As you’ve probably figured out by now, I have a weakness for Hollywood iconoclasts, and Preston Sturges was one of the biggest iconoclasts of the old studio system. Like Ernst Lubitsch, Sturges was allowed to put themes and scenes into his films that few other directors or writers had the freedom to do; of Sturges’ The Miracle of Morgan’s Creek (1944), where Betty Hutton’s character is impregnated by a mystery man after a night of drunken revels and goes on to birth sextuplets, film critic James Agee famously said “the Hays office must have been raped in its sleep” to have allowed such risqué content.
Unfaithfully Yours is a bit like that — it has scenes that you won’t see in any other Hollywood film of the era, because no one else would have been allowed to film those scenes. Was Sturges a drinking buddy of Joe Breen’s? Did his writing seem innocuous on the page but play very differently in front of the cameras? Did his bosses tell Breen to lay off because Sturges was making pots of money for them? Nobody knows, but we’re all happy he managed it.
I filed this under “dark comedies” because, make no mistake, this film is dark. Hot-tempered conductor Sir Alfred de Carter (Rex Harrison) becomes convinced that his much younger wife (Linda Darnell) is cheating on him and, during a concert, he imagines three different scenarios for how he’s going to handle the situation, only to have each of them go hilariously awry when he tries to put them into practice in real life. Read the rest of this entry
By two votes, the winner for Classic Dark Comedies is Unfaithfully Yours (1948)! I think you guys are going to love this movie as much as I do. You can rent it from Amazon or Google Play for $2.99, or you may be able to borrow it from your local library.
I’m going to do my best to have my essay posted by Friday morning, assuming I can shake off this lingering cold. Maybe what I need is a nice hot bath …
New York Times has failed as a newspaper this election season. The big scoops about Trump are coming from Washington Post and Newsweek, while the hometown newspaper is asleep at the switch. Even today, NYT is on the both-sides-do-it wagon soft pedaling of Trump’s hate and bigotry. It happened after the immigration speech and it happened again this morning. Their headline this morning reads:
Bitter, Personal Tone Marks 2nd Trump Clinton Debate
Sounds like a bickering match of he said, she said with both parties equally to blame doesn’t it? That’s not what I saw, this is what I saw when I made myself watch yesterday’s debate.
* Trump stalked Hillary Clinton throughout the debate
* Said bragging about sexual assault is OK because ISIS
* He had no clue about what he was talking about be it Syria or healthcare or Russia.
* He admitted as much in so many words about Russia
* He wants give Putin a complete free rein in Syria and elsewhere
* He promised to jail Hillary Clinton like his idol Putin does to his political opponents
* Tried to relitigate Bill Clinton’s infidelities as a negative against Hillary
*Repeated what do black people have to lose by voting for him, line
*Demonized ordinary Muslim citizens and Syrian refugees fleeing war
*Called Hillary Clinton, the devil
*Did not answer a single question, just repeated his fact-free bilious stump speech replete with conspiracy theories
Compared to the toddler tantrum that Trump threw on the debate stage for an hour and half, Hillary Clinton was a model of restraint and civility. She has nerves of steel, I was sputtering with rage at Trump’s indecent and ignorant behavior in my living room. No matter how low Trump goes, New York Times normalizes his behavior and enables him. Paper of record, indeed.
* Thanks to chech 1965 for letting me use his lol.
With the current election season fully upon us, I’m feeling like we all need a laugh, but a simple escapist movie just won’t do. So I’m proposing one of these three comedy classics:
Unfaithfully Yours (1948)
This is the good Preston Sturges version, not the crappy remake with Dudley Moore. If you’ve never seen a Sturges film, he was able to walk the line between comedy and tragedy better than anyone else in classic Hollywood, and he seemed to consider the Production Code to be a series of suggestions, not something he needed to take seriously.
Unfaithfully Yours is a comedic film noir that centers around Rex Harrison’s character becoming convinced that his much younger wife, played by Linda Darnell, is being unfaithful to him. He imagines three different scenarios of how he will get revenge on her for this and, being Sturges, it all goes wrong in the funniest possible way, and even manages a heartfelt happy ending. You’ll be a little shocked at just how dark it gets, but that only makes the subsequent pratfalls funnier.
To Be Or Not To Be (1942)
Another film that was so good that they decided to make a crappy remake in the 1980s, though at least Mel Brooks’ attempt included a scene where he and Anne Bancroft sing “Sweet Georgia Brown” in Polish.
If you’ve never seen an Ernst Lubitsch film, you’ll see why his name is still an adjective to this day, usually to explain why someone’s effort fell short of being quite as good as the man who had “the Lubitsch touch.” He manages to make the Nazi invasion of Poland into a classic comedy that also has almost unbearable moments of tension, as when Carole Lombard realizes that she’s trapped in Gestapo headquarters with no way to escape. You won’t think that you’ll find “So they call me ‘Concentration Camp Ehrhardt’?” to be funnier every time it’s repeated, but you will.
Young Frankenstein (1974)
By request! At first, it may look like this doesn’t fit with the other two since it’s an original film, but it’s really a loving parody of the first three Frankenstein films made by Universal Pictures in the 1930s: Frankenstein (1931), Bride of Frankenstein (1935), and Son of Frankenstein (1939). Even the trailer is done in the period style (though you may recognize the voice of the narrator). It’s funny in and of itself, but it’s even funnier if you’ve seen the three Universal films, because you can see how Gene Wilder brings bits of Basil Rathbone and Colin Clive into his performance as Dr. Frederick Fronkensteen … er, Frankenstein.
The original trailer for each film is linked in the title, so feel free to watch before deciding. Vote early, vote often!
Welcome to the second edition of the Weekend Movie Club. Queen won the poll by a wide margin. If you haven’t seen it yet it is available on Google Play and iTunes for streaming.
I loved Queen the first time I saw it and I enjoyed it even more the second time around to do this review.
Spoiler Alert: Avert your eyes if you don’t want to be spoiled.
When we first meet Rani (Queen) her wedding preparations are in full swing. It’s day of the mehendi (henna) ceremony, a day before the actual wedding. Rani is full of verve and spirit and has a family that dotes on her and she is getting married to Vijay. A perennially popular name for a Hindi movie hero. What can possibly go wrong?
Plenty, we soon find out. When the London-returned Vijay makes his first appearance, we find that he is no prize. He wants to call off the wedding because he considers Rani gauche and no longer cool enough for his fancy self. We see Rani crumple before our very eyes, her freshly applied mehendi flaking off as she nervously clutches her phone. As she returns home crestfallen with her chaperone and younger brother Chintu, hugging herself, clutching her sweater, you just want to give her a hug.
Pay close attention to both the mehendi and the ugly sweater (her security blanket) she is wearing, they are a guide to Rani’s evolution throughout the movie.
After moping for what might have been and a pep talk by grandma, Rani decides that she wants to go on alone her honeymoon to Europe. Thus begins Rani’s journey from Delhi to Paris to Amsterdam and back again to Delhi.
When she leaves for Paris she is still sad about being dumped, but through subsequent epiphanies at pivotal moments, she discovers her own strength and recognizes Vijay for the controlling cad that he is. But enough about Vijay, the movie is about Rani and how she discovers her mojo, her spirit which was always there. Even when she was being chaperoned on dates by her younger sibling and bullied by her fiancé’.
In Paris, Vijaylakshmi the lanky half-Indian hotel maid takes her under wing. Initially, Rani is shocked and scandalized by Vijaylakshmi devil-may-care attitude compared to her own uptight conservative upbringing. However, she is non-judgmental and open to new experiences and ideas and accepting of people for who they are. At the Paris night club when the drunk Rani loses her sweater and lets her hair down to the tune of Asha Bhonsale’s 1970s hit, Hungama, it’s a sight to behold! Though Rani and Vijaylaksmi are nothing alike on the surface, they form a close bond.
When she heads to Amsterdam on a train to a Youth Hostel, it’s a different Rani than the one that landed in Paris. Initially she is freaked out at the idea of having to share a room with three strange guys in a youth hostel. However, they win her over with their humanity and understanding of where she is coming from, something she never experienced with her clueless fiancé.
Rani soaks up the experience, takes up new challenges, sometimes makes an ass of herself, aces a challenge with flying colors. For the very first time in her sheltered life, she experiences freedom and finds it exhilarating. So when Vijay shows up in Amsterdam to make amends, she is ready. She no longer wilts at his criticism but stands up for herself and does not let him destroy what remains of her vacation. She will deal with him when she gets back to Delhi and deal with him she does!
Kangana is Rani, she makes Queen, utterly believable and real. Her National Award for acting in 2014 for Queen was well deserved. She imbues Rani with grace and character even in her most vulnerable moments. Rani’s transformation from a diffident and shy young woman to a confident person who knows her mind happens before our very eyes. Kangana’s Rani is immensely likeable and vulnerable and makes you want to root for her. We share her enthusiasm, cheer her small victories, feel for her when she is at the receiving end of Vijay’s clueless male privilege. Kangana Ranaut is a revelation as Queen. The supporting cast was memorable too, starting with her family, her grandma, parents and Chintu felt like a close knit Punjabi family. As for the three guys she befriends on her journey, together with they reminded me of the United Colors of Benetton. Lisa Haydon as Vijaylakshmi stood out for me, tall and willowy and charming, she was Rani’s very own fairy godmother.
I liked Vikas Bahl’s little directorial touches, like the motif of the fading mehendi and Rani’s ugly sweater. As she becomes more confident and the mehendi fades, she no longer needs her security blanket. Even the change in Rani’s wardrobe is subtle, she still sticks to long skirts and kurtas. Its more daring than before but Rani is never going to be another Vijaylakshmi, she just going to be the best Rani that she can be!
One of the reasons that this movie resonated with me was that I have known many Ranis IRL, who unquestioningly accept the unspoken mores of the society they live in. Shackled by tradition that expects women to put up with men who belittle them. Unlike the stereotypical Hindi movie leading lady, Rani realizes that there is more to her life than a man. She doesn’t waste away pining for a man who clearly doesn’t deserve her, she goes ahead and lives her life. You go girl!
Credits: From IMDB
P.S. If you missed our first outing, check it out and stayed tuned for a poll of classic comedies to be reviewed next by the insufferable movie snob. Suggestions and questions welcome as always.
Queen won the poll and I will review it for the coming weekend. Meanwhile, I realized that though Hindi films were a huge part of growing up for me that is not the case for most of my readers. So before I jump in and start reviewing a movie let me give you some perspective.
Hollywood beats Hindi movies handily in terms of dollars and cents, they have Hollywood beat when it comes to the number of movies produced every year. Hindi movies have not made significant inroads in the United States yet. They have a reach far beyond the Indian diaspora and borders. I have found Hindi movie numbers with German, Portuguese and Spanish subtitles.
Hindi is the language of the north Indian plains and one of the 22 scheduled Indian languages. Native speakers of Hindi don’t number more than 25% of the Indian population but Hindi is widely understood and prevalent as a second or third language.
Hindi film industry is based in Mumbai (Bombay) and in many ways is a microcosm of India and an unconscious representation of its diversity of both language and religion. Yes, they sing and dance and wear their emotions on their sleeve.
If you have any questions about Queen, Hindi movies or the Weekend Movie Club, please feel free to ask. I will try to answer as best as I can. After I review Queen for the next weekend, the insufferable movie snob will review classic comedies. I will put up a poll for the classic comedies this week. If you missed movie snob’s review of the Shock Corridor, check it here.
Before, I end let me leave you with this:
The 10 day long Ganesha festival ended just last week. Here is Shahrukh Khan, bidding Ganpati adieu in the 2006 movie Don, set to music by the trio Shankar-Ehsan-Loy and sung by Shankar Mahadevan.
By two_kittehs ( Picture by: cvf)
Queen has won the poll by a wide margin. So I will be reviewing it soon. Hopefully, this weekend. We had some unfortunate business with the furnace in the basement, that lead to a 911 call. Kittehs and peoples was safe but firemen gave us an okay to get back into the house only at 1 am. As a result I have been a Zombie kitteh all day.
For the next installment of the Weekend Movie Club, I am going east, to India. If you missed our first installment check it out, here. I grew up watching Hindi movies and more importantly listening to Hindi movie numbers. I must have heard and watched many more songs than the movies themselves. Growing up I used to turn up my nose at most of the offerings that came out of the movie industry which is now popularly known as Bollywood. There was a dichotomy between commercial cinema and art cinema and there very few popular Hindi movies that didn’t insult your intelligence or so it seemed to me. For twenty odd years, the new Hindi movies that I must have watched could be counted on the fingers of one hand.
Now that I am at a distance from both my childhood and Bollywood, I think I may have judged those movies harshly. Hollywood can be pretty formulaic too. They have different formulas, that’s all. Since last year I have been rediscovering Indian cinema, particularly Hindi movies, mainly through their music. Through my YouTube meanderings, I have stumbled across many gems. The list of movies that I want to see keeps growing by the day. Either I have become more forgiving or the movies have gotten better. For example, there are many more movies with female protagonists which don’t have a love story as their focus, than the Hindi cinema of yore or even present day Hollywood. Here is a list of three movies with strong female leads. You can click on the links below to see the trailers with English subtitles.
Queen: Rani (Queen), a sheltered young woman from Delhi gets dumped the day before her wedding. Her solo European honeymoon turns into a voyage of internal and external discovery.
Neerja: A biopic about Neerja Bhanot, flight attendant on the hijacked Pan Am flight 73, whose bravery saved many lives.
Jai Gangaajal: A district police superintendent takes on a corrupt and lawless politician who rules the district within an iron hand in the north Indian hinterland.
So vote early and often. You can also leave suggestions in the comments below.
I want to thank Schroedinger’s Cat for inviting me to post with her on her blog. She thought our two ways of writing about movies and culture would be compatible, so here I am! I still have my (sadly neglected) blog about Pre-Code movies, so I’m going to use this space to talk about other movies in the same vein that don’t fit into the Pre-Code time period of 1929 to 1934. Today’s topic is Samuel Fuller, who managed to independently produce his own films his own way at the height of the studio system by imitating the ploy of the Pre-Codes and not submitting his films to the censorship office until they were completed. This allowed him to explore stories and subjects that were supposed to be off-limits, as in today’s featured film, Shock Corridor (1963).
A word of warning for those who’ve never read my regular blog, The Insufferable Movie Snob: my motto is “All Spoilers, All The Time.” If you don’t want to know what happens in Shock Corridor, go watch it and then come back to read this.
Okay? Okay. Read the rest of this entry