The Pink Panther spends the day in his attic rummaging through an old trunk. Inside, he finds several letters from his former Army friend, Loudmouth Louie, which causes the panther to reminisce about his past. The past is represented via several past Panther entries, including "G.I. Pink," "Pink in the Clink," "Pink Pajamas," "Pickled Pink," ending with "The Pink Package Plot." DePatie-Freleng Enterprises (DFE) produced this "best of" episode in an effort to cut costs. By 1971, they were busy producing new entries for the highly successful "The New Pink Panther Show" on NBC-TV and had to come up with cartoon quickly. Thankfully, they chose some worthy past entries. Marvin Miller (who was busy providing off-camera narration on "The New Pink Panther Show") provides the voice of Loudmouth Louie, uncredited. Though some scoff at "Pink-In" being a cheap knock off, it is a memorable episode nonetheless, and provides a rare spoken voice in an otherwise pantomime-only series. The current print available contains the version with a laugh track, which was added at the insistence on NBC-TV. No question that the canned chuckles make some cringe; however, others view them as a welcome addition. Viewers today seem to think the hated laugh track has been long dead and buried, when in fact, it is alive and well on nearly every single "live" sitcom (laugh tracks have always been used in the background as a safety in the U.S., and will not be going away any time soon). Its usage in "Pink-In" harks back to the day when Charley Douglass and his "laff box" was synonymous with television comedy. In other words, get over it. Laughing matters.
Reviews
10 Reviews
The Taking of Pelham One Two Three
(1998 TV Movie)
Tepid TV remake of the '74 classic
5 March 2006
Based on the 1974 classic of the same name, this TV version looks very much like a regular TV show, spread out over two hours instead of one. This remake does indeed suffer from modest budgets, a less than sterling cast. Vincent d'Onofrios, stepping into Robert Shaw's "Mr. Blue" ringleader role, seems bored, wooden, and unaffected by the entire scenario. Likewise, Edward James Olmos (filling Matthau's shoes) is equally as bored and wooden as d'Onofrios. Poor Brooklynite Lorraine Bracco is reduced to a supporting role (formerly played by Jerry Stiller) that does not make use of her endless talents.
What is most irking is the fact that the NYC-based flick was filmed in Toronto, Ontario. Exterior shots, subway stations, and particularly subway equipment looks nothing like the grimy, intimidating system that is New York's. New York's transit system is as much a celebrity as the city it holds together. Few cities in the world can be quickly identified by their form of subway transport as New York's. One big demerit for the producers on this one (no fault of Toronto, eitherit is a marvelous city, to be sure).
With the one exception of an emotional relationship established by highjacker "Brown" (Tara Rosling) and her 'angel of mercy' female conductor "Babs Cardoza" (Babs Cardoza), all other subplots among the hijackers and characters were not developed. The deliciously menacing "Mr. Grey" character, played to perfection in the original by Hector Elizondo, was reduced to an angry, almost juvenile person by Donnie Wahlberg.
The overall feeling is choppy and suspenseless. One gets the feeling the original movie was being watched closely during filming, with the director causally removing chunks of original script.
Even though TV movies are in an entirely different category than those produced in Hollywood, there is no reason for quality scripts to go M.I.A. TV budgets may be limiting, but the believability in the characters need not suffer.
Stick with the original. Watch this remake to satiate the curiosity factor only.
What is most irking is the fact that the NYC-based flick was filmed in Toronto, Ontario. Exterior shots, subway stations, and particularly subway equipment looks nothing like the grimy, intimidating system that is New York's. New York's transit system is as much a celebrity as the city it holds together. Few cities in the world can be quickly identified by their form of subway transport as New York's. One big demerit for the producers on this one (no fault of Toronto, eitherit is a marvelous city, to be sure).
With the one exception of an emotional relationship established by highjacker "Brown" (Tara Rosling) and her 'angel of mercy' female conductor "Babs Cardoza" (Babs Cardoza), all other subplots among the hijackers and characters were not developed. The deliciously menacing "Mr. Grey" character, played to perfection in the original by Hector Elizondo, was reduced to an angry, almost juvenile person by Donnie Wahlberg.
The overall feeling is choppy and suspenseless. One gets the feeling the original movie was being watched closely during filming, with the director causally removing chunks of original script.
Even though TV movies are in an entirely different category than those produced in Hollywood, there is no reason for quality scripts to go M.I.A. TV budgets may be limiting, but the believability in the characters need not suffer.
Stick with the original. Watch this remake to satiate the curiosity factor only.
Gong with the Pink
(1971)
Crashing success, with laughs a-plenty
17 February 2006
Produced during the height of the Pink Panther's Saturday morning popularity, GONG WITH THE PINK is a tour-de-force for the classic "little white man" straight man.
Pinky gets a job as waiter in a Chinese restaurant, where dinner orders are requested via the strike of a gong. Unfortunately, the restaurant also owns a collection of plates and glassware. Every order results is broken glasses, plates, and fine China, much to the chagrin of our "little man," who goes eventually goes berserk.
Some may be offended at the Pink Panther's imitation of a Chinese waiter (this is, after all, 1971, when stereotypes and political correctness were not as enforced as they are now), but the overall short is executed in the tradition of the classic Peter Sellers' films. The very idea of the Pink Panther being completely oblivious to the world around him (as well as the sea of shattered glass) never fails to deliver solid laughs. The "little man"'s very existence is to be on the receiving end of Pinky's goofs, but GONG WITH THE PINK pushes him to the extreme. Laughs are plenty in GONG WITH THE PINK, which sadly, marked the final directing stint for Hawley Pratt. Though an additional 40+ cartoons would be produced without Pratt, his touch for the manic was missed.
Like all "Pink Panther" cartoons that were broadcast on NBC-TV, there is a laugh track present on GONG WITH THE PINK that only reinforces the fact these cartoons were aimed at adults as well as children. Though generally despised in America, in theory there is really nothing wrong with a few additional chuckles. Besides, laughing matters.
Pinky gets a job as waiter in a Chinese restaurant, where dinner orders are requested via the strike of a gong. Unfortunately, the restaurant also owns a collection of plates and glassware. Every order results is broken glasses, plates, and fine China, much to the chagrin of our "little man," who goes eventually goes berserk.
Some may be offended at the Pink Panther's imitation of a Chinese waiter (this is, after all, 1971, when stereotypes and political correctness were not as enforced as they are now), but the overall short is executed in the tradition of the classic Peter Sellers' films. The very idea of the Pink Panther being completely oblivious to the world around him (as well as the sea of shattered glass) never fails to deliver solid laughs. The "little man"'s very existence is to be on the receiving end of Pinky's goofs, but GONG WITH THE PINK pushes him to the extreme. Laughs are plenty in GONG WITH THE PINK, which sadly, marked the final directing stint for Hawley Pratt. Though an additional 40+ cartoons would be produced without Pratt, his touch for the manic was missed.
Like all "Pink Panther" cartoons that were broadcast on NBC-TV, there is a laugh track present on GONG WITH THE PINK that only reinforces the fact these cartoons were aimed at adults as well as children. Though generally despised in America, in theory there is really nothing wrong with a few additional chuckles. Besides, laughing matters.
Shocking Pink
(1965)
Before there was "Home Improvement," there was SHOCKING PINK
16 February 2006
The 12th cartoon in the series continues the trend of other characters talking to the silent feline. In this case, it is character actor Larry Storch (of "F Troop" fame) mocking a fantastic cockney British accent, and harassing the relaxing panther. Ol' Pinky is trying to enjoy a quiet Sunday afternoon, while Storch badgers him into doing some housework.
The Pink Panther encounters several mishaps around the house (Tim Allen would be proud), but Storch persists. Finally, after nearly six minutes of irritating the feline, Pinky loads a blunderbuss and gives the impressions he will blow away Storch.
Funny and smart, SHOCKING PINK is a nice early entry in the series. Friz Freleng had not quite abandoned the dialogue that soon became but a memory in this successful series.
Like most "Pink Panther" cartoons that were broadcast on NBC-TV, there is a laugh track present that only reinforces the fact these cartoons were aimed at adults as well as children. Though generally despised in America, in theory there is really nothing wrong with a few additional chuckles. Surprisingly, the giggles in SHOCKING PINK are not particularly intrusive. Besides, laughing matters.
The Pink Panther encounters several mishaps around the house (Tim Allen would be proud), but Storch persists. Finally, after nearly six minutes of irritating the feline, Pinky loads a blunderbuss and gives the impressions he will blow away Storch.
Funny and smart, SHOCKING PINK is a nice early entry in the series. Friz Freleng had not quite abandoned the dialogue that soon became but a memory in this successful series.
Like most "Pink Panther" cartoons that were broadcast on NBC-TV, there is a laugh track present that only reinforces the fact these cartoons were aimed at adults as well as children. Though generally despised in America, in theory there is really nothing wrong with a few additional chuckles. Surprisingly, the giggles in SHOCKING PINK are not particularly intrusive. Besides, laughing matters.
Down with Love
(2003)
Homage that works sporadically
18 May 2003
An interesting romp paying homage to all those light-hearted Doris Day/Rock Hudson romps of the early 1960s, DOWN WITH LOVE is an amusing toast to that particular era. It will, however, require a viewer with an open mind. Reality is not the aim here; DOWN WITH LOVE continues to build on its own ridiculous, though engaging plot.
The main draw, of course, is the cast. Popular Renée Zellweger clearly likes making period pieces like CHICAGO (2002), which may explain why she chose DOWN WITH LOVE as her follow-up to the wildly popular 1930s musical. In addition, Zellweger enjoys every second of her amazing chemistry she shares with the equally popular Ewan McGregor. Her pert walking, overly exaggerated reactions, and picture-perfect hair and clothes are straight out of PILLOW TALK (1959)(though yellow is clearly not Zellweger's color). The struggle between the sexes, particularly those involving the plight of the independent working woman, makes for some great interplay between every male and female in the cast. DOWN WITH LOVE heats up in a sweet, old-fashioned way that is sorely missing from many a movie today. The beauty of paying tribute to flick that defined such a genre, is that writers can update the sexy scenes that Day and Hudson could only dream of. The perfect example of this is the priceless "split-screen" telephone conversation between the Zellweger and McGregor, showing the two in every possible compromising position known to man.
Though Ewan McGregor is undoubtedly a talented and versatile actor, he seems to stumble at times in his role as a womanizer. The supposed total transformation of his character is not convincing, and is one of the fatal flaws in the movie. McGregor also appeared to be having difficulty deciding what accent he was trying to perfect. He fluctuates between his natural Scottish, a muddled posh-English, and straight American, confusing the viewer completely. Only the mock Midwestern accent for his pseudonym 'Zip Martin' is truly believable!
Without the doubt, DOWN WITH LOVE is stolen by its supporting cast. David Hyde Pierce practically IS the movie, and lights up every scene he is in, with his neurotic Niles Crane-ish behavior. Unfortunately, Pierce merely pulls Niles Crane out of "Frasier"'s Seattle and plants him in New York, with no differentiation between the two characters. Sarah Paulson plays ellweger's daffy but determined secretary to perfection, and her interplay with Pierce is actually more amusing and interesting than that between Zellweger and McGregor.
Even 83-year-old Tony Randall, who Pierce has been emulating since Niles Crane was created, appears in a brief cameo. Movies buffs will note that Randall was Rock Hudson's sidekick in the very movie (PILLOW TALK) DOWN WITH LOVE is emulating. Shame that Pierce and Randall do not have any scenes together. Sadly, Randall is wasted, and does not have more than three minutes on screen.
Other bright moments include Zellweger's rambling three-minute+ monologue that sums up her entire scheme, and creates unintentional laughs in the process. Undoubtedly one of the longest bits of exposition committed to celluloid, Zellweger throws in enough story twists and turns that warrants a more farcical reaction from the subdued McGregor. Also, the tried and true formula of physical comedy and slapstick evoking a genuine laugh holds true here, with vinyl records flying through the air and a rollaway bed knocking Sarah Paulson to the floor. The over-the-top song-and-dance finale during the credits is also delightfully cheesy.
The major problem with DOWN WITH LOVE is that it cannot decide if it wants to be a tongue-in-cheek satire and a genuine comedy. One might find themselves chuckling at lines in the latter portion of the film that would not evoked a laugh during the first half. This is because all credibility is thrown out the window too soon, making the whole movie feel like a hoax that was never meant to be one.
Another problem is the set pieces. Reconstructing New York City circa 1962 is no easy task, and unfortunately, was poorly done here. Aside from period taxis and clothing seen during the open shots in front of Grand Central Station, the surroundings are unconvincing. It is obvious that the only period cars available WERE taxis, and the streets in the opening scenes are cluttered with ONLY them. It is only until the leads are riding in a taxi later in the film do we see a projection screen containing surroundings actually shot during the early 1960s. And here lies to overarching issue. The false pretenses of the plot are purposely meant to be unconvincing. However, the surroundings are not, further muddling the true purpose of this movie.
Overall, DOWN WITH LOVE is a delightful piece of fluff that film scholars will enjoy, but modern day viewers will probably dismiss.
The main draw, of course, is the cast. Popular Renée Zellweger clearly likes making period pieces like CHICAGO (2002), which may explain why she chose DOWN WITH LOVE as her follow-up to the wildly popular 1930s musical. In addition, Zellweger enjoys every second of her amazing chemistry she shares with the equally popular Ewan McGregor. Her pert walking, overly exaggerated reactions, and picture-perfect hair and clothes are straight out of PILLOW TALK (1959)(though yellow is clearly not Zellweger's color). The struggle between the sexes, particularly those involving the plight of the independent working woman, makes for some great interplay between every male and female in the cast. DOWN WITH LOVE heats up in a sweet, old-fashioned way that is sorely missing from many a movie today. The beauty of paying tribute to flick that defined such a genre, is that writers can update the sexy scenes that Day and Hudson could only dream of. The perfect example of this is the priceless "split-screen" telephone conversation between the Zellweger and McGregor, showing the two in every possible compromising position known to man.
Though Ewan McGregor is undoubtedly a talented and versatile actor, he seems to stumble at times in his role as a womanizer. The supposed total transformation of his character is not convincing, and is one of the fatal flaws in the movie. McGregor also appeared to be having difficulty deciding what accent he was trying to perfect. He fluctuates between his natural Scottish, a muddled posh-English, and straight American, confusing the viewer completely. Only the mock Midwestern accent for his pseudonym 'Zip Martin' is truly believable!
Without the doubt, DOWN WITH LOVE is stolen by its supporting cast. David Hyde Pierce practically IS the movie, and lights up every scene he is in, with his neurotic Niles Crane-ish behavior. Unfortunately, Pierce merely pulls Niles Crane out of "Frasier"'s Seattle and plants him in New York, with no differentiation between the two characters. Sarah Paulson plays ellweger's daffy but determined secretary to perfection, and her interplay with Pierce is actually more amusing and interesting than that between Zellweger and McGregor.
Even 83-year-old Tony Randall, who Pierce has been emulating since Niles Crane was created, appears in a brief cameo. Movies buffs will note that Randall was Rock Hudson's sidekick in the very movie (PILLOW TALK) DOWN WITH LOVE is emulating. Shame that Pierce and Randall do not have any scenes together. Sadly, Randall is wasted, and does not have more than three minutes on screen.
Other bright moments include Zellweger's rambling three-minute+ monologue that sums up her entire scheme, and creates unintentional laughs in the process. Undoubtedly one of the longest bits of exposition committed to celluloid, Zellweger throws in enough story twists and turns that warrants a more farcical reaction from the subdued McGregor. Also, the tried and true formula of physical comedy and slapstick evoking a genuine laugh holds true here, with vinyl records flying through the air and a rollaway bed knocking Sarah Paulson to the floor. The over-the-top song-and-dance finale during the credits is also delightfully cheesy.
The major problem with DOWN WITH LOVE is that it cannot decide if it wants to be a tongue-in-cheek satire and a genuine comedy. One might find themselves chuckling at lines in the latter portion of the film that would not evoked a laugh during the first half. This is because all credibility is thrown out the window too soon, making the whole movie feel like a hoax that was never meant to be one.
Another problem is the set pieces. Reconstructing New York City circa 1962 is no easy task, and unfortunately, was poorly done here. Aside from period taxis and clothing seen during the open shots in front of Grand Central Station, the surroundings are unconvincing. It is obvious that the only period cars available WERE taxis, and the streets in the opening scenes are cluttered with ONLY them. It is only until the leads are riding in a taxi later in the film do we see a projection screen containing surroundings actually shot during the early 1960s. And here lies to overarching issue. The false pretenses of the plot are purposely meant to be unconvincing. However, the surroundings are not, further muddling the true purpose of this movie.
Overall, DOWN WITH LOVE is a delightful piece of fluff that film scholars will enjoy, but modern day viewers will probably dismiss.
Bandits
(2001)
Another dud from Levinson
6 April 2003
Barry Levinson should replace Ed Wood as Hollywood's all-time worst director. His movies are overdone, unfocused, and poorly executed. Why Hollywood's elite group of actors and actresses want to make movies with him is a mystery. After watching BANDITS, it is clear that after spending time watching this flick, one comes away feeling it was a grand waste of time. There is no believability with the plot, which would be fine if Levinson was not trying to make the viewer believe that the plot was credible. Thorton is annoying, while Willis and Blanchette try to make the best of a weak and stupid script. A loser, both as a movie, and a director. Levinson should resign himself to cleaning the bottom of Blanchette's pool.
Booby Dupes
(1945)
Decent wartime short from the trio
1 March 2003
The Stooges' second release of 1945, BOOBY DUPES has the boys as three fish peddlers who decide to cut out the middleman by catching their own fish. They then go about purchasing fishermen uniforms and a boat. In traditional Stooge fashion, they run afoul of a jealous boyfriend (the venerable Vernon Dent), whose suit Curly has swiped, sink their boat, and get bombed by the air force, who mistakes the boys as Japanese navy men.
BOOBY DUPES has real potential, with all the typical Stooge elements, falling into place neatly. Casting Vernon Dent is always a safe bet, as he was easily the Stooges' best foil. However, his role in the short is not pivotal in advancing the plot. In fact, it could be deleted altogether. Plus, the opening scene when the Stooges are driving through the streets trying to sell their fresh fish, is a carbon copy of the same opening scene from their 1940 short, CUCKOO CAVALIERS. In that one, the boys look into owning a bar/saloon ('a beauty salune'), but end of getting a beauty salon. The results are better; not so in BOOBY DUPES. The short was filmed in late 1944, and the United States was heavily involved in World War II, and the Japanese were the biggest threat to the country. The final gag may disturb some modern-day viewers, as the boys are stranded in the middle of a huge river. They call for help, and when they spot a plane flying overhead, Moe tries to get their attention by waving a rag tied to their fishing pole. The rag has a huge blot of paint on it, resembling Japan's flag. Naturally, the plane overhead is a bomber, and proceeds to drop bombs on the Stooges' defenseless boat. Funny at the time, but a gag that did not age well.
That is not the say that BOOBY DUPES is bad. In fact, it remains one of the funniest of the later 'Curly' shorts. The scene in which the boys are trying to make heads or tails of their newly purchased boat is hysterical, with Moe on the receiving end of three very painful gags. Curly climbs into the boat (which is elevated when delivered), and promptly steps through the weak floor, squashing Moe, who is below the boat. Then, they boys switch place, as Moe climbs aboard to inspect the damage. Curly and Larry then nail a board over the hole, and end up nailing Moe's shoe the boat floor. Moe is about at his wits' end when he sees that the motor's propeller is loose. As he bends over to retrieve some tools, Curly and Larry activate the motor, and pieces of Moe's trousers go flying in the air. This scene is notable for the addition of a new CLANG sound effect that would be prominent for the remainder of the Stooges career. It can be heard when Moe clobbers Curly in the leg and face with a wrench after Curly steps on Moe.
What hurts BOOBY DUPES somewhat is Curly's lagging performance. He was only a few short weeks away from suffering a minor stroke, one that would hamper his last ten shorts and two features with the Stooges. Though Curly carries most scenes pretty well (the entire 'jealous boyfriend' scene revolves around Curly), he is starting to show signs of his slowing abilities. His falsetto voice sounds hoarse at times, and at age 40, seems more like 50. Though Curly would remain with brother Moe and friend Larry for 11 more films, BOOBY DUPES showed the beginnings of the beloved Stooge slowly losing his way.
Overall, BOOBY DUPES is a pleasant short, one that marked the end of the Stooges wartime films.
BOOBY DUPES has real potential, with all the typical Stooge elements, falling into place neatly. Casting Vernon Dent is always a safe bet, as he was easily the Stooges' best foil. However, his role in the short is not pivotal in advancing the plot. In fact, it could be deleted altogether. Plus, the opening scene when the Stooges are driving through the streets trying to sell their fresh fish, is a carbon copy of the same opening scene from their 1940 short, CUCKOO CAVALIERS. In that one, the boys look into owning a bar/saloon ('a beauty salune'), but end of getting a beauty salon. The results are better; not so in BOOBY DUPES. The short was filmed in late 1944, and the United States was heavily involved in World War II, and the Japanese were the biggest threat to the country. The final gag may disturb some modern-day viewers, as the boys are stranded in the middle of a huge river. They call for help, and when they spot a plane flying overhead, Moe tries to get their attention by waving a rag tied to their fishing pole. The rag has a huge blot of paint on it, resembling Japan's flag. Naturally, the plane overhead is a bomber, and proceeds to drop bombs on the Stooges' defenseless boat. Funny at the time, but a gag that did not age well.
That is not the say that BOOBY DUPES is bad. In fact, it remains one of the funniest of the later 'Curly' shorts. The scene in which the boys are trying to make heads or tails of their newly purchased boat is hysterical, with Moe on the receiving end of three very painful gags. Curly climbs into the boat (which is elevated when delivered), and promptly steps through the weak floor, squashing Moe, who is below the boat. Then, they boys switch place, as Moe climbs aboard to inspect the damage. Curly and Larry then nail a board over the hole, and end up nailing Moe's shoe the boat floor. Moe is about at his wits' end when he sees that the motor's propeller is loose. As he bends over to retrieve some tools, Curly and Larry activate the motor, and pieces of Moe's trousers go flying in the air. This scene is notable for the addition of a new CLANG sound effect that would be prominent for the remainder of the Stooges career. It can be heard when Moe clobbers Curly in the leg and face with a wrench after Curly steps on Moe.
What hurts BOOBY DUPES somewhat is Curly's lagging performance. He was only a few short weeks away from suffering a minor stroke, one that would hamper his last ten shorts and two features with the Stooges. Though Curly carries most scenes pretty well (the entire 'jealous boyfriend' scene revolves around Curly), he is starting to show signs of his slowing abilities. His falsetto voice sounds hoarse at times, and at age 40, seems more like 50. Though Curly would remain with brother Moe and friend Larry for 11 more films, BOOBY DUPES showed the beginnings of the beloved Stooge slowly losing his way.
Overall, BOOBY DUPES is a pleasant short, one that marked the end of the Stooges wartime films.
Half-Wits Holiday
(1947)
Curly's Swan Song
22 February 2003
HALF-WITS' HOLIDAY was Curly Howard's sad swan song. Riding high from his amazing performance in the previous Stooge short, THREE LITTLE PIRATES, it is hard to believe that Curly suffered a major stroke during the final days of filming. Curly has already suffered a minor stroke ten films prior to this one, and his performances were up and down after that. In some films, he was more or less his old self. In others he was sickly.
The short is a story remake of the Stooges' 1935 film, HOI POLLOI, in which a professor (Vernon Dent) wagers a colleague (Ted Lorch) that he can transform the Stooges into refined gentleman. The short itself is paced slower and more gradually than HOI POLLOI, which moves at a very brisk pace. Some of the action has been shifted from Curly to Larry, as Curly was no longer able to caryy our full sequences anymore, due to his illness. In this film, Curly's voice (which had been strained for his last few films) is more high-pitched than usual, and his actions are more natural. One would think that filming was happening simultaneously with THREE LITTLE PIRATES. Contrary to what author Jeffrey Forrester wrote in his book "The Stooge Chronicles," Curly's overall performance is not that sluggish. The first scene where they boys are working on the fireplace is an example on Jules White giving Curly's lines to Larry, as Curly remains mute for most of this scene, and doesn't have a line until nearly three minutes into the film (`Our father would never forgive us'). However, his mock eating scenes with Moe and Vernon Dent are his last great moments on film. There is a spirited `woo woo woo' when the butler (played by new character actor Emil Sitka) announces `luncheon is served.' Instead of having Curly handle scenes with a few others, he is reduced to sharing the screen only with Moe. Larry and Moe then handle the plucking of the hand hair under the table routine. Curly even gets a few close-ups of applying lipstick. Which unfortunately, reveal how badly his 42-year old face had been ravaged from his illness. Maybe his body was giving him a break before finally falling apart altogether. It starts to show by the party scenes. Curly is already looking tired and his voice is starting to deepen again. As documented in The Columbia Comedy Shorts, Curly was having serious problems mastering brief dialogue when first talking to party guest. Larry starts with `delighted,' followed by Moe: `devastated;' and then Curly: `Dilapidated.' The final result may look OK, but Jules White later commented `I had a devil of a time. I should have realized then that (Curly) was deteriorating even further.' Then, when Curly bends over to pick up the silverware that falls out of his tuxedo jacket, he looks like as old man. Curly had a stroke on the set during the filming of the pie fight. This explains his absence during this scene. Moe had found poor Curly with his head slumped on his shoulder. Moe had Curly rushed to the local hospital, and then completed the pie fie shots with Larry. One must watch Moe and Larry, realizing that while throwing pies, their thoughts were preoccupied with images of Curly's head slumped on his chest, unable to speak. What makes HALF-WITS' HOLIDAY all the more fascinating is that even though the film was a remake of HOI POLLOI, only the storyline is reworked. This would become the standard practice when it came to remakes during the Shemp until 1952, when entire scene were lifted from older Shemp films due to tightening budgets. No older footage is used here, which is commendable. During Curly's tenure with the Stooges, only one remake was made, and not out of budgetary constraints. Had this been a post-1952 remake, then footage of HOI POLLOI may have been inserted to make up for Curly's absence. Curly's premature departure from the filming of HALF-WITS' HOLIDAY actually helped the Stooges in the future, as the pie fight footage would be reused several times in the future. Without Curly in the shots, the footage was generic and had great flexibility. Footage from the 1941 Stooge pie film IN THE SWEET PIE AND PIE could easily have been inserted here to remind us that Curly was in this short, but Jules White never quite resorted to this tactic. HALF-WITS' HOLIDAY is a final word on Curly Howard as a full time Stooge. Though Curly's older brother Shemp would step into the act to keep the Stooges going, the films lost a special charm. Shemp was a gifted comedian, and added a different flavor to the Stooge comedies that many fans and critics have criticized him for, but the youth of the Stooges left with Curly's departure, ending the career of one of the greatest comics of his time.
The short is a story remake of the Stooges' 1935 film, HOI POLLOI, in which a professor (Vernon Dent) wagers a colleague (Ted Lorch) that he can transform the Stooges into refined gentleman. The short itself is paced slower and more gradually than HOI POLLOI, which moves at a very brisk pace. Some of the action has been shifted from Curly to Larry, as Curly was no longer able to caryy our full sequences anymore, due to his illness. In this film, Curly's voice (which had been strained for his last few films) is more high-pitched than usual, and his actions are more natural. One would think that filming was happening simultaneously with THREE LITTLE PIRATES. Contrary to what author Jeffrey Forrester wrote in his book "The Stooge Chronicles," Curly's overall performance is not that sluggish. The first scene where they boys are working on the fireplace is an example on Jules White giving Curly's lines to Larry, as Curly remains mute for most of this scene, and doesn't have a line until nearly three minutes into the film (`Our father would never forgive us'). However, his mock eating scenes with Moe and Vernon Dent are his last great moments on film. There is a spirited `woo woo woo' when the butler (played by new character actor Emil Sitka) announces `luncheon is served.' Instead of having Curly handle scenes with a few others, he is reduced to sharing the screen only with Moe. Larry and Moe then handle the plucking of the hand hair under the table routine. Curly even gets a few close-ups of applying lipstick. Which unfortunately, reveal how badly his 42-year old face had been ravaged from his illness. Maybe his body was giving him a break before finally falling apart altogether. It starts to show by the party scenes. Curly is already looking tired and his voice is starting to deepen again. As documented in The Columbia Comedy Shorts, Curly was having serious problems mastering brief dialogue when first talking to party guest. Larry starts with `delighted,' followed by Moe: `devastated;' and then Curly: `Dilapidated.' The final result may look OK, but Jules White later commented `I had a devil of a time. I should have realized then that (Curly) was deteriorating even further.' Then, when Curly bends over to pick up the silverware that falls out of his tuxedo jacket, he looks like as old man. Curly had a stroke on the set during the filming of the pie fight. This explains his absence during this scene. Moe had found poor Curly with his head slumped on his shoulder. Moe had Curly rushed to the local hospital, and then completed the pie fie shots with Larry. One must watch Moe and Larry, realizing that while throwing pies, their thoughts were preoccupied with images of Curly's head slumped on his chest, unable to speak. What makes HALF-WITS' HOLIDAY all the more fascinating is that even though the film was a remake of HOI POLLOI, only the storyline is reworked. This would become the standard practice when it came to remakes during the Shemp until 1952, when entire scene were lifted from older Shemp films due to tightening budgets. No older footage is used here, which is commendable. During Curly's tenure with the Stooges, only one remake was made, and not out of budgetary constraints. Had this been a post-1952 remake, then footage of HOI POLLOI may have been inserted to make up for Curly's absence. Curly's premature departure from the filming of HALF-WITS' HOLIDAY actually helped the Stooges in the future, as the pie fight footage would be reused several times in the future. Without Curly in the shots, the footage was generic and had great flexibility. Footage from the 1941 Stooge pie film IN THE SWEET PIE AND PIE could easily have been inserted here to remind us that Curly was in this short, but Jules White never quite resorted to this tactic. HALF-WITS' HOLIDAY is a final word on Curly Howard as a full time Stooge. Though Curly's older brother Shemp would step into the act to keep the Stooges going, the films lost a special charm. Shemp was a gifted comedian, and added a different flavor to the Stooge comedies that many fans and critics have criticized him for, but the youth of the Stooges left with Curly's departure, ending the career of one of the greatest comics of his time.
If a Body Meets a Body
(1945)
Great scare comedy, marred by an ill Curly
22 February 2003
Any Three Stooges fan will tell you that watching Curly Howard's last ten shorts is as painful as root canal. By 1945, Curly was in trouble. He was just getting involved with a young lady named Marion Buchsbaum, whom he married on October 17, 1945, after knowing her for only two weeks. This was Curly's third and most disastrous marriage. He was way overweight, and his blood pressure was too high. When Curly suffered a minor stroke in 1945, it knocked the energy out of him. He would never be the same after this stroke. His actions are rehearsed and nothing came natural to him anymore. IF A BODY MEETS A BODY was a `transitional' short. Curly had been slipping and sliding for a while, but IF A BODY MEETS A BODY is the first time that Curly truly could not hide his condition. The plot revolves around Curly, whose rich Uncle Bob O. Link has died and left Curly an inheritance. The Stooges must then go to the uncle's home to hear the reading of the will. Unfortunately, the will is stolen, and the boys must stay in the home until it is found. The short has some truly funny moments, but it does not take a rocket scientist to realize that Curly is not himself. His condition had crept to the surface occasionally during the previous two Stooge films, IDIOTS DELUXE and BOOBY DUPES. If you watch IDIOTS DELUXE and IF A BODY MEETS A BODY back to back, Curly's change is not as noticeable. Curly's voice is the first sure sign that he had had his stroke. Right from his first line, `the morbid, the merrier,' his accompanying `n'yuks' are strained, and we know there is something wrong. His actions were a little more sluggish, and it marks the start of his gradual downward spiral. What makes this short harder to watch is that much of the action is focused on Curly, except he could not carry the film. Just watch him in 1943's SPOOK LOUDER two years earlier, and the change stands out. Curly tries a few `woos woos' and `nyahs,' as if nothing was wrong. However, he had only begun to lose his grip in this short; here is still some of the old Curly left, but in spurts. For instance, when Ted Lorch says, `Poor Mr. Link, he was murdered in this room, on the very spot on which you're standing,' Curly is strung high over the set to perform a high jump. It is one of the few hysterical moments in the short. It is also the only post-stroke short where it is a true mix of up and down Curly. It looks as if certain scenes were shot during the same period as IDIOTS DELUXE, as Curly still sounds like his old self in certain scenes. However, every short after this would feature a down Curly: it was just a matter of how down he was.
Scooby-Doo
(2002)
Fun and amusing
17 November 2002
One of the most highly anticipated releases of 2002, the live-action version of 'Scooby Doo' was grilled by the critics, and perhaps unfairly so. Credit must go to the casting director who picked the perfect cast to portray Fred, Velma, Daphne, and especially Shaggy. Matthew Lillard's portrayal of Shaggy is dead-on, and he easily rescues any dull spots in the script. Linda Cardellini's Velma is also near perfect, and quite enjoyable as well as appealing. The computer generated Scooby-Doo is not half-bad, and the overall feeling of the movie is that great time and care was given to the special effects. Unfortunately, Sarah Michelle Gellar and Freddie Prinze, Jr. fall flat as Daphne and Fred. Prinze, the king of bad movie choices, is particularly annoying. Their interpretations of the classic Hanna-Barbera characters are beefed up for this movie, and become tiresome. Sadly, British actor Rowan Atkinson (of 'Mr. Bean' fame) is totally wasted. His character never gets a chance to develop, which is a mystery within itself. While the plot could have been better, the film is executed very well. The Spooky Island atmosphere is eclectic and colorful, with an amazing amount of detail. While the script is not the greatest, the 86-minute flick does not let up for a minute. What makes the movie either appealing or pathetic is the fact that bathroom humor is sprinkled throughout the movie. It can be hysterically funny (Shaggy and Scooby-Doo's burping/farting contest is hysterical), but children who were expecting the cartoon humor will be caught offguard. Another plot screw-up is the idea of the five-some angrily splitting up in the beginning. The audience is fully aware that the group (dubbed 'Mystery, Inc.') will get back together to solve the mystery, so the first ten minutes of the movie is wasted as the viewer waits inpatiently for the group to reunite. If the movie bombed at the box office, is does not seem to matter, since 'Scooby-Doo 2' is due for a 2004 release. Hopefully, the writers will tie up some loose ends (and replace Prinze), and make the next installment of what looks to be an ongoing series, better than the first.
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