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My Three Sons: The Advent of Fergus (1971)
Last Season on Its Last Legs
In the past (Steve Douglas) MacMurray is willing to put on a cat costume, dress up as an old-fashioned Little Lord Fauntleroy in a dream sequence, etc., but he can't manage a Scottish brogue and has to be dubbed. Of course, the series is tired and resorting to desperation by this time.
The toddler triplet boys are always immaculate, dressed, seldom seen: usually "taking a nap." Mom Katie (Tina Cole) is always coifed and made up, her house spotless (until they moved in with the Douglases as Don Brady has left the series (Robbie took a job in Peru), but fortunately all there is to do in the Douglas house is dry dishes, put towels away while Uncle Charley plays the cello.
Midnight Mary (1933)
Young and Cortez Smoking Hot
Too bad Cortez is such a lout, because the kissing scene with Loretta Young is va-va voom, better than anything Franchot Tone delivers.
World on Fire (2019)
Great Story & Production
Thoughtful dramatic story. Very well-produced with top-notch performances. Emphasis not on clothing style and music, though there's plenty. The chaos of war, the overwhelming advance of the Nazis and the personal loves and sacrifices of the characters are woven throughout. I'm glad I recorded; much to be gleaned in a second viewing.
Light in the Piazza (1962)
Layers of Passion and Drama, Not Just a Simple Love Story
Meg (deHavilland) confesses to Clara's (Mimieux) female Italian tutor that she looks on the bright side of Clara's disability: she will always have a little girl which every mother really wants. Still, her "sad smile" (which intrigues romantic Senor Nacarelli (Brazzi)) reveals the tension she feels in her increasingly difficult position of sheltering Clara at home and abroad. She expects a relaxing, diverting vacation with her daughter, going about freely as most tourists do, sightseeing and dining in beautiful Italy, until lithe, pretty Clara attracts the attention of an attractive, effusive young businessman.
Meg doesn't want to be free of Clara, confirmed to the viewer way before the heated argument with her husband about making a final decision for Clara's future; it's simply that she won't give up her dreams of a fulfilling adult life for Clara, which for years have been slipping away. One of the many interesting scenes is Meg explaining to the husband in the hotel room why Clara could make a successful marriage to the Italian boy. Meg's projection is charming, romantic and not entirely unrealistic; she has an answer for each of her husband's dubious questions. Beyond all that, the boy loves her "just as she is." The husband grudgingly listens until Meg crumples up with self-doubt, giving him a psychological edge. But as he leaves the hotel room with her cold kiss as the last word, the wheels in her mind are already turning as she watches him, from a high-story window, get into a cab for the airport. She paces a bit, looks in on sleeping Clara, and with steely control without a hint of desperation phones the desk for two train tickets back to Florence, the scene of the burgeoning romance. The look of triumph on her face as she hangs up, having completed a countermove that could destroy her own marriage or risk Clara's happiness on an unsure future, across the ocean no less, is gratifying. She has finally "done something," and you feel her sigh of relief. This is a turning point in the movie.
Some reviews here state that the premise is not credible, that Clara should exhibit more physical awkwardness with her stunted mental development. I disagree: she has a "seizure" twice (hysteric loss of emotional control) and is sedated once. She twirls and skips. A ten-year-old can be quite cogent and sociable. The fact that she picks up Italian so quickly: children do that! And she has a private teacher. I believe Rosemary Kennedy was the same way: she couldn't advance beyond elementary 4th-grade work, and was temperamental, pretty and yearning for freedom.
Psycho Granny (2019)
Husky-voiced Beautiful Bergenesque Lead
What I like about this movie is the attractive Polly Bergen-type granny. And that's about all. The stop-start, startle-each-other moments are a bit overdone. The overly-dramatic scary music fit for a monster's appearance comes down like a sledgehammer at every twist & turn. Pregnant Samantha won't drink wine but she eagerly takes a cup of strong exotic tea? As I said, I love Polly Bergen, so when the granny is on camera it's at least interesting to watch.
Apollo 11 (2019)
Majestic, Rhythmic, Elegant
Captured is an astonishing fluidity of movement, grace, and humility in all the players of this epic drama, from the most brilliant of the NASA minds-but you don't know who they are among the rows and rows of attentive personnel in the control rooms- to the "least" of the spectators on the beach with their binoculars and Instamatic cameras. Fascinating styles and substance comprise this glimpse of 1969 humanity in its purest, unaffected form: Americans and tourists and their children elated, in a dignified way, to watch history in the making. It seems too crisp and perfect; it must be a re-enactment, but no: shy glances to the camera give away that they're not minimally-paid extras. No less representative of the era are the disciplined, meek, alert professionals at their desks who are watching their investment-gamble, really-pay off. Except they know, reverently, that it's within their grasp; they are relying on the laws of physics.
As in any NASA documentary-it cannot be left out- is the dance, perfectly choreographed, in the fluorescently-lit stage of the control rooms, at Houston and Kennedy, of man after man, in rapid succession, giving the thrilling order: "Go."
The rich footage has a refreshing insouciance over concerns of being over anyone's head; you are swept along and if you can catch the profound statements: Aldrin exiting the Eagle, saying lightheartedly, "I'll close the hatch and make sure I don't lock us out," or the astronauts approaching-in trajectory-the moon, seeing the rising orb of the Earth and one of them exulting, "The view is worth the price of the ticket," then so much the better.
It's been said before: man took his slide rule and figured out a way to get to the moon. The leading player in this drama is not the moon, or getting to it: it's the frail, brave human beings who desired it.
Still, the moon, the hardware, the majestic launch of the rocket, take a glorious consolation prize. It's unforgettable.
American Masters: Patsy Cline (2017)
Adulation from Peers Does Not a Documentary Make
After awhile, the singing of the high praises of Cline by Reba, LeeAnn, et al. ad infinitum, here they are again! appearing - and talking - onscreen, wears thin and one longs for more depth, history, and objective analysis of Cline's meteoric career.
Patsy's life-altering auto accident in 1961 gets less than 5 min. For the first half-hour, Patsy's early grainy televised recordings run on and on with little compelling background commentary to hold interest. Her marriage to Charlie Dick is romanticized and scrubbed. Disappointing, lazy portrayal of an iconic performer and personality.
The Three Faces of Eve (1957)
My Favorite J. Woodward Film
Fresh-faced lovely Joanne is lovely and dynamic in this rather implausible story. Even if this mental illness existed and could be so neatly managed as Lee J. Cobb summoning one of the personalities with an instant verbal command, what kind of medical treatment would involve allowing the impulsive, seductive second character named Eve Black go about exposing herself to danger, rape, pregnancy, or venereal disease? She's portrayed as simply wanting a good time, not illicit sex, but the smoldering G.I.s at the canteen are pushed to their limits at the tease. Still, I suppose that's the spice of the story and when you see the wicked grin emerging after the pitiful Eve White "goes to sleep", the fun on screen begins. Her merciless teasing of boorish husband David Wayne is entertaining and a good comeuppance to his unsympathetic treatment of the dominated wife.
King Charles III (2017)
An American Viewpoint
*May contain spoilers* I've read some Shakespeare, but this portrayal of a modern-day succession to the throne is a laughable conjured-up tragedy. The premise is way too heavy-handed. The Queen has died a natural death in her nineties, not had her head chopped off. Camilla informs clueless Kate that Charles doesn't have to wait to be king until the actual coronation? Why are William and Harry such joyless, tortured souls? I give it three stars instead of one because of the awesome requiem music. I'm not the typical American Diana-worshipper but her ghost scene was impressive. Apropos, as this is faux Shakespeare.
The Secret Life of Marilyn Monroe (2015)
Casting is Everything
Finally, an actress who captures Marilyn Monroe in all her mannerisms, voice, looks, personality (Kelli Garner). Previous Monroe portrayals are easily forgotten in light of this lovely reproduction of the tragic star's vulnerability, charm, sexiness & spunk. Why did it take so long? Susan Sarandon as mother Gladys is also excellent & typical of Sarandon's professionalism in playing a supporting role with grace and class. The other players are well cast where it matters most: looks, demeanor, voice, such as Pat Kennedy Lawford with a Boston accent. Joe DiMaggio is lean and angular; Arthur Miller smokes a pipe. Not to simplify the elements of writing and direction, but as I said, previous Monroe biopics have failed at the most elemental level: when Marilyn is in front of the camera, she'd better be a decent reincarnation. This movie nailed it.
Blue Bloods (2010)
Self-righteous, self-indulgent
I wanted to like this show, but the characters are naive and loudly passionate: law-enforcement & judicial-system professionals in their high-profile careers that chafe in the straitjacket of having to keep their family interests from conflicting. It always seems a surprise to cop Donnie Wahlberg that he can't persuade his family to upend the system in his favor when he knows he's right. See Tom Selleck in his police chief office: his expensive leather creaks, he exhales laboriously to the ticking of his gold watch on a fob, his brow carries the weight of the world. This wise sage has no other persona but to rid the world of evil and he'll be darned if he can't manage to walk a tightrope between his office and his house. If he dates a young woman, his D.A. daughter puts a halt to it because it makes her uncomfortable. The daughter D.A., son cop, and dad Police Chief usually stand in a stalwart triangle face-off throughout each episode, and at the big cozy family dinners little breaches of the confidentiality of their jobs spill out, if not freely and unethically offered. This appears to be for the benefit of the young children lapping up role-model fuel, and lo and behold, one of them can frequently call out an emperor's nudity and settle the family's moral and professional dilemmas for yet another episode! Tiresome, self-righteous, self-indulgent.
Scandal (2012)
Entertaining Escape
The fast pace is dazzling, the unique photo effects of mirroring and distortion are artistic, the '70s soul/R&B soundtrack rocks, and the actors scale the heights of the roller coaster story line without blowing their cover into self-conscious camp. Stylish and clever, it doesn't attempt what it can't handle, that is, it doesn't make anyone pay for their actions, but each and every character can do the unthinkable and earn redemption later. Or not. Kerry Washington is wonderful: a unique heroine not armed with wit and charm but with fearlessness and brains, and incredibly appealing and vulnerable. Her "lectures" and "tirades" when she's forced to give them are as dramatic as any Shakespeare soliloquy. A bit tiresome are the tirades of her father, Eli Pope (character).
It Happened One Night (1934)
Careful foundation lets these two characters interact brilliantly
Obviously some things about this film are dated, such as Claudette Colbert receiving, in the opening scenes, questionable 'sexist' or 'brutish' treatment by her purportedly loving father. Those actions would not work in film today, as we all know, certainly not in a comedy genre. However, it explains why Colbert's character, not a ditsy dope, would choose to run away from her privileged existence and face certain retribution -- financial and emotional -- making her all the more sympathetic as she gamely takes on Clark Gable in a battle of wits and manners. Likewise Gable, in the opening scenes, suffers in somewhat tragic circumstances, and his character struggles to hide his dejection and sense of failure under a dapper appearance and good grooming. Without this foundation, the situation is silly and contrived, because these two attractive, intelligent, witty persons would have no reason to react as they do, suffering rebukes and slights from one another, mostly "deserved", or at least rationally handed out, according to their limited knowledge of each other. A variation on the theme of 'Pride & Prejudice'!