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My apologies for the hiatus in posting new reviews. I hope to be back on track tomorrow with brand new content! In the meantime check out all of my previous reviews in my new blog: JINGLE BONES MOVIE TIME! Link below.
Movie number 74: The Gilded Cage (Dir: John Gilling, 1955).
There are shades of The Maltese Falcon (John Huston, 1941) to this low budget British thriller set in the murky underworld of art forgery.
The film stars Alex Nicol and Michael Alexander as brothers embroiled in murder and an attempted art heist. Punch-ups ensue as the pair endeavour to solve the crime and clear their name.
The Gilded Cage is a decent enough crime thriller from the era of the second feature; solidly, if a mite unimaginatively, directed by John Gilling, who would later direct some noteworthy movies for Hammer Film Productions including Plague of the Zombies (1966) and The Reptile (1966).
With American actors in the lead and a mix of mid-Atlantic accents throughout, presumably in an attempt to appeal to US audiences, its hoped for ‘hard-boiled’ style is a little underdone. It does benefit from use of the actual London locations on which it is set, including Tower Bridge with its pre-Jubilee paint job and a fascinating but all too brief glimpse of St Katherine Docks when it was still a working dock.
The Gilded Cage is no masterpiece but it is a well paced, entertaining flick. Worth a watch, especially for fans of vintage British cinema.
Originally produced by Tempean Films, it would presumably have fallen into obscurity were it not for film archivists Renown Pictures and their dedication to preserving such overlooked works which collectively form an important part of Britain film history.
Read this review and more on my new blog: jinglebonesmovietime.blogspot.com
DR NO (Terance Young, 1962).
NOTE: The following is an edited version of a review available in full on my blog JINGLE BONES MOVIE TIME. Check it out! Link below.
The film that launched the longest running franchise in movie history. Sean Connery stars as Ian Fleming’s James Bond 007 in this adaptation of the sixth novel in the series.
Investigating the disappearance of fellow MI6 operatives, Bond heads to Jamaica and is soon on the trail of the titular Dr No, an underground dwelling, Nemo-esq scientific genius with plans to wreck the US space programme. Fist fights, shoot-outs and car chases ensue!
In many respects, Dr No is Bond in its purest form. Before the over reliance on gadgets, before the campy, double entendre laden humour, before the over the top action set pieces. Connery is perfect in the role: suave yet cool, a lover and a fighter. He is surrounded by a classy supporting cast. As Island girl Honey Ryder, Ursula Andress set the standard for Bond girls, emerging like Venus from the ocean in a two-piece swimsuit and creating one of the most iconic images of the entire series. Jack Lord and John Kitzmiller make appealing allies for Bond, while Bernard Lee and Lois Maxwell make their first appearances as Bond’s MI6 boss M and his flirtatious secretary Miss Moneypenny, respectively.
Director Terance Young never lets the pace flag. Dr No is one of the shorter Bonds but Young never wastes a second as he delivers a gripping, intelligent thriller.
Rewatching the movie almost 60 years after release it is fascinating to see how much of what we associate with the series is already present. Refinements were made to the formula over the coming films but I don’t think this series opener was ever bettered. Equalled maybe, but it has a certain economic, raw, unpolished appeal that box office success and bloated budgets would not allow for in the future. Six decades on this is still a fantastic piece of popular cinema. Intelligent in a way action movies rarely are today, shot through with streak of sardonic humour. If you are only familiar with later entries than this original classic should really be next on your Bond viewing list!
100+ movie reviews now available on my blog JINGLE BONES MOVIE TIME. Link below.
KIND HEARTS AND CORONETS (Dir: Robert Hamer, 1949).
1949 is the year that cemented the Ealing Studios’ close association with comedy. This year saw the release of three bona fide classics: Passport to Pimlico (Henry Cornelius), Whisky Galore (Alexander Mackendrick) and lastly Kind Hearts and Coronets.
Dennis Price stars as Louis Mazzini, only son of a disinherited heir to the aristocratic D’Ascoyn family, dispossessed for marrying an Italian singer deemed below her status. On his mother’s death he vows to take revenge on the family and sets out to murder the eight D’Ascoyns who stand between him and dukedom.
Price delivers a career best performance as Mazzini, cool and callous, yet charming enough to elicit audience sympathy, as he dispenses with the various D'Ascoyns. Excellent support comes in the form of Valerie Hobson and Joan Greenwood as rival love interests and an astonishing performance by Alec Guinness as the eight D'Ascoyns on Mazzini's hit list. The talented Robert Hamer directs with a light touch which never sees the movie descend into bad taste of farce.
The astute screenplay by Hamer and John Deighton, from a Roy Horniman novel, is both darkly cynical and witty and 70 years after release it remains, arguably, the blackest of black comedy scripts to reach British cinema screens.
In this respect it is unique among the Ealing comedies. Certainly it conveys the social commentary of its stable mates but lacking the gentle morals of say Passport to Pimlico or The Man in the White Suit (Alexander Mackendrick, 1951) and their reflection on post-war mores. Rather, its period setting allows for a biting critique of an outdated class system and the notion of inherited privilege.
While initially dismissed by some critics as too dark, Kind Hearts and Coronets is now widely considered the greatest of the Ealing comedies. It is difficult to think of any other movie so simultaneously dark yet delicate. Expertly performed and beautifully told; I would recommend this masterpiece of a movie to those with even the slightest interest in the cinema.
Visit my blog JINGLE BONES MOVIE TIME to read an unedited version of this review and reviews of other Ealing Studios classics! Link below.
Movie number 83: FROM RUSSIA WITH LOVE (Dir: Terence Young, 1963).
Sean Connery returns as Ian Fleming’s James Bond 007 in this second movie in the series, From Russia with Love. Produced, once again, by ‘Cubby’ Broccoli and Harry Saltzman’s Eon Productions.
Here some double agent dupery sees Bond smuggling a Soviet Lektor decrypting device from East to West via the Orient Express. Pulling the strings are terrorist organisation SPECTRE, seeking to avenge the death of an agent who Bond bumped off previously.
Dr No director Terence Young returns to deliver another tight, action packed yet well paced thriller. I will admit the misogynistic tone of From Russia with Love leaves a bad taste. The sight of Bond slapping a woman about, even if she is a Russian agent, fills me with unease. That aspect aside, the movie ranks as one of the series’ best.
Many latter staples of the series are introduced here. SPECTRE head honcho Blofeld makes his first appearance, as does gadget man Q, a role Desmond Llewelyn would be associated with until his death in 1999. From Russia with Love also introduced the pre-title sequence and Lionel Bart provided the first Bond theme. Heard as an instrumental against the nudie ladies silhouette titles (another first - although here she is a belly dancer, nudieness would follow in later movies), Matt Monro’s beautiful vocal version is heard first over a transistor radio and later in the end credits.
Connery is fantastic; equal parts flirty and fighty, cool yet sophisticated. A quality supporting cast sees regulars Bernard Lee and Lois Maxwell return as M and Miss Moneypenny respectively; an amiable Pedro Armendáriz as Bond’s Istanbul M16 ally; Robert Shaw makes an impressive baddie and Daniela Bianchi gets to look lovely in a series of nighties as ambiguous Bond girl Tatiana. Best of all is the fabulous Lotte Lenya as SPECTRE agent and possessor of lethal footwear Rosa Klebb.
In my opinion the early Bond movies were never bettered. From Russia with Love, in particular, holds up as one of the series’ best and has stood the test of time as an exciting action adventure in its own right.
If you enjoyed this review check out my previous review of Dr No. A longer, more in-depth version of this review appears on my blog jinglebonesmovietime.blogspot.com
James Bond will return in my review of Goldfinger...
A STUDY IN TERROR (Dir: James Hill, 1965).
Fact and fiction collide as Sir Arthur Conan Doyle’s literary detective Sherlock Holmes pits his wits against infamous serial killer Jack the Ripper.
A mysterious medical kit with a distinct crest sets Holmes on the case of the notorious killer and of the prominent aristocratic family he suspects are involved. Taking in the back alleys of 1888 Victorian London and mixing with the lowlifes there in.
A Study in Terror presents us with a highly sanitised version of 1880s Whitechapel; the Ripper’s victims all beautiful with their 1960s coiffures. The movie does, on the surface, appear to be a bit of a romp and was misleadingly advertised as a Batman-esq spoof by US distributor Columbia Pictures. In actual fact the movie is, at times, a pretty grizzly affair.
Screenwriters Derek Ford and Donald Ford have crafted a tense, twisty thriller with moments of horror and plenty of jumps. Director James Hill’s innovative use of point-of-view shots give the murders an extra viscerality while keeping the identity of the killer a mystery. The movie does have a somewhat misogynistic tone, which is perhaps inevitable considering its subject.
John Neville has just the right austerity as Holmes while Donald Houston is an amiably bluff Watson. A fantastic supporting cast includes Brit acting legends Anthony Quayle, Robert Morley and Judi Dench. Best of all is Barbara Windsor as Ripper victim Annie Chapman. Slightly stepping outside of her Carry On... persona, she gives us an all too rare glimpse of her acting ability beyond the giggly, busty blonde stereotype.
With its misogyny and grim use of fictionalised real life murders, you can safely wave goodbye to good taste. Yet, in spite of my misgivings over content, I thoroughly enjoyed A Study in Terror. What, on the surface, threatens to be an exploitative, sensationalist shocker is actually a well produced thriller with a fine cast. Recommended especially to Holmes aficionados and fans of 1960s British cinema.
Visit my blog jinglebonesmovietime.blogspot.com for more classic movie reviews!
THE MAN IN THE WHITE SUIT (Dir: Alexander Mackendrick, 1951).
Ealing Studios were on fine form in 1951, producing two classic comedies. The Lavender Hill Mob (Charles Crichton) released in June, was followed two months later by possibly the greatest Ealing comedy of all, The Man in the White Suit.
Set in the textile mills of the north of England, The Man in the White Suit tells of Sidney Stratton (Alec Guinness), a research chemist who delivers a new wonder fabric. Indestructible and dirt repellent, the miracle fabric initially has Sidney lauded a genius. However, once the ramifications of such a product become clear, both mill owners and trade unions are keen to suppress Sidney and his invention.
In some repects, The Man in the White Suit in atypical of the Ealing Comedies. It shares with the others the broad theme of the individual vs the Establishment, but here seems to be taking a swipe at trade unions and the common man. In actuality its view of big business and commercialism is just as critical. Yet here, the 'little guy against the system' is a more ambiguous figure than usual. Although Sidney's noble ambition to clothe the world in indestructible fabric is a commendable one, ultimately the price of doing so would come at too great a cost. As his landlady remarks "What's to become of my bit of washing when there's no washing to do?" On the flipside of this is the wealthy mill owners whose greed sees them clamouring for Sidney's invention before attempting to suppress it, initially with bribes, then with more underhanded means. Business and labour eventually side with each other as poor Sidney is chased through the dark streets with his suit glowing luminous white! While the audience sympathy undoubtedly lies with Sidney, we are not too sorry at his inevitable downfall.
Thankfully, social commentary does not get in the way of this being a very funny film. The astute screenplay by John Dighton, Roger MacDougall and Alexander Mackendrick nicely balances the two opposing sides of industry with equal satirical bite. Mackendrick directs at brisk pace, creating a real feeling of suspense in the final moments.
Alec Guinness, arguably the greatest comic actor all time, is excellent here. His childlike optimism offsetting the cynical nature of the film. While Sidney’s blinkered belief in his invention is foolhardy, Guinness never portrays him as foolish, eliciting audience sympathy for a character who could have easily evoked derision. Reunited with Guinness is his Kind Hearts and Coronets (Robert Hamer, 1949) leading Joan Greenwood, equally effective here as his chaste love interest.
The Man in the White Suit walks a thin line between cynical satire and offbeat whimsy, but it does so with ease. I would argue it is the greatest of the Ealing comedies and an absolute comedy masterpiece. Highly recommended to anybody with the slightest semblance of a sense of humour.
Check out my blog JINGLE BONES MOVIE TIME for more reviews of classic Ealing Studios movies!
THE LAVENDER HILL MOB (Dir: Charles Crichton, 1951).
A classic comedy from the golden age of the Ealing Studios.
Mild mannered bank clerk 'Dutch Holland' (Alec Guinness) concocts a daring gold bullion robbery. Engaging the help of souvenir maker Al Pendlebury (Stanley Holloway) they execute the crime and disguise the gold in the form of miniature Eiffel Towers. However, things do not go to plan when a casement of the souvenirs is accidentally opened and sold to group of British schoolgirls.
Released the same year as The Man in the White Suit (Alexander Mackendrick), The Lavender Hill Mob is less satirical, but equally humorous as it gleefully sends up Ealing’s own popular crime dramas such as The Blue Lamp (Basil Dearden, 1951) and Pool of London (Basil Dearden, 1951). Director Charles Crichton effortlessly apes the quasi-documentary realist approach of those movies. The heist itself is as thrilling as it is humorous and makes excellent use of its real life London backstreets and warehouse locales. Crichton also manages to out Hitchcock Hitchcock with a vertigo inducing sequence which sees Guinness and Holloway make a dizzying descent down the steps of the Eiffel Tower. Significantly for a British film of the era, it was rewarded by the American Academy, winning the Best Original Screenplay Oscar for TEB Clarke’s excellent script.
As the criminal mastermind with the meek exterior, Guinness delivers another excellent performance; eliciting audience sympathy for a character which could have easily evoked apathy. Stanley Holloway is equally effective in the less showy role of co-conspirator. They make for a winning comedy team here, ably supported by Sidney James and Alfie Bass as fellow Mob members.
The Lavender Hill Mob made more impact internationally than any other Ealing film. Its theme of longing to escape from day to day drudgery is clearly a universal one. Like the best of the Ealing comedies it has hardly dated, despite its obvious post-War trappings.
Excelling in all areas: writing, directing and acting, The Lavender Hill Mob is another Ealing masterpiece.
Check out my blog JINGLE BONES MOVIE TIME for a longer, more in-depth review of The Lavender Hill Mob! Link below.
FATHER BROWN aka THE DETECTIVE (Dir: Robert Hamer, 1954).
The second big screen outing for G K Chesterton's fictional detective Father Brown, adapted from his 1910 short story The Blue Cross.
Roman Catholic priest and amateur detective Father Brown (Alec Guinness) pits his wits against elusive master criminal Flambeau (Peter Finch), intent on stealing a priceless cross from the clergyman.
Originally exhibited in the UK as Father Brown, the movie is now more widely available in prints bearing its US title The Detective. A glance at Father Brown’ s cast and crew and one would be forgiven for thinking this Columbia Pictures release was an Ealing Studios production. Director Hamer is reunited with his Kind Hearts and Coronets (1949) stars Alec Guinness and Joan Greenwood, whilst Ealing alumni Peter Finch, Bernard Lee, Sidney James and Cecil Parker all feature. However, any similarity between this lightly humorous detective story and an Ealing comedy ends here.
Languishing part way between comedy and mystery, the movie straddles both genres without a firm footing in either. Never reaching the witty heights of Kind Hearts and Coronets and not quite exciting enough to convince as a thriller. It ambles along nicely enough but lacks the narrative twists and turns that would have elevated the story above the mundane. Thelma Schnee and Hamer's screenplay never quite manages to over come the source material's inherent quaintness and at times threatens to become unbearably twee.
Alec Guinness is excellent as ever here, once again immersing himself chameleon like in the role of Brown. He is matched by the equally impressive Finch in a rare comedic performance for the actor, albeit not one especially played for big laughs. The rest of cast are, unfortunately, somewhat underused in what is largely a two-hander between Guinness and Finch.
Father Brown is good movie, but can't help but feel a little bit of a disappointment considering the talent involved. It is still worth a watch, if only for the excellent performances from its leading men. Not quite a classic, but a high quality time passer nonetheless.
Check out my blog JINGLE BONES MOVIE TIME for a longer review of Father Brown. Link below.
VICEROY’S HOUSE (Dir: Gurinder Chadha, 2017).
Viceroy’s House is a fact based drama detailing the events surrounding the Partition of India from British born Indian director Gurinder Chadha.
Set in 1947 Delhi during the dissolution of the British Raj. As the last Viceroy of India, Lord Louis Mountbatten (Hugh Bonneville) is to oversee the transition from British rule to Independence. India is a country divided, between those who wish the independent nation to remain intact and those who wish to establish the separate Muslim country Pakistan. Against this backdrop is the Romeo and Juliet-esq tale of Jeet (Manish Dayal) and Alia (Huma Qureshi) whose love is thwarted as he is Hindu and she is Muslim.
The Partition of India was a bloody mess at the hands of the UK government. As the film's postscript informs us "14 million people were displaced and one million Hindus, Muslims and Sikhs died". It is a dark episode in 20th Century British history rarely spoken of in the UK. For this reason, Viceroy's House is a difficult film to criticise, as it relays such an important story. Perhaps it can only be faulted for not depicting how truly horrific it was.
Hugh Bonneville is very effective as the beleaguered Mountbatten faced with the thankless and controversial task of dividing India. He is surrounded by a quality supporting cast of acting legends including Gillian Anderson, Michael Gambon, Om Puri and Simon Callow. As the star-crossed young lovers Manish Dayal and Huma Qureshi are both touching and appealing.
Director Gurinder Chadha is a talented filmmaker. Her feature is incredibly moving and made more powerful by the knowledge that it draws upon Chadha's own family history; her grandparents were among those displaced and her aunt starved to death on the migration.
It could be argued that Chadra's gentle approach to Partition does make a challenging subject more accessible for audiences. The fact that it addresses an issue largely untold in film is significant, however more palatable that issue has been made. The powerful tale may provide uncomfortable viewing for many, but do not let that dissuade you from watching this ultimately very moving film.
Check out my blog JINGLE BONES MOVIE TIME for a longer, more in-depth review of Viceroy’s House. Link below.
THE LADYKILLERS (Dir: Alexander Mackendrick, 1955).
Alec Guinness heads an ensemble cast in the last great Ealing comedy.
Seemingly mild mannered Professor Marcus (Guinness) leads a gang of oddball criminals, masquerading as classical musicians, in the planning and execution of a daring bank van raid. When their elderly landlady Mrs Wilberforce learns of the wrongdoings they all agree she must be silenced. However, Mrs Wilberforce is not as easy to do away with and their perfect crime begins to go awry.
Disguised with an oversized set of false teeth, Alec Guinness is excellent in his role as the cardigan wearing criminal. An outstanding ensemble cast makes up the rest of the gang. Cecil Parker as a corrupt retired army major, Herbert Lom as a Soho gangster, a subdued Peter Sellers as a cockney spiv and Danny Green as a dim-witted heavy; all give superlative performances. Upstaging them all, however, is the marvellous Katie Johnson as the seemingly frail Mrs Wilberforce who outsmarts the robbers.
One of a handful of Ealing productions shot in Technicolor, cinematographer Otto Heller's beautiful muted colour palette lends it an oddly surreal, atmosphere. This is complemented by Jim Morahan's excellent art direction; the wonderful tumbledown Victorian house in which much of the movie is set adding to the general off kilter ambience.
Director Alexander Mackendrick fashioned a deliriously dark comedy of the highest order; the only film blacker in the Ealing canon is Kind Hearts and Coronets. He elicits career best performances from his distinguished cast in what is among his greatest films.
William Rose's screenplay balances the light and dark with tightrope precision; neatly offsetting the contrasting worlds of ruthless criminals and twee little old ladies. Some broad farce involving an escaped parrot should sit uneasily with the otherwise subtle humour but, amazingly, the whole thing gels perfectly.
The Ladykillers is a masterpiece among comedy movies. Its mix of humour and thrills is irresistible and as an ambassador for the Ealing legacy it cannot be bettered.
Visit my blog JINGLE BONES MOVIE TIME for a longer, more in-depth review of The Ladykillers. Link below.
THE INFORMERS aka UNDERWORLD INFORMERS (Dir: Ken Annakin, 1963).
Based upon Douglas Warner's novel Death of a Snout. The Informers, released in the US as Underworld Informers is a police procedural drama shot in a quasi-realist style.
Chief Inspector 'Johnno' (Nigel Patrick) investigates the murder of an underworld informer or 'snout' (John Cowley) linked to a series of bank robberies masterminded by gangsters Bertie Hoyle (Derren Nesbitt) and Leon Sale (Frank Finlay). Hot on the their trail, the hoods set 'Johnno' up so as to appear to have accepted a bribe. On suspension, he takes the law into his own hands and with the help of Ruskin's brother sets to bring the gang to justice.
Ken Annakin was a talented filmmaker, prolific in his time but vastly underrated today. With The Informers he delivers a crime drama which, 56 years after release, still feels uncompromisingly gritty.
Standouts among the cast are the distinctively voiced Nigel Patrick as the wronged 'Johnno' and Harry Andrews as his tough superintendent. Derren Nesbitt makes for a thoroughly unpleasant bad guy, while impressing further down the cast is Colin Blakely as the brother of the murdered snout.
The movie can be seen as something of a ‘missing link’ between the depiction of the friendly copper of TVs Dixon of Dock Green (1955 -76) and the more complex characterisation of the police force in The Sweeney (1974-78). Indeed, it seems ahead of its time in its depiction of the police and their relationship with the criminal underworld. It benefits from use of London locations from the banks of the Thames to backstreet Soho dives, shot in crisp black and white by cinematographer Reginald Wyer.
Some of the characters in Alun Falconer and Paul Durst's screenplay do border on stereotypes, while the climatic big punch up between good(ish) guys and the bad guys verges on the comic, but overall this is still fairly hard-hitting stuff.
With some stylish direction from Annakin and a quality cast The Informers is a solidly entertaining, if occasionally nasty, gangland thriller.
Visit my blog JINGLE BONES MOVIE TIME for a longer, more in-depth review of The Informers. Link below.
TOUCH AND GO (Dir: Michael Truman, 1955).
Jack Hawkins makes a rare foray into comedy in this lightweight, late period effort from the Ealing Studios.
Following a disagreement with his boss, furniture designer Jim Fletcher (Hawkins) makes the snap decision to emigrate to Australia. Less than enthusiastic are his wife Helen (Margaret Johnston) and teenage daughter Peggy (June Thorburn) with concerns for the family cat and Peggy's new sweetheart.
Aside from the excellent The League of Gentlemen (Basil Dearden, 1960), comedy was not really Jack Hawkins’ forte. Although an otherwise fine dramatic actor, he often seemed a little uncomfortable in domestic situations and was at his best as stoic men of action. Oddly, Hawkins was far more convincing as a naval officer or a pilot than he ever was as husband or father and his performance here is rather broad and lacking in subtlety. In fairness, he is given little to work with in a role which involves little more than expressing exasperation at his wife and daughter.
Scenarist William Rose was an accomplished comedy writer; responsible for Ealing classics such as The Maggie (Alexander Mackendrick, 1954) and The Ladykillers (Alexander Mackendrick, 1955) and later co-scripting Hollywood epic It’s a Mad, Mad, Mad, Mad World (Stanley Kramer,1955). So it is all the more surprising that Touch and Go doesn’t quite deliver the goods. Its attempts at humour are somewhat laboured and never raise the hoped for big laughs in a plot which offers no surprises; the denouncement can be guessed within the first 10 minutes. Which is not to suggest the movie is without merit. It ambles along nicely enough and certainly provides some mild chuckles. The muted colour palette is attractive and the atmosphere is cosily nostalgic.
Viewed today Touch and Go is a quaintly dated period piece. It does not rank among the greatest of Ealing Studios movies but neither is it a complete failure. Ultimately, it is just a little undistinguished and lacks the bite of other Ealing comedies. Still, it is a pleasant enough time waster that will certainly be of interest to Ealing completists.
100+ movie reviews now available on my blog JINGLE BONES MOVIE TIME. Link below.
BUGSY MALONE (Alan Parker, 1976).
Alan Parker’s feature film directorial debut is really something special. A musical homage to 1930’s gangster movies with a cast made up entirely of children really shouldn’t work, but it does.
Gang warfare rages in Prohibition-era New York as hoods Fat Sam and Dandy Dan battle for supremacy in the city. Armed with newfangled splurge guns (whipped cream firing machine guns), it looks like Danny Dan’s mob is winning. Speakeasy owner Sam engages good guy Bugsy Malone to help in his fight against Dan, while Bugsy has his sights set on aspiring showgirl Blousey Brown.
Recalling both the classic Warner gangster flicks and early backstage musicals, Bugsy Malone is itself a film which largely avoids categorisation. It is a love letter to the Hollywood of the 1930s. The beautifully detailed sets of dimly lit back alleys and colourful speakeasies faithfully recalling the era of Cagney and Robinson. Paul Williams superb jazz inspired score provides perfect accompaniment to the visuals, while the witty, quick fire dialogue would befit a period screwball comedy. The soft focus camera work and plethora of brown on display gives the feel of an old sepia tone photograph and adds to the era atmosphere.
An assured and charismatic performance from Scott Baio as Bugsy is surprisingly his first screen appearance. As was true of much of the cast. Florrie Dugger is touchingly melancholic as Bugsy’s gal Blousey in her only movie, while John Cassisi embodies gleeful roguishness as Fat Sam, one of only a handful of acting roles for the youngster. Only Jodie Foster, in the supporting role of showgirl cum moll Tallulah, was a veteran performer and gives the first rate professional performance you would expect. But to the credit of the cast and director Parker, none of the kids put a foot wrong and are never upstaged by the more experienced star.
There really is nothing else like Bugsy Malone in cinema history. As artful as it is entertaining and equally enjoyable for children and grownups; a unique, unadulterated pleasure from beginning to end!
Visit my blog JINGLE BONES MOVIE TIME for a longer, more in-depth review of Bugsy Malone! Link below.
THE CHRISTMAS TREE (Dir: James Clark, 1966).
Cheap and cheerful Christmas movie from the Children’s Film Foundation.
Cocky kid Gary (William Burleigh) boasts to friends in a hospital ward that he can secure them a Christmas tree by 6PM on Christmas Eve. Determined to make good his claim, he and his younger siblings Jane (Kate Nicholls) and Sam (Anthony Honour) trek the 30 miles to London’s St Vincent hospital, stolen tree in tow, ill advisedly accepting lifts from strangers and finding themselves in evermore ridiculous situations as the movie progresses.
Like all CFF productions The Christmas Tree has a certain slapdash appeal. None of the cast seem particularly professional, with the exception of Brian Blessed, the Z Cars actor on familiar ground in a minor role as a police constable.
Its amateurish charm is actually probably the The Christmas Tree’s greatest asset. What submarines the film is its ludicrous plot involving cantankerous bus conductors, armed robbers and a circus troop. The three waifs, who must rank among the dopiest kids in history, somehow manage to evade parents, police and avoid being shot at by the army as they wander onto a military rifle range.
It is difficult to think of a movie with less of a grasp on reality. I am sure it entertained young audiences hyped up on sweets and sugary pop at the Saturday Morning Pictures in the 1960s, but viewed today it is quaint and corny and less than thrilling.
I can’t honestly say I would recommend The Christmas Tree to anyone other than those with an interest in British cinema. Clocking in at just over one hour, it is short enough to watch out of curiosity. It may hold nostalgia value for those who saw it as a child but I can’t see it appealing to kids raised on Star Wars and The Avengers.
100+ movie reviews now available on my blog JINGLE BONES MOVIE TIME! Link below.
MURDER SHE SAID (Dir: George Pollock, 1961).
The first in a series of four MGM-British murder mysteries staring the incomparable Margaret Rutherford as Agatha Christie’s amateur sleuth Miss Marple.
Adapted from Christie's 1957 novel '4:50 from Paddington', Murder She Said sees Miss Marple witness a murder on a passing train. When the police won't listen to her, she takes matters into her own hands. Surmising that the body must have been deposited at the nearby Ackenthorpe Hall, she poses as a maid and finds employment at the stately home. Here she is perfectly placed to investigate the family and staff who would all appear to have motive for murder. Meanwhile the killer racks up a few more bodies.
This has to rank as among the most lighthearted Agatha Christie adaptations, taking a far more comedic approach than usual.
Christie was reportedly unhappy with the casting of Margaret Rutherford. In fairness her Miss Marple is nothing like the one in the novels, but she attacks the part with such gusto and good humour that it is hard not to love her in the role. An invention of the movie is Miss Marple’s loyal companion and romantic interest Mr Stringer, played by her real life husband Stringer Davis. This relationship is a nice addition to the story which also serves the practical purpose of allowing Miss Marple to convey some necessary exposition to the audience.
Excellent support is offered, especially from James Robertson Justice as the bedridden family patriarch and keep an eye out for future Miss Marple Joan Hickson further down the cast.
In its depiction of a quaintly dated post-War Britain, Murder She Said seems both of its time and oddly timeless. Christie purists may carp that too many liberties are taken with the original text and no one would suggest that this is a definitive telling. But to criticise it as such would be kind of missing the point. Murder She Said is enormously entertaining with superb performances from some British acting legends. It is all very silly, but also very funny and with some genuine moments of suspense. An excellent, infectious score by Ron Goodwin adds to the fun.
Visit my blog JINGLE BONES MOVIE TIME for a longer, more in-depth review of Murder She Said. Link below.
MURDER AT THE GALLOP (Dir: George Pollock, 1963).
Following the success of Murder She Said (George Pollock, 1961) aging amateur detective Miss Marple returns to investigate the death of the elderly Mr Enderby, supposedly frightened to death by a cat. Eavesdropping at the reading of Enderby's will, where his estate is divided between four family members, Miss Marple's suspicions are confirmed when the deceased's sister Cora suggests that the old man was murdered. When Miss Marple visits Cora to question her, she finds the sister too has been murdered. Deciding to investigate further, Miss Marple books herself a holiday at The Gallop Hotel and Riding School, an establishment run by Enderby's nephew Hector and the other surviving heirs.
The second of MGM’s Miss Marple movies was the first not to be based upon a Miss Marple novel. Rather, Murder at the Gallop is based upon Agatha Christie’s 1953 novel 'After the Funeral', which featured her other most famous creation, Belgian detective Hercule Poirot. Poirot is nowhere to be found in this adaptation in which he is supplanted by Margaret Rutherford’s bluffly brilliant interpretation of Miss Marple. Rutherford's real life husband Stringer Davis returns as loyal companion Mr Stringer, as does Charles Tingwell as the weary Inspector Craddock. Standout among the supporting cast is Robert Morley; his excellent comic turn as Hector Enderby threatens to steal the movie from Ms Rutherford. The quality cast also features neat performances from acting legends Flora Robson and Finlay Currie.
As with Murder She Said, the movie paints a picture of a quaint post-War Britain that never really existed and must have seemed archaic to audiences in the so-called 'swinging' sixties. But I feel this is kind of the point. The movie is very tongue-in-cheek and never takes itself too seriously; gently mocking genteel middle England, while at the same time romanticising it.
Again, this maybe not be an adaptation for Christie purists, but like the previous movie it is a lot of fun. There are some genuine moments of suspense amongst the jollity and Miss Marple even does the twist. What's not to love?
100+ movie reviews, including MURDER SHE SAID, available on my blog JINGLE BONES MOVIE TIME! Link below.
THE MEN OF SHERWOOD FOREST (Dir: Val Guest, 1954).
An early production from Hammer Films, The Men of Sherwood Forest is a low budget but spirited romp with Don Taylor as the legendary Robin Hood.
The simple plot involves Robin attempting to thwart an ambush attack on Richard the Lionheart on his return from the Crusades.
More famous for their Horror movies, Hammer also did a nice line in swashbucklers; the studio produced four Robin Hood movies, of which this was the first.
Although clearly working with a meagre budget, director Val Guest makes decent use of outdoor locales and the movie feels less studio bound than might be expected. It also benefits from being shot in colour and whilst the action is not as well staged as in a more lavish production, Guest generally elicits decent performances from his actors, not all of whom are perfectly cast.
Don Taylor makes for a slightly bland leading man. There is nothing essentially wrong with his performance and with an athletic build he certainly looks the part of Robin. However with an accent that is more Hollywood than Sherwood, Taylor lacks both the authenticity and charisma of earlier Robin Hoods such as Errol Flynn or Richard Todd. Likewise, Leonard Sachs is not ideally cast as The Sheriff of Nottingham, lacking both the authoritative air and any real sense of menace to make a truly memorable villain.
The best performances are to be found in the supporting cast. Maid Marian is inexplicably missing from The Men of Sherwood Forest; her replacement here is Lady Alys in a nice performance by Eileen Moore. A loyal ally to Robin, she holds her own with the best of the Merrie Men, but there is no romance between the two. Robin’s most significant relationship here is with Friar Tuck. As the wily man of the cloth cum con artist Reginald Beckwith gives a marvellous comic performance which is arguably the movie's highlight.
While The Men of Sherwood Forest is no masterpiece, as an example of the sort of boys own adventure that once filled matinees, it is invaluable. Cheap and cheerful maybe, but also engagingly innocent, old fashioned fun.
To read a longer, more in-depth review of THE MEN OF SHERWOOD FOREST visit my blog JINGLE BONES MOVIE TIME! Link below.
BUSH CHRISTMAS (Dir: Ralph Smart, 1947).
Set during the Christmas holidays in the small valley community of Mara Mara, Bush Christmas follows the adventures of five children: brothers John (Morris Unicomb) and Snow (Nicky Yardley), their big sister Helen (Helen Grieve), English evacuee Michael (Michael Yardley) and friend Nesa (Nesa Saunders). After some horses are stolen from their ranch home, the kids decide to take the law into their own hands and set out into the Australian bush in order to track down the thieves and rescue the precious animals.
Bush Christmas was one of the first feature films from Rank Organisation's Children's Entertainment Film unit; a department which would eventually evolve into the Children's Film Foundation (CFF).
Although low budget, it feels significantly more polished than the usual, appealingly amateur, CFF output. Director Ralph Smart keeps the action moving at a steady pace while cinematographer George Heath captures the locations beautifully. Filmed in the Blue Mountains of New South Wales, the location photography is a definite plus and lends an atmosphere unique in family movies of the era.
Chips Rafferty, then Australia's biggest homegrown movie star, hams it up nicely as Long Bill, the leader of the horse thieves. John Fernside and Stan Tolhurst are his cohorts, alternating some broad comedy with the required menace, as they are outwitted every step of the way by the kids.
Performances from the youngsters, none of whom had significant acting careers as adults, are appealing and natural. Nesa, the only indigenous lad, is slightly stereotyped, perhaps to be expected considering the era in which the movie was made. However, I feel the stereotyping is more naive than negative; with his knowledge of bush crafts he is shown to be the most intelligent and resourceful of the gang.
Set during the Australian summer, Bush Christmas is not especially festive for western audiences and is suitable viewing all year round. It is a modest little movie, but an engaging one at that. Perhaps a mite dated, but with enough comedy and action as to make it a worthwhile watch, especially for those looking for an alternative to modern family fare.
For a longer, more in-depth review of BUSH CHRISTMAS visit my blog JINGLE BONES MOVIE TIME! Link below.
MURDER MOST FOUL (Dir: George Pollock, 1964).
MGM’s third outing for Agatha Christie’s amateur sleuth Miss Marple, with the incomparable Margaret Rutherford in the title role.
Investigating the murder of a blackmailer, Miss Marple bluffs her way into theatrical troupe the Cosgood Players, with whom the victim has a previous association. The old girl knows she is on the right track as more troupe members are disposed of. Anyone of the players has possible motive for murder, and Miss Marple is soon in danger herself as the killer gets wind of her snooping.
As with the previous series entry Murder at the Gallop, this movie is based upon a novel featuring Christie’s Belgian detective Hercule Poirot, in this instance her 1952 novel Mrs McGinty’s Dead. As before, Poirot is elbowed out the picture to make way for Miss Marple.
Once again Rutherford attacks the role of Miss Marple with relish! While nothing like the literary incarnation, she injects the role with such goodnatured bluster that its impossible not to love her interpretation. A strong supporting cast of Brit acting legends adds to the fun. Returning from previous adventures are Charles Tingwell as the long suffering Inspector Craddock and Rutherford's real life husband Stringer Davis as Miss Marple's chaste love interest Mr Stringer.
As with other titles in the series, Murder Most Foul is not necessarily one for Christie purists. Great liberties are taken with the original, not just the recasting of the lead character. However, the movie is a lot of fun. Director George Pollock skillfully judges the overt comic tone with the more serious business of murder. There are genuine thrills to be found as the mystery unfolds to a neatly suspenseful, not too obvious climax.
In truth, Murder Most Foul differs little from the two previous outings. But happily, what worked before works again and the formula still feels surprisingly fresh. Unfortunately Miss Marple doesn't delight us with her twist again, or any other fad dances for that matter. But as compensation she does perform a priceless rendition of Robert W Service's poem The Shooting of Dan McGrew, which alone makes the movie worth a watch!
A longer, more in-depth review of MURDER MOST FOUL is available on my blog JINGLE BONES MOVIE TIME! Link below.
