Reviews written by registered user
|125 reviews in total|
This was one of my FAVOURITE shows when I was about 7. Basically it's about two eleven year olds - Pixie and Molly - who loathe each other and can't wait to finish grade 6 so that they can go their separate ways and never see the other again. Living in a small country town, their entire school is in the one room and once they graduate, Pixie hopes to go to a private school in the city with her equally snobby friend, while Molly wants to quit altogether and work on the farm. However their parents have a different idea altogether, and Pixie and Molly are shipped off to live with Pixie's grandmother - together, in the same room, and attend the same high school. Of course the girls do eventually grow to like each other, but overall the show is a gorgeous portrayal of Australia in the 1920s and full of wonderful moments such as their first Valentino movie, first sighting of a plane, first trip in a motor-car, etc.
Having read the book of Kipps I knew what happened which was lucky because
at times it doesn't seem as likely to happen as in the book - what am I on
about? The romance of course. Young Artie has a choice - snobbish Helen who
won't let him be himself ("there ARE H's, you know") or dear Ann the maid
who has been his friend since they were children, and the longer he takes to
make up his mind, the more idiotic he makes himself look!
Briefly, Kipps is a young draper's assistant who comes into money the very day he leaves his job. He thinks that the money will solve all his problems, but how wrong he is! And suddenly everyone he meets is either in society or trying to impress, and he is almost forbidden from talking to his old friends. Ann the maid is the only real character in the entire story, the only one who likes just to be herself, in a nice simple house, with a nice homely lifestyle.
This was my 19th Phyllis Calvert film, and I must say I'm very impressed with her cockney accent! I'm hoping that another one might pop up somewhere in what I'm still to see, but I somehow doubt it.
As a big devotee of the original 'Love Affair' I recorded this one mainly
out of morbid curiosity, with the intention of pulling it to pieces once I
was done. I have *never* seen a good remake of a classic film (Sweet
November anyone? *throws up*) but I must say, grudgingly, this one was good.
Not great, not a patch on the original, but good nontheless, and worth
seeing at least once. Possibly the best thing is that in remaking it, they
simply re-cast the film, changed only a few minor details, managed to keep
all of the good scenes intact, and did not need to throw in a lot of sex.
For a change. And so, that rates it a few more points from me, because
there's honestly nothing worse than remaking a classic and throwing in lots
of sex, when the original did perfectly fine without it. This 'Love Affair'
was in that respect definitely more mature than many recent films. It's a
simple delight for everyone of all ages and in another fifty years I
wouldn't mind calling this one a classic.
Well, that might be pushing it a little.
Katharine Hepburn was brilliant as always and although I've never seen Beatty or Bening before in any films, I can't find anything wrong in their casting (thank god it wasn't Adam Sandler or Keanu!). Beatty is of course no Boyer or Cary Grant but he handled the closing scene superbly, and I must say if anything of Bening's ever pops up on tv again, I might give it a look. She has to be a pretty good actress for me to stop glaring at her because she's not Irene Dunne! And I liked the scene where she was singing the Beatles' song as well, there should have been a full performance of that.
I'd give this a 7/10, because I can't help but compare it to the original. I would say to watch it because I liked it, but only if you watch the original first! And that's an order.
'Mad About Men' is every bit as good as 'Miranda', although it doesn't
up the pace until at least a third in. Caroline Trewella has gone to stay
her Cornish cottage for a few days when she meets her distant cousin,
Miranda. Miranda wants to go back on land, so Caroline agrees to let her
take her place whilst she goes out cycling with a friend. And the first
thing Miranda does is to decide that Caroline needs a better
The colour looks a bit garish on Glynis Johns but Anne Crawford and Donald Sinden look lovely. Dora Bryan is also hilarious as Miranda's annoying little companion, who upsets the applecart on every possible occasion. The basics are the same as in 'Miranda' although the ending is definitely a little neater. 9/10
Having never seen the other 'Inspector Hornleigh' flicks I was unsure what to expect here, which sure made it all the more exciting. Harker was splendid as the droll Hornleigh but definite kudos go to Sim, his side-kick Bingham, who blunders his way through to heroics each time. The plot is your average war-spy-drama - who is sending the secret code to the Germans and how are they doing it? - but this is easily one of the better of the genre. It was also fascinating to see sweet little Phyllis Calvert playing an out-and-out bad girl. It's a shame she didn't get to play more of the same type of role!
'The Man In Grey' was the first film in the cycle of Gainsborough costume
melodramas (which ended in 1948 with 'The Bad Lord Byron') and it's easily
one of the very best. At the time, it was the pairing of a superstar
(Lockwood), a star (Mason), a rising star (Calvert) and a newcomer
(Granger), a combination which catapulted all four to the top of their
profession, and made them the four names most associated with the costume.
It's a pity that the four never made another movie all together!
Margaret Lockwood as Hesther was just pure evil - a cold, calculating woman. One does get the idea that there is a small glimmer of kindness inside her, but she squashes it pretty quickly. Phyllis Calvert was as sweet as honey, as usual the beloved heroine. Her Clarissa is the main character of the tale - married off to Lord Rohan (Mason) because he desires an heir, she soon tires of his indifference and falls for traveling player Rokeby (Granger). Hesther (Lockwood) in turn falls for Rohan and he for her. And of course you know that's set for trouble. A hint of how much trouble? THIS is the film with the infamous horse-whip thrashing scene.
What's also interesting is the whole story is told in flashback, when Calvert and Granger, descendents of the Rohan and Rokeby families, meet at an auction of the Rohan estate. Nice to see a bit of modern dress for a change!
Peter meets old flame Carol at the train station where he's off for a
pleasant weekend with wife, Barbara. Only he misses the train and while
Barbara is whisked away, he's left stranded with Carol.
Somehow everything gets mixed up and they end up sharing a hotel room while Barbara has since gone home and told her parents, who immediately start off after the 'adulterous' pair.
The whole scene in the hotel would work marvelously as a stage play. It's fantastic to see poor Peter looking so befuddled and embarrassed as Carol waltzes around in a silk negligee. Many of the hilarious moments are supplied by Carol's dog, Kichi, albeit unintentionally. It's a wonder poor Kay Kendall was able to give such a fine performance with that little devil squirming in her arms every thirty seconds!
I generally love Will Hay but this has to be the most trying of his
though it has its moments, it's a bit overlong in general and plays on
few jokes. Will is Benjamin Twist (again!) and is a ship porter who ends
a passenger when the passenger he is tending, a runaway crook, drugs him
swaps places with Twist. Twist doesn't awake until he's far at sea, past
point of no return. He joins up with another stowaway and both end up
getting off the ship with a herd of cows (their fake cow suit is actually
pretty impressive) before they are caught.
In the US, Twist ends up tutor to a disgusting little twerp of a child, while his friend ends up in the ring that kidnaps said child - only neither knows the other's profession.
In the end, you can't help feeling that the parents would have been better off letting the criminals keep the child ;)
I probably say each Askey comedy is the "best one so far" so if I said it
now it wouldn't carry any weight.
But it is.
It's the teaming of him and Googie Withers that does it, and it's interesting to see her both very young and very dark. I know she was a natural brunette in any case but I've gotten so used to seeing her as a blonde in her late 30's roles!
Askey was the guy who does the pips in the hour so that everyone can set their watches. Although this job doesn't bode too well with his girlfriend (Joyce Howard) so he makes a mockery of it one night and somehow gets a new job - relegated to watching over a lighthouse on a deserted island where apparently some evil mermaid haunts. He's glad to be there if only to be away from women at last but this changes when Googie's boat is torpeedoed and she's stranded there with him, and then about seven more of her girlfriends make it to land after her. The movie takes a decidedly more mysterious turn when they all start disappearing without a trace.
I'd give this one a 10 and put it up with other great laughs such as "The Ghost Train", "Charley's Big-Hearted Aunt" and "Bees In Paradise".
The Magic Bow is usually known as the "worst" of the Gainsborough costumers - to call it that shows how very good all the others are, because this one is by no means poor, though the ending falls a little short. The actresses, who apparently hated the whole thing, don't let a bit of that show, although Stewart Granger looks a bit uncomfortable at times - perhaps the daggy long hair? The main three assume almost identical roles to those in Madonna Of The Seven Moons - Stewart Granger is perfectly content with his mistress Jean Kent until beautiful Phyllis Calvert comes on the scene - then it's watch out Bianchi! In this, he's a poor violinist and she's a noblewoman who falls for him, but is unfortunately betrothed to another, and can not get out of the situation. The whole thing is filled with some very lovely music, and is terribly romantic, probably more so than most of the other costumers. But, the plot is pretty thin, and Granger's performance is a little tired. 9/10 - raised an extra point by both the girls who really give it their all.
|Page 1 of 13:||          |