Reviews written by registered user
|25 reviews in total|
This picture is mainly a showcase for the magnificent singing and
trilling abilities of Gorgeous Korjus, although I wish she would have
done more singing than trilling. That mischievous grin she often has
during the film is captivating.
The opening credits imply that the only three real characters in the film are Strauss, his mother, and Franz Josef (maybe Dommayer). They were merely used to develop this fictitious story about Strauss. There are a few tidbits of truth in it. Strauss Senior did want his son to be a banker, and there was a Dommayer establishment and an Austrian revolution in 1848.
Strauss was married three times, but only one ended in divorce, so if he was a rake, he didn't marry and dump.
I was disappointed that the wonderful tenor voice of George Houston (Fritz Schiller) was not used more in the film, and it is sad that his career did not advance more successfully before he passed away much too early.
I was looking forward to a good old English ghost mystery, but this
film is mostly like the title of my review. I was getting really close
to switching it off, but the thought kept recurring that the English
MUST have a good ghost story waiting to unfold.
I was wrong. Most of this movie is vaudevillian prattle. The beginning has no plot development, just pointless comedic yakking. Arthur Askey's character Tommy Gander is even more annoying than Kevin Corcoran's Arliss Coates in "Old Yeller." I was so hoping he would die early.
The "rule" is, if this is a ghost story, you had better scare the audience somehow within ten minutes, but this film doesn't become even mildly interesting until the stationmaster tells the ghost story. The highlights of this picture are the beautiful Linden Travers and the wonderful Kathleen Harrison, who would endear herself to American audiences as Mrs. Dilber in the 1951 movie "Scrooge."
to those two Irishmen on Fox. Like Mary Katherine Ham, Lisa Kennedy
Montgomery is a delight to watch and listen to. It's refreshing to see
an independent review of politics since objective journalism died in
2008 when all of the major media moguls except Peter Rice jumped into
the tank for the Democrats. Not trying to hide their bias, CBS released
Sharyl Attkisson for being not being supportive of the Obama
Administration. The Independents would be a good place for Sharyl.
The talking heads on this show are intelligent and articulate. Democrats aren't worshiped and Republicans aren't spared criticism. The show delves into issues the Democrats would like you to erase from memory, like Benghazi, Fast & Furious, IRS, and, of course, Obamacare.
*** This review may contain spoilers ***
While I would love to be marooned with drop-dead-gorgeous Nancy Malone, this episode is another TWZ story that makes it too hard to suspend belief. I got over my jealousy that Barry Nelson is 18 years older than his hot wife and can accept that. But did the couple ever look up to see there was no sun, blue sky, or clouds? A girl that large would not have a high-pitched laugh. The acoustical physics among the couple, the church bell, the train, and the girl are all mixed up. After encountering prop after prop, the couple really would believe the train would actually take them out of town? Did they not think to run to the engine to see if there was an engine crew? I give it a 7 only because of Nancy.
*** This review may contain spoilers ***
I reckon audiences in the early 1930s were expected to suspend belief
completely when they watched these pictures.
Wayne pulls a reed out of the mud as if were a prop. The Law shoots into the water, and because the reed floats away, they assume they gottem, but don't care that no body floats to the surface, and skeedaddle as fast as they can. From the animal's rump, Wayne jumps on horses that should have been tied to the hitchin' post and gallops away without untying it. The Law waits in ambush for Jones and Wayne to enter the store, but fires before Wayne fully opens the door, wounding him in the shoulder, which miraculously heals in a coupla' days. They dutifully wait in the store until the two can escape before they give chase, and, of course, Jones and the wounded Wayne are much faster than the lawmen. Wayne camouflages himself and waits for a stagecoach to run over him, not caring at all if the horses step on him or a wheel squashes him. When Jones and Wayne are behind the wagon being hosed by the continuous fire of the robbers, no bullets at all hit the wagon, allowing the two to have a quiet chat.
I could go on, but that should prove my point.
I remember learning things from this show. It was a cartoon educational piece; the stories were just appendages to the learning experience. I bought the DVD mainly for the nostalgia, and I was disappointed with the errors in the episodes. The one that stands out for me is the story of the origin of Zero Zero Island. The narrator says it's east of Africa rather than west, and the appalling thing is no one caught it, and it was broadcast like that. Maybe those errors were caught by some sharp kids. I see now how eerie the animation is. I find it somewhat appealing just because of its unique quality, certainly different from the conventional animation from Warner Brothers and the rest.
Yes, I know the disclaimer in the opening credits says there is no
relationship between the film characters and events and real persons
and events, but I think such disclaimers in films that obviously
portray real persons are a cheap cop-out.
This screenplay is so badly written it should be in the comedy genre. We begin by transplanting the northern plains to the Sierra Nevada Mountains, where we find Ft. Lincoln about a day's ride from the Little Big Horn battle site.
As was the cavalry custom back then, forts are left almost entirely deserted when the troops go into the field. When Capt. Benson enters the fort, he finds Capt. Reynold's widow, who apparently read the Indians' wire report on the teletype immediately after the battle, for she knew all the details even before the surviving cavalry returned from the battlefield.
The returning survivors include Harry Carey, Jr. playing bugler John Martin, who in reality was immigrant Giovanni Martini, who the real Capt. Benteen complained could barely speak English.
For the sake of the film, the battle inquiry takes place a couple of days afterward rather than the several years in real life. Benson volunteers to lead the burial detail after the inquiry. On the ride to the battlefield he engages in hand-to-hand combat with a white man dressed as an Indian. You see, the Indians decided they enjoyed the Sierra Nevada, er, the Big Horn area and wanted to stay. Surely the U.S Army would leave them in peace now that they had massacred several companies of cavalry. (In reality they fled post-haste.)
Upon arriving at the battlefield, instead of finding naked and mutilated bodies as at the real battle site, Benson finds the Indians have thoughtfully prepared a Forest Lawn Cemetery.
Sorry, I just can't go on further.
The poor quality of many screenplays that are made into films is
amazing. If you've got the bucks, you can make a film out of a
screenplay that wouldn't pass a beginning reader working in a shoebox
If you have seen "The Thin Red Line," you may have noticed the similarities between these two films. Like Malick in "Line," director Weir is so fascinated with his set and surroundings that his attention to the ho-hum plot seems like an inconvenient chore. Yes, all the details of life aboard a 19th-century warship are interesting, for maybe 15 minutes maximum. Same for the Galapagos, unless you have paid to see a documentary on them.
And come on, give the audience a break. How are they supposed to tell the difference between French and British sailors fighting aboard ship when most of them are dressed exactly alike? How can they tell which cannon is firing on which ship during close-ups?
See Tom Cruise get his leg blown off in one shot and have it healed in the next! See his arm blown off at the shoulder in one shot and have it healed in the next! See the samurai get hit with a half-dozen rifle bullets or Gatling gun bullets yet keep on charging and swinging their swords! See Tom Cruise and the samurai suffer so many wounds that they should have bled to death within one minute, yet continue talking and/or fighting! See the samurai archers never miss and the soldiers not hit anything with their rifles! See dead soldiers disappear from the set so the fresh ones don't trip over their bodies! See the extremely rare event wherein a woman falls in love with Tom Cruise's character! See Hollywood clichés not used in decades! See the screenwriters searching for a copy of "Screenwriting for Dummies"!
This picture shows why Scorsese has not won an Oscar and why Jay Cocks should not have given up his day job as a film critic. The script is an absurd cartoon. Neither Scorsese nor Cocks gave a hoot about realism. A charging soldier with a bayoneted rifle is killed by a man with a knife?? Obviously neither Scorsese nor Cocks were in the military either. Boss Tweed spending so much time in the Five Points slum? I doubt if he ever dirtied his shoes there more than once, if at all. The absurdities in this script are just too numerous to mention. It's a shame that a man with Scorsese's talent sabotages it by blending cartoon fantasy with reality.
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