Guide (from 1991) and Blockbuster Entertainment Guide to Movies and Videos (from 1994). In the UK two major new titles emerged in Derek Winnert’s Radio Times Film & Video Guide (from 1993) and David Quinlan’s TV Times Film & Video Guide (also from 1993). The former title would be subject to a high court challenge from the Leslie Halliwell estate for alleged similarities to Halliwell’s own guide. The result was it being pulped following the publication of its second edition. It would be later superseded by the Radio Times Guide to Films from 2000. Arguably, the most important work to emerge during this period was Jay Robert Nash, Stanley Ralph Ross and Robert B. Connelly’s massive ten-volume The Motion Picture Guide. This monumental work was aimed primarily at the library market and was published between 1985 and 1987 with annual volumes following until 1999. The initial ten volumes covered more than 50,000 movies in more detail and with longer reviews than any other guide. Page count was not an issue due to the removal of single-volume restrictions.
With the advent of the internet and, more notably, in 1990 the creation of The Internet Movie Database, the interest in a physical guide to films started to wane. IMDb had taken on the mantle created by The Motion Picture Guide in its aim to be comprehensive. Printed movie guide titles began to drop away. Pioneer Steven H. Scheuer’s Movies on TV and Videocassette was the first major title to cease publication, following its 1993-4 edition published in 1992, seemingly having lost its battle with Leonard Maltin’s alternative. Others followed at a steady rate over the next couple of decades as IMDb and other online movie reference and aggregator sites became more comprehensive and accurate. By 2013 there were only three major print titles remaining: Leonard Maltin’s Movie Guide, Videohound’s Golden Movie Retriever and the Radio Times Guide to Films. The final 2015 edition of Maltin’s guide was published in 2014 and the Radio Times publication ceased in 2017 with its 2018 edition. That left just one guide, Videohound, surviving in print. However, when the 2022 edition failed to materialise at the end of 2021 the printed movie guide ceased to be.
Whilst the modern aggregator sites provide a consensus rating for all new movie releases based on the opinions of sometimes hundreds of critics (both professional and amateur), they provide scant coverage for pre-internet era films. At the time of writing, Rotten Tomatoes, for example, will give you a consensus view of 2018’s BLACK PANTHER based on the opinions of 525 critics; MRQE is more selective and will give you a consensus, based on 167 critics; Metacritic narrows it down further to 55 critics. IMDb meanwhile accepts ratings from the public, so rather than a critical consensus you get a public vote. For BLACK PANTHER that currently includes a weighted average rating based on 693,588 voters. The All Movie Guide offers just one uncalculated rating (presumably based on their editorial team’s decision) and a write-up review from a single critic.
Apply the same search to a pretty well-known film from Hollywood’s golden age, such as 1953’s Robert Mitchum/Jean Simmons vehicle ANGEL FACE and the picture is very different. Rotten Tomatoes has a rating view based on 12 critics but offers no consensus summary; MRQE offers no aggregated rating although it has four critics with a rating submission and links to twenty reviews; Metacritic has no coverage of the film at all; IMDb gives a rating based on votes from 7,564 members of the public; All Movie Guide also covers the film with a rating and review. Delve down into titles with a little more obscurity and the numbers from the aggregator sites diminish further to the point where no coverage is provided or there are just a handful of public votes on IMDb. Only the All Movie Guide retains coverage of older material offering ratings and reviews on most major titles and many minor ones.
For reasons of nostalgia and research, I have retained the latest editions of all my old print guides to ensure I can get broad coverage of opinion on both the old and the new. Whilst the online resources can be constantly updated and evolve, books are a permanent tangible archive. One day we will hopefully see the Movie Guide return to print, offering retrospective and literate reviews and opinions from movie experts that will provide hours of browsing fascination for movie fans.
PRINTED MOVIE GUIDES IN MY COLLECTION Title (Latest Edition – No of Titles Reviewed)
Videohound’s Golden Movie Retriever (2021 – 29,000)
Radio Times Guide to Films (2018 – 24,600) now online
Leonard Maltin’s Classic Movie Guide (silent – 1965) (2015 – 10,000)
Leonard Maltin’s Movie Guide (2015 – 16,000)
Time Out Film Guide (2011 – 19,000) now online
Halliwell’s Film Guide (2008 – 24,000)
Empire Film Guide (2007 – 3,000)
DVD & Video Guide (Mick Martin/Marsha Porter) (2007 – 20,000)
TV Guide Film & Video Companion (US)/Virgin Film Guide (UK) (2006 – 3,500) now online
TLA Video & DVD Guide (2005 – 10,000)
Variety Movie Guide (2001 – 8,600) now online
TV Times Film & Video Guide (1999 – 7,000)
Blockbuster Guide to Movies & Videos (1999 – 23,000)
AMC Classic Movie Companion (Robert Moses) (1999 – 5,000)
Essential Monster Movie Guide (Stephen Jones) (1999 – 3,500)
Roger Ebert’s Video Companion/Yearbook (1998 – 1,500)
Creature Features (John Stanley) (1997 – 3,400)
Elliott’s Guide to Home Entertainment (1997 – 10,500)
The Ultimate Movie Thesaurus (Christopher Case) (1996 – 8,000)
Mark Satern’s Illustrated Guide to Video’s Best (1995 – 3,660)
Radio Times Family Video Guide (Barry Norman/Emma Norman) (1995 – 1,500)
Radio Times Film & Video Guide (Derek Winnert) (1994 – 18,000)
The Critics Film Guide (Christopher Tookey) (1994 – 2,000)
Movies on TV and Videocassette (Stephen H Scheuer) (1993 – 20,000)
Consumer Guide – Rating the Movies (Jay A Brown) (1990 – 3,900)
The Good Film & Video Guide (David Shipman) (1986 – 6,500)
The Motion Picture Guide (Jay Robert Nash/Stanley Ralp Ross) (1985 – 50,000)
Best 1,000 Movies on Video (Peter Waymark) (1984 – 1,000)
The Sunday Times Guide to Movies on Television (1980 – 5,000)
Binder, Michael. n.d. LeslieHalliwell.com. Accessed March 2, 2021. http://lesliehalliwell.com/brief_history/index.html#.
Brennan, Patricia. 1987. “Leonard Maltin was a Young Movie Nut.” The Courier-News (from The Washington Post), July 10: B-13.
Clavin, Tom. 1992. “Long Island Q&A;: Steven H. Scheuer – Fast Forward Through 30 Years of TV.” The New York Times, April 19: Section 12LI page 2.
Ebert, Roger. 2014. RogerEbert.com. September 15. Accessed February 26, 2021. https://www.rogerebert.com/interviews/leonard-maltins-final-guide-marks-the-end-of-an-era.
Erstein, Hap. 1997. “The Man of a Thousand Reviews.” The Palm Beach Post, September 22: 1D.
Leopold, Todd. 2014. CNN.com. September 3. Accessed March 4, 2021. https://edition.cnn.com/2014/09/02/showbiz/movies/leonard-maltin-movie-guide-ending/index.html.
Meyer, Gary. 2015. EatDrinkFilms.com. September 25. Accessed February 26, 2021. https://eatdrinkfilms.com/2015/09/25/maltin-and-the-movies-an-interview-with-leonard-maltin/.
A NIGHT IN CASABLANCA (1946, USA) ****
dist. United Artists; pr co. Loma Vista Productions; d. Archie Mayo; w. Joseph Fields, Roland Kibbee; pr. David L. Loew; ph. James Van Trees (B&W. 35mm. Spherical. 1.37:1); m. Werner Janssen; ed. Gregg C. Tallas; pd. Duncan Cramer; rel. 16 May 1946 (USA), 11 July 1946 (UK); BBFC cert: U; r/t. 85m.
cast: Groucho Marx (Kornblow), Harpo Marx (Rusty), Chico Marx (Corbaccio), Charles Drake (Pierre), Lois Collier (Annette), Sig Ruman (Heinrich Stubel / Max Pfferman), Lisette Verea (Bea), Lewis L. Russell (Governor), Dan Seymour (Prefect of Police), Frederick Giermann (Kurt), Harro Meller (Emile), David Hoffman (Spy), Paul Harvey (Mr. Smythe).
Five years after their “billed” final film, THE BIG STORE (1941), the Marx Brothers return in this riff on CASABLANCA (1942). Here, Ronald Kornblow (Groucho) takes over as the manager of a luxurious hotel in Casablanca, in the aftermath of World War II. After discovering that both of his predecessors had been murdered, Kornblow begins to fear for his safety — especially when Nazi Count Pfefferman (Ruman) tries to take over Kornblow’s job in a bid to get his hands on valuable items that were stashed in the hotel by the Nazis at the tail end of the war. Whilst the film runs out of comedic steam as it attempts to wrap up its plot in the finale, much of the rest is top-draw Marx comedy. Groucho delivers his one-liners with leering grace and Harpo provides much of the physical comedy. There are opportunities for musical interludes for Chico (piano) and Harpo (harp) and the plot manages to stay out of the brothers’ way for most of the running time. The result is a return to form and a late-career flourish. The brothers would make one more film together – LOVE HAPPY (1949) before disbanding.
ON DANGEROUS GROUND (1951, USA) ***½
dist. RKO Radio Pictures; pr co. RKO Radio Pictures; d. Nicholas Ray; w. A.I. Bezzerides, Nicholas Ray (based on the novel “Mad with Much Heart” by Gerald Butler); pr. John Houseman; ph. George E. Diskant (B&W. 35mm. Spherical. 1.37:1); m. Bernard Herrmann; ed. Roland Gross; ad. Ralph Berger, Albert S. D’Agostino; rel. 12 December 1951 (USA), 14 November 1951 (UK); BBFC cert: PG; r/t. 82m.
cast: Ida Lupino (Mary Malden), Robert Ryan (Jim Wilson), Ward Bond (Walter Brent), Charles Kemper (Pop Daly), Anthony Ross (Pete Santos), Ed Begley (Capt. Brawley), Ian Wolfe (Sheriff Carrey), Sumner Williams (Danny Malden), Gus Schilling (Lucky), Frank Ferguson (Willows), Cleo Moore (Myrna Bowers), Olive Carey (Mrs. Brent), Richard Irving (Bernie Tucker), Patricia Prest (Julie Brent).
Interesting and intense character drama sees Ryan play a rough city cop who is disciplined by his captain and sent upstate, to a snowy mountain town, to help the local sheriff solve a murder case. There he questions his own approach during a murder manhunt which brings him into contact with the fugitive’s blind sister, played by Lupino. The key theme is of redemption plays out a little awkwardly as what made Ryan the way he was in the big city is only hinted at and never fully explored. Ray directs his actors well and the film is constantly moving, with the director’s frequent use of the hand-held camera during action sequences adding a level of urgency. With the help of Diskant’s striking photography (particularly using the Colorado Rockies location) and Herrmann’s evocative score, Ray elevates the film above the level of its script, producing an often-engrossing tale. Lupino directed the film for several days when Nicholas Ray fell ill.
Today marks the 45th anniversary of the release of WIND & WUTHERING, the second album Genesis recorded as a four-piece after the departure of Peter Gabriel. It would be the band’s last studio album with guitarist Steve Hackett – Genesis paring down to the trio of Tony Banks (Keyboards), Phil Collins (vocals, drums) and Mike Rutherford (guitar, bass) from 1978’s…AND THEN THERE WERE THREE…
The album opens with Banks’ shimmering chords for the dynamic ‘Eleventh Earl of Mar’, which switches through various moods and tempos. Banks’ opus ‘One for the Vine’ follows, further developing the piano-based multi-part approach he adopted for ‘Mad Man Moon’ on the previous album, A TRICK OF THE TAIL. Rutherford’s ballad ‘Your Own Special Way’ is the weakest song on the album with ill-matched verse and chorus and a rambling mid-section. ‘Wot Gorilla?’ is a jazzy fast-paced Collins and Banks led instrumental that makes for a pleasant interlude. Side two opens with ‘All in a Mouse’s Night’ – a twee Tom & Jerry tale that has a strong Hackett solo on the coda. ‘Blood on the Rooftops’ is a gorgeous song exploring the generation gap through images from TV. We then move into the inter-linked closing section of the album with the simmering instrumental ‘Unquiet Slumbers for the Sleepers’ giving way to the powerful and rhythmic ‘…In That Quiet Earth’ and then the epic anthemic album closer ‘Afterglow’, which has been a live show classic ever since. The album’s romantic, classically tinged arrangements showed the increasing influence of Banks as a writer, but also demonstrated Hackett’s importance to the band in adding guitar sound and textures. Collins and Rutherford were already a formidable rhythm section and ensured the songs flowed. Whilst it may lack the heavier numbers evident on THE LAMB LIED DOWN ON BROADWAY and parts of A TRICK OF THE TAIL, the album is highly rewarding for those willing to invest in the depths of structure and arrangement the band offer here. Of the non-album tracks, which formed the EP SPOT THE PIGEON (1977), ‘Inside and Out’ is a classic Genesis two-part acoustic song/electric instrumental that should have made the album at the expense of ‘Your Own Special Way’. The album cover, painted by Colin Elgie, is one of the band’s best and its grey autumnal feel perfectly captures the mood of the music.
GENESIS WIND & WUTHERING (Charisma, 17 December 1976) – Album Score – 76%
Tony Banks – Steinway grand piano, ARP 2600 synthesizer, ARP Pro Soloist synthesizer, Hammond organ, Mellotron, Roland RS-202 string synthesizer, Fender Rhodes electric piano, 12 string guitar, backing vocals
Phil Collins – vocals, drums, cymbals, percussion
Steve Hackett – electric guitars, nylon classical guitar, 12 string guitar, kalimba, autoharp
Mike Rutherford – 4, 6, and 8 string bass guitars, electric and 12 string acoustic guitars, bass pedals
Produced and engineered by David Hentschel
Assistant Engineered by Pierre Geoffroy Chateau and Nick “Cod” Bradford
Recorded at Relight Studios, Hilvarenbeek, Netherlands, September-October 1976
Mixed at Trident Studios, October 1976
2007 remix by Nick Davis assisted by Tom Mitchell and Geoff Callingham
Sleeve design by Hipgnosis and Colin Elgie
Eleventh Earl of Mar (Banks, Hackett, Rutherford) (7:45) ****
One for the Vine (Banks) (10:00) ****
Your Own Special Way (Rutherford) (6:19) ** (A-side single, 18 February 1977)
Wot Gorilla? (Collins, Banks) (3:21) ***
All in a Mouse’s Night (Banks) (6:39) ***
Blood on the Rooftops (Hackett, Collins) (5:28) *****
Unquiet Slumbers for the Sleepers… (Hackett, Rutherford) (2:20) ***
…In That Quiet Earth (Hackett, Rutherford, Banks, Collins) (4:54) *****
Afterglow (Banks) (4:11) *****
Non-album tracks (SPOT THE PIGEON EP – 1977)
Match of the Day (Banks, Collins, Rutherford) (3:24) **
Pigeons (Banks, Collins, Rutherford) (3:12) ***
Inside and Out (Banks, Collins, Hackett, Rutherford) (6:45) *****
BLACK GUNN (1972, USA/UK) **½
Action, Crime, Thriller
dist. Columbia Pictures (USA), Columbia-Warner Distributors (UK); pr co. Champion Production Company; d. Robert Hartford-Davis; w. Franklin Coen (based on an original screenplay by Robert Shearer and an original story by Robert Hartford-Davis); pr. John Heyman, Norman Priggen; ph. Richard H. Kline (Eastmancolor. 35mm. Spherical. 1.85:1); m. Tony Osborne; ed. Pat Somerset; ad. Jack De Shields; rel. 20 December 1972 (USA); BBFC cert: 18; r/t. 96m.
cast: Jim Brown (Gunn), Martin Landau (Capelli), Brenda Sykes (Judith), Luciana Paluzzi (Toni), Vida Blue (Sam Green), Stephen McNally (Laurento), Keefe Brasselle (Winman), Timothy Brown (Larry), William Campbell (Rico), Bernie Casey (Seth), Gary Conway (Adams), Chuck Daniel (Mel), Tommy Davis (Webb), Rick Ferrell (Jimpy), Bruce Glover (Ray Kriley), Toni Holt Kramer (Betty), Herbert Jefferson Jr. (Scott Gunn), Jay Montgomery (Junkie), Mark Tapscott (Cassidy), Gene Washington (Elmo).
One of the many black action thrillers that followed on the coattails of SHAFT (1971) but lacked the class of that production. It is a fast-paced, but unevenly handled, action vehicle for Brown in which a black militant group robs a Mafia bookie joint and steals incriminating ledgers which, in turn, prompts retaliation from the mob. When the group’s leader, who happens to be nightclub owner Brown’s brother, is killed Brown hunts down the perpetrators. Brown is a physically effective lead but otherwise, his performance lacks charisma. Sykes brings some charm to her role as Brown’s loyal girlfriend. Landau and Paluzzi (as key mob members) are underused in a strong supporting cast. Glover, however, enjoys himself as the mob’s chief henchman. The plot is overly familiar, and the earthy dialogue is heavy on themes of the struggles of black Americans. British director Hartford-Davis’ handling of the material is occasionally unfocused with jarring camerawork hampering some otherwise bloody and lively action sequences.
HELPMATES (1932, USA) *****
dist. Metro-Goldwyn-Mayer (MGM); pr co. Hal Roach Studios; d. James Parrott; w. H.M. Walker; pr. Hal Roach (uncredited); ph. Art Lloyd (B&W. 35mm. Spherical. 1.37:1); m. Marvin Hatley, Leroy Shield (both stock music); ed. Richard C. Currier; rel. 23 January 1932 (USA); BBFC cert: U; r/t. 21m.
cast: Stan Laurel (Stan), Oliver Hardy (Ollie), Bobby Burns (Neighbour (uncredited)), Bob Callahan (Messenger (uncredited)), Blanche Payson (Mrs. Hardy (uncredited)).
One of Laurel & Hardy’s very best shorts. Oliver’s house is in a shambles after a wild party, and his wife is due home at noon. He calls Stanley to help him fix the place up, and the typical catastrophes ensue. Side-splitting sight gags are piled on top of each other as Oliver’s dignity is unravelled by Stan’s dim-witted help and his own pomposity. The final gag is wonderfully ironic.
DUCK SOUP (1933, USA) *****
dist. Paramount Pictures; pr co. Paramount Pictures; d. Leo McCarey; w. Bert Kalmar, Harry Ruby, Arthur Sheekman, Nat Perrin; pr. Herman J. Mankiewicz; ph. Henry Sharp (B&W. 35mm. Spherical. 1.37:1); m. John Leipold; ed. LeRoy Stone; ad. Hans Dreier, Wiard Ihnen (both uncredited); rel. 15 November 1933 (USA), 29 November 1933 (UK); BBFC cert: U; r/t. 69m.
cast: Groucho Marx (Rufus T. Firefly), Harpo Marx (Pinky), Chico Marx (Chicolini), Zeppo Marx (Bob Roland), Margaret Dumont (Gloria Teasdale), Raquel Torres (Vera Marcal), Louis Calhern (Ambassador Trentino), Edmund Breese (Zander), Leonid Kinskey (Sylvanian Agitator), Charles Middleton (Prosecutor), Edgar Kennedy (Lemonade Vendor).
The most anarchic of all the Marx Brothers films also has strong hints of anti-war satire. Rufus T. Firefly (Groucho) is named president/dictator of bankrupt Freedonia and declares war on neighbouring Sylvania over the love of wealthy Mrs. Teasdale (Dumont). What follows is a breathless 69-minute comedy masterclass mixing inventive sight-gags (notably the famous mirror sequence) with Groucho’s biting one-liners. Dumont is a game foil for Groucho’s insults. Harpo and Chico are also at the top of their game in their respective familiar characterisations and their battle with Lemonade vendor Kennedy is superb visual comedy. This was the last appearance of Zeppo Marx in The Marx Brothers films and the team’s last film for Paramount before moving on to MGM. In 2007, the American Film Institute ranked this as the #60 Greatest Movie of All Time.
A NIGHT AT THE OPERA (1935, USA) *****
Comedy, Music, Musical
dist. Metro-Goldwyn-Mayer (MGM); pr co. Metro-Goldwyn-Mayer (MGM); d. Sam Wood; w. George S. Kaufman, Morrie Ryskind (based on a story by James Kevin McGuinness); pr. Irving Thalberg (uncredited); ph. Merritt B. Gerstad (B&W. 35mm. Spherical. 1.37:1); m. Herbert Stothart; ed. William LeVanway; ad. Cedric Gibbons; rel. 1 November 1935 (USA), 13 December 1935 (UK); BBFC cert: U; r/t. 96m.
cast: Groucho Marx (Otis B. Driftwood), Chico Marx (Fiorello), Harpo Marx (Tomasso), Kitty Carlisle (Rosa Castaldi), Allan Jones (Riccardo Barone), Walter Woolf King (Rudolfo Lassparri), Sig Ruman (Herman Gottlieb), Margaret Dumont (Mrs. Claypool), Edward Keane (Ship’s Captain), Robert Emmett O’Connor (Police Sergeant Henderson).
Hilarious and top-notch Marxian lunacy, their first film for MGM following their glory years with Paramount. It was also their first as a trio, with Zeppo dropping out. Here, the Marxes run amuck in the world of opera when Otis B. Driftwood (Groucho) meets aspiring singer Ricardo (Jones), who is determined to win the love of fellow performer Rosa (Carlisle). Aided by Fiorello (Chico) and Tomasso (Harpo), Otis attempts to unite the young couple but faces opposition from the preening star Lassparri (King), who also has his sights on Rosa. Travelling from Italy to New York, Otis and friends rally to try and win the day. Containing some of the brothers’ very best routines – the contract and stateroom scenes – and Groucho’s wittiest one-liners, this ranks with the team’s best films. MGM head Irving Thalberg ensured high production values, musical interludes, and a romantic sub-plot to give audiences room to breathe between the laughs. The formula works perfectly here.
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