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Reviews
Mama Steps Out (1937)
A pleasant diversion, low key, very much a B film, but enjoyable.
I caught this movie on Turner Classic Movies, not expecting much, but was surprised to find one of those classic daffy family comedies of the 30's, where a bunch of disparate people come together in a household and play out their lives amid what seems like chaos. Think of HOLIDAY. Guy Kibbee and Alice Brady provide the broken eggs to bind everything together.
Betty Furness, well before her Westinghouse commercial days and NBC Today duties, provides the ingénue role opposite a very young Dennis Morgan who would exercise his vocal chords in MGM productions.There's a Russian character around who makes you think of Micha Auer in MY MAN GODFREY and some characters who are reminiscent of those in the much later YOU CAN'T TAKE IT WITH YOU. A well timed servants strike helps to bring matters to a close. So, a revolution helps? Well, that's all a subtext.
Those of you familiar with Kibbee's screen appearances with Aline MacMahon might be delighted at seeing how he plays against a ditz (Alice Brady) instead of a capable woman (Aline). Kibbee blusters well, as we know he can, but here he has to become a virtual drunkard to match up with an actress whose dithering and screen stupidity make Marion Lorne look like a TV parody. (Aline, by the way, for those not all that familiar with her can be seen in many a Kibbee film. Her consummate role, repeated many times, was that of the rock bottomed "mater" of the family who provided the ballast while Dear Old Dad, sailed about).
The movie's enjoyable, but catch it during a time when you need a brief and pleasant diversion from bombs bursting in air and the blood and gore films, and are not expecting an AA award nominee.
Zatôichi (1989)
Can't really recommend this one.
Looked forward to seeing this last version by the original actor. But, aside from the color photography, violent swordsmanship, and invocations of past films, which deserve praise (if you recall the bloodless b&w films of the 60's), I really had trouble with the plot lines and trying to follow along the meandering trail of who was who, what was what, and why they were doing what they were doing.
There were a lot of characters featured here, and the connections among them were not very clear. A scar faced villain appears early on, and then shows up toward the end to complete the circle. A woman who seems to have unexplained authority seduces the hero and then drops completely from sight. A minor character shows off his remarkable skill in effecting a kill and then dies rather unexpectedly and without fanfare at the end.
The sword fighting in this movie explodes with unexpected suddenness, after long scene setting or mood setting intervals, in various parts of the film. The depiction of violence is pretty good, but some scenes are absurd, such as the one in which a leader who has donned a make shift suit of armor made up of metal coins (ryo pieces)is stabbed repeatedly and spurts blood all over, like that braggadocio knight in the first MONTY PYTHON picture.
You have to suspend your disbelief that a blind man can survive against 30 or 40 or 50 to one odds, especially in one case where the bad guys have guns. Is the hero gifted like the Marvel Comics hero Daredevil with extraordinary hearing? And extra sensory perception? Well, that is the only explanation for his survival. Or the absolute incompetence of his enemies in being able to formulate a plan of attack against him.
So many plot lines, so many unresolved issues. Zatoichi is like a tornado who comes to a village, gambles a bit, massages a bit, plays with kids, makes friends here and there, and then sweeps away many lives, leaving death and destruction, and then goes his lonely way down a dirt road. Ordinary folks may come out and cheer (as at the end of this film) for the presumed end of some oppression, but you are left wondering where were these people throughout the movie. What happens after he leaves? Finally, there is so much ethnic tradition being depicted here that many people may have a hard time understanding what is happening. So, I can't recommend this film highly -- unless a film goer has a lot of familiarity with the previous films featuring Zatoichi and can tolerate some of the problems I referred to above. Maybe the color photography may make things bright. "Painting the Clouds with Sunshine," as that old song goes. Here, though, it's blood red.
Overland Stage Raiders (1938)
Louise Brooks in her last screen appearance
Other commentators have mentioned just about everything I would have noted about this kid western. Such westerns were made from the 20's through the 50's and featured cowboy heroes who generally wore white hats or rode white horses or both. Forget plot logic, characterization, and focus on horse riding, chases, and shoot 'em ups. The curious mix of the modern (a motor bus and an airplane) and the old (cowboys on horseback) in this film never makes you forget the traditional format of six guns shooting forever like a video game weapon and no visible damage to valuable props. Watch the airplane door used as a shield against bullets in one of the final scenes. No damage whatever.
Louise Brooks is no more distinctive than any other leading lady in any other grade B westerns of the era. Yes, she does have long brown hair, almost shoulder length, not her trademark bangs; and she is slender and lissome. But her voice does not match her silent screen image. It surprises, if you have not heard it before. It is low pitched, not melodious, not distinctive in any way. Listen to Jean Arthur, Hepburn, Davis, oh, so many others, for example, and in a blind hearing there would be no mistaking the personality. The voice of Brooks is not memorable, nor in any way like the Lulu of our dreams. But, hey, it's her last screen appearance (other than the documentary many years later), and so it is prized.