Neal99 Reviews

The Andy Griffith Show: Opie and the Spoiled Kid (1963) Season 3, Episode 21

A good summation of the Andy-Opie relationship

[10/10 · 22 September 2006]

This is a great episode from perhaps the best season of the "Andy Griffith Show." Ronny Howard is especially good as he asks his "Paw" about the rules between dads and sons and as he tries some of the methods recommended by the "spoiled kid" for manipulating parents. Howard's deadpan delivery is just right. The writing is perfect, the acting is superb -- and, as in the best of the AGS episodes, a life lesson is taught in a warm, funny, subtle way. The relationship between Andy and Opie is well summarized in this episode. Overly doting 21st century parents would do well to watch and see the effects indulgence can have on their children. Oh, for more kids like Opie and fewer like the spoiled kid!

If a Man Answers (1962)

Unbelievably offensive film - POSSIBLE SPOILERS

[2/10 · 6 December 2004]

Films from earlier times reflect values that are contemporary to the makers – this is a given of artistic evaluation. But it is hard to believe that people of the early 1960s were as sexist, stupid and shallow as this film portrays them. No wonder some people don't like old movies! Sandra Dee plays a young woman who takes her mother's bizarre, manipulative 'advice' and quickly lands a husband, played by Dee's real-life spouse Bobby Darin. The plot revolves around such infantile ploys as inventing a lover to make your spouse jealous, using a dog-training manual as a guide to 'train' your spouse and interfering in the marriage of your adult child. The only thing to be said in favor of this film is that it is definitely glossy in typical Ross Hunter style – beautiful, glamorous people in gorgeous clothes and picture-perfect settings. Otherwise, it is useful only as an example of how not to live one's life!

The Monkey's Uncle (1965)

Incoherent and poorly made

[1/10 · 13 September 2004]

It is incredible that this hopeless mess of a movie was Robert Stevenson's follow-up to Mary Poppins! It is episodic to the point of incoherence, the 'monkey' of the title (actually a chimp, of course) barely appears, Annette's charm was wearing thin, and the sets, music and general production level are poor indeed. Tommy Kirk appears to be barely awake throughout much of the film; he was probably wondering why he ever signed that long-term contract with Uncle Walt. Worse is seeing Arthur O'Connell, Leon Ames and other dependable character actors flailing away with what must be one of the worst scripts ever churned out by Disney. This is another of those pictures that gave 'family films' a bad name. Of minor cultural interest is the appearance of the Beach Boys, who function as a back-up band for Annette during the opening credits! They then disappear and are never seen again – another example of the filmmakers' total lack of interest in anything that might sustain interest from beginning to end.

Yes, Dear (2000–2006)

One of the worst shows on TV

[1/10 · 11 March 2004]

That this achingly unfunny program is part of the CBS Monday night comedy block shows how bad things have gotten in TV land. The network that carried "I Love Lucy" and "The Andy Griffith Show," among other classics, now gives us a weekly half-hour of irritating characters and lame, crude jokes. The character "Greg" has to be one of the most repellent boors ever to appear in a sitcom. He is a one-note whiner who is many times more childish than the children on the show. The other characters are simply idiotic. With characters this puerile and one-dimensional, it is really no wonder that the writers resort to moronic plots and bathroom humor. It is a mystery to me how this program has survived so long. CBS, please cancel this show!

Man Wanted (1932)

Delightful Dieterle gem

[8/10 · 17 February 2004]

Fast-paced and well directed, Man Wanted is a compact entertainment that provides a window to early 1930s attitudes on several subjects but doesn't sermonize on any of them. Kay Francis and David Manners are sufficiently colorless to be easily molded by director Dieterle, who adds interesting pictorial touches throughout. Also of great interest is Gregg Toland's remarkable cinematography. The fact that the film is somewhat hard to categorize - is it a melodrama with comic touches or a satire with occasional pathos? - indicates the cleverness of Dieterle and writers Robert Lord and Charles Kenyon. The filmmakers are anything but heavy-handed in their commentary on gender roles, leaving the audience to reach its own conclusions about thorny workplace issues that persist in the 21st century. Adding to the general delight of the film are Andy Devine and Una Merkel in unexpected roles, with Elizabeth Patterson and Edward Van Sloan also glimpsed in very different parts than those for which they are most well known. This gem, seen occasionally on TCM, is well worth your time.

Sued for Libel (1939)

A reminder of how bad a B-movie can be

[3/10 · 19 January 2004]

The studios cranked out a lot of this type of film in the 1930s and 1940s, and this is an example of how cheap and silly they could be. The film overuses what begins as an interesting plot device - a radio dramatization of the news - so that it becomes flatly ridiculous. The story is way too complicated and progressively harder to follow as the picture progresses. The acting ranges from colorless (Kent Taylor) to hilariously over-the-top (Lilian Bond). In short, this is a real time-waster.

Calm Yourself (1935)

Breezy comedy rests on appeal of Young, Evans

[7/10 · 10 November 2003]

This programmer's plot doesn't always make sense, but it is nonetheless an amusing way to spend an hour and 10 minutes. Young is appealing as always, but quite a bit scrappier than in his later, long-running TV roles as Jim Anderson and Marcus Welby. Evans also is very likable. With a supporting cast including such dependable 1930s performers as Nat Pendleton and Claude Gillingwater and future 'Today' regular Betty Furness, this breezy comedy is well worth a look.

This Modern Age (1931)

Frederick shines in fast-paced drama laced with humor

[7/10 · 7 November 2003]

There is considerable energy in this Joan Crawford vehicle, and it compares favorably with some of her other films of the period - it is much more engaging than Laughing Sinners, for example. A number of scenes are very short, and the story moves along briskly. Perhaps the biggest surprise is the performance of Pauline Frederick as Crawford's mother - she is believable and touching, and evokes great sympathy as a woman in a difficult situation. The settings, of course, are sumptuous in that art deco MGM style that is so appealing from the distance of more than 70 years. Also noteworthy is that although this is a drama, there is a fair amount of humor throughout. It is not one of the depressing, heavy-going melodramas typical of the period.

Welcome Danger (1929)

A huge letdown

[3/10 · 7 October 2003]

While one can admire Harold Lloyd's willingness to plunge into sound films, this effort is a huge letdown after the brilliance of his silent films, culminating in `Speedy.' Many of the gags go on WAY too long, and sound makes much of the slapstick more painful than funny. It may be that sound also contributes to making Lloyd's character extremely annoying, especially in the early reels. If that weren't enough, the dubbing process used in the scenes not reshot for sound is very primitive and distracting. Worth seeing for Lloyd fans, but not too funny.

Their Own Desire (1929)

Shearer good, Bennett ill at ease

[5/10 · 29 August 2003]

This film is sociologically fascinating but dramatically rather weak. It also would make a good case study for a psychology class, as Norma Shearer's character (Lally) has to deal with others who are variously manipulating, controlling and irresponsible (I won't spoil it by telling you who does what). The sociological fascination comes from the depiction of the idle rich who ride polo ponies, go to Lake Michigan resorts, dress smartly and tolerate `modern' young women like Lally - and from the dynamic between men and women. The dialogue seems unusually terse by 1929 standards - much is left unsaid, and the film is better because of it. Shearer is quite good; she carries the film with apparent ease. Unfortunately, Belle Bennett is clearly ill at ease with sound. She was quite popular and acclaimed for her silent work, especially Stella Dallas, but here she brings little life to her role.

Escanaba in da Moonlight (2001)

Painfully crude and just plain weird

[2/10 · 20 August 2003]

Having lived in Michigan's Upper Peninsula (30 miles from Escanaba) in the mid-1990s, I was eager to see this film. It begins promisingly enough, with some superficial understanding of the values and quirks of U.P. life. But Jeff Daniels apparently was not content with a low-key approach that would have been fitting given the place and the people. Instead, he introduces extremely crude humor and some wildly inappropriate mystical/supernatural elements. Although there is a good movie to be made about this practically unknown region of the U.S., this is NOT it.

The Heavenly Body (1944)

Weak premise makes for silly, unfunny comedy

[3/10 · 9 June 2003]

This unfunny comedy establishes a weak premise - an astronomer's lonely wife takes up astrology - then largely abandons it, turning to a variety of creaky devices that just don't work. William Powell, solid professional that he was, gives it the old college try but is defeated by the silly situations and poor script. Hedy Lamarr is beautiful but otherwise does not come across well, comedy apparently not being her strong suit. The usually watchable Fay Bainter is given a thankless role as the smug, supercilious astrologer. The remaining interest in this film lies in the historical/cultural themes: The war (referenced only in regard to minor plot points - the characters seem scarcely affected except that they're scolded for leaving their lights on after curfew), and the role of astrology in American society (it seems to be have been perceived as a way for idle, reasonably well-off women to be parted from their money).

London After Midnight (2002 TV Movie)

Admirable but inevitably unsatisfying

[5/10 · 16 May 2003]

This reconstruction was obviously a labor of love. But it simply reinforces the uniqueness of film - a compendium of stills set to music is an entirely different medium - and makes the loss of London After Midnight and all other vanished films all the more heart-breaking. That's not to say there's no place for this kind of thing; certainly it was used in a positive way to fill in the gaps in the 1954 A Star Is Born. But to watch a reconstruction of an entire film becomes rather tedious. So, this is interesting, useful - but inevitably unsatisfying.

The Royal Rodeo (1939)

Audacious kitsch

[8/10 · 30 April 2003]

This amazing short, in glorious Technicolor, brings together disparate elements one would never expect to see combined, except perhaps in a surrealist play - a vaguely European royal court presided over by a chipper, 1930s American-style kid who orders a command performance of a wild west show (which just happens to be passing through the area). Add a couple of songs and some rousing American patriotism, and you have a startlingly audacious slice of kitsch. The disparate elements aren't smoothly meshed; they're strung together with a daring, in-your-face boldness. Hats off to Warner Brothers for this crazy experiment!

Billy the Kid (1930)

Stunning locations, effective myth-making

[7/10 · 13 March 2003]

This film was full of surprises for me, given its less-than-stellar reputation. One has to view it in terms of Hollywood myth-making and not as if it's an episode of `Biography.' King Vidor's camerawork is startlingly fluid - he uses camera movement and cutting very effectively. One of the biggest surprises was the brutality (not to be confused with gore) of certain scenes. The film also does an excellent job of creating a mood of futility. As for Johnny Mack Brown, at first I thought he was inappropriately cast. But as the movie continued, his characterization seemed more valid. And of course, the location shots are stunning. This film is underrated and overdue for critical re-evaluation. Perhaps that will happen if an archivist finds a widescreen print!

The Girl Who Had Everything (1953)

William Powell's MGM Swansong

[5/10 · 28 February 2003]

This film is a good example of standard MGM output in the early 1950s - still glossy, with good production values, but dramatically no great shakes. It is perhaps most notable as being William Powell's final film at MGM. Although it must have been appealing to Powell to play the same part that won Lionel Barrymore an Oscar in 1931 (for A Free Soul), the writer of this film let Powell down with a routine script. Also notable is André Previn's score, which seems unnecessarily lush at times given the routine nature of the production.

Chitty Chitty Bang Bang (1968)

A bloated marathon

[2/10 · 6 February 2003]

I recently saw this film on video -- the first time I had seen it since my father took me to it on its initial release. I now realize what love it must have taken to sit through this stinker with me back then. This is one of the most inept, bloated films to have come out of that terrible period when Hollywood had no clue how to adapt to changing times. Dick Van Dyke is wonderful in his TV shows but not in this. Sally Ann Howes obviously was chosen because Julie Andrews wouldn't appear in this tripe. As others have said, the songs are atrocious. And it just goes on and on and on for what seems like days.

Clarence, the Cross-Eyed Lion (1965)

Bad acting, terrible writing

[2/10 · 6 January 2003]

This amateurish effort gives a bad name to family films. The acting is bad - the performances run the gamut from wooden to irritating - and the writing is terrible. The scenes of gorillas are obviously stock footage, and the efforts to make the actors appear to interact with the gorillas are ludicrous. The animals are fairly likable, although used for comic effect a bit too often. By the way, despite his title status, Clarence has very little to do with the plot.

Dreamy Dud. He Resolves Not to Smoke. (1915)

Imaginative and delightful

[9/10 · 31 October 2002]

This example of early animation transcends the technical limitations of the time with imagination, wit and a beguiling sense of the surreal. Wallace Carlson deftly portrays a series of increasingly absurd events - the dog Wag creating a flood with his tears, Dud being hoisted onto a crescent moon by a spirit - with awe-inspiring skill. How fresh this little gem must have seemed at a time when live-action films were often so stilted. Its freshness and sense of fun remain intact today.

The Barefoot Contessa (1954)

A boring gabfest

[2/10 · 8 August 2002]

The videocassette edition of this film includes the theatrical trailer at the beginning. What a letdown when the movie unfolds! The trailer promises an intriguing Hollywood story along the lines of `The Bad and the Beautiful.' Instead, the filmmakers deliver a boring gabfest.

While some of the performances are very good – especially Gardner and O'Brien – their efforts are undermined by a script loaded with lengthy slabs of cynical philosophy. Perhaps this would have been better as a play – Mankiewicz certainly makes very little effort to create a cinematic experience. He must have been averse to silence; as soon as the characters stop speaking, in comes the narration – it's so pervasive that it almost seems like a parody. But there's little evidence that parody was intended.

The writer/director's approach seems to have been: Never show action on screen when you can talk about it – and talk and talk and talk. And yet, with all that talk, the point of it all remains quite muddled.

The Hoodlum (1919)

Great Pickford vehicle

[8/10 · 31 July 2002]

Mary Pickford's appeal as `America's Sweetheart' is very clear in this film. While many of her fellow actors use an excessively theatrical style, she is totally natural. She inhabits her character completely and, contrary to the stereotype of her films, that character is anything but sweet for most of the movie. In fact, much of the delight of watching her is in enjoying her bad behavior!

Another impressive facet of the film is the authentic-looking slum where Amy Burke (Pickford's character) spends most of her time. Although created at a Hollywood studio, the slum almost smells like old New York.

The film does employ some ethnic stereotypes common at the time – but the poor characters are generally treated with affection, while the rich are seen as uncaring and in need of enlightenment. Also, it seems notable that Amy associates with ALL the kids of the slum neighborhood, not just those of her own ethnic group.

You Never Know Women (1926)

A neglected classic

[8/10 · 18 July 2002]

This almost-forgotten film wraps romance, adventure, comedy and melodrama in one exciting package! Screened at the Fall Cinesation in Saginaw, MI in 2001, You Never Know Women revolves around a romantic triangle involving two members of an acrobatic troupe (Vidor and Brook) and a rakish ne'er-do-well (Sherman). William Wellman keeps the story moving while providing time for comic relief by El Brendel. While Brook is a bit stiff, Vidor is lovely and Sherman is perfect as the top-hatted cad. Particularly exciting is a scene involving a Houdini-like stunt performed by Brook. This film deserves to be on video/DVD!

Riding High (1950)

Capra near his worst

[2/10 · 15 July 2002]

Frank Capra's creativity must have been just about spent by the time he made this film. While it has a few charming moments, and many wonderful performers, Capra's outright recycling of not just the script but considerable footage from his first version of this story, Broadway Bill (1934), is downright shoddy. It is understandable that he would re-use footage from the climactic horse race, which is thrilling. But he uses entire dialogue scenes with minor actors, then brings back those actors and apparently expects us not to notice, for example, that Ward Bond is 14 years older! Unless you want to see one of the last appearances of Oliver Hardy, skip this one and watch Broadway Bill instead.