"MY MAN GODFREY"
Few screwball comedies have made as much sense as "My Man Godfrey." And few are this hilarious. To fully enjoy this crisply paced 1936 film classic, it helps to find an impeccably sharp copy. Now that's readily available, thanks to the ever exemplary Criterion Collection. The company's new Blu-ray release looks and sounds simply marvelous.
The spot-on Depression-era social satire depicts the contrast between the lifestyles of the pampered, idle rich and the poor but resilient masses. During a scavenger hunt, two spoiled sisters, Irene and Cornelia Bullock (Carole Lombard and Gail Patrick) try separately to convince Godfrey Smith (William Powell), a homeless man, to briefly leave his shanty community to appear at their lavish party as the "forgotten man." They're dangling five bucks as an incentive. In gratitude for accepting this proposition and defying her nasty sibling, Irene offers Godfrey the position of family butler. He becomes a beacon of sanity in their glittery madhouse.
Every aspect of the film is perfectly realized. It's elegantly directed by Gregory La Cava. The screenplay was penned by Morrie Ryskind (with uncredited input from La Cava), collaborating with Eric Hatch, who wrote the short novel upon which the story was based. The script proves to be consistently witty, engaging and thought-provoking. Its badinage is deliciously bountiful. It remains quite relevant today, as our one-percenters still feel an unwavering sense of entitlement.
The cast shines, each actor ideal for his or her role. The charismatic Lombard delights as the zany, warm-hearted Irene, who quickly finds herself smitten with Godfrey. The elegant Powell charms as this forgotten man who has sunk to the depths of despair, but hasn't lost his dignity, nor his knack for tossing brilliant barbs. The chemistry between the two, who had, at one point, been married, brings an extra element of magic to the film.
Patrick is convincing as the selfish, conniving Cornelia and manages, in the last reel, to hint at another dimension buried within the character. Alice Brady is wonderful as the siblings' giggly, feather-brained mother. Eugene Palette garners chuckles as the blustery, beleaguered father. Mischa Auer drolly essays the role of the houseguest who won't leave, a supposed artiste whose greatest talents appear to be mooching and doing simian impressions. Jean Dixon also makes a strong impression as the canny and compassionate maid.
The bonus features add immeasurably to the viewers' appreciation of the film. A 2018 interview with critic/programmer Nick Pinkerton celebrates the distinctive skills of Gregory La Cava, from his earliest professional efforts in animation to the masterful applications in "My Man Godfrey." Author Gary Giddens offers insights aplenty in the new feature, "The La Cava Touch," which examines not only the director's stylistic approach, but the contributions of the cast. And he puts the film in context, politically and artistically. Newsreels from the 30s also provide context. It's jarring to see the actual locations and poverty-stricken residents that inspired the homeless encampments in the movie.
The outtakes are fun. They prove it's true -- Lombard did swear like a sailor. Be sure to run the theatrical trailer before screening the movie. And for extra amusement, return to catch the Lux radio adaptation. Broadcast in 1938 and hosted by Cecil B. DeMille, it features Powell, Lombard, Patrick and Auer deftly reprising their roles. David Niven is also in the cast. The brisk, bright dialogue and smart voice performances make for laugh-filled entertainment.
The film itself is one you'll want to run repeatedly. I've watched "My Man Godfrey" dozens of times in the past and never enjoyed it more that via the Criterion version. It's like truly experiencing it for the first time.
"MELANIE: LIVE AT THE MELTDOWN FESTIVAL 2007"
Melanie was one of the most distinctive voices of the 60s and 70s. But hers is really a voice for all times. It's plaintive and poignant, pretty and powerful. This new DVD from MVD Visual presents Melanie's concert at London's Queen Elizabeth Hall, during the Jarvis Cocker-curated 2007 Meltdown Festival. Just as she did at Woodstock and Glastonbury in earlier eras, Melanie entrances the audience, turning a large venue into a truly intimate environment. The singer-songwriter-guitarist remains an important artist and a great communicator.
The set includes such exquisite, captivating classics as "Beautiful People," "Carolina in My Mind," "Ruby Tuesday," "Lay Down (Candles in the Rain)," "Brand New Key" and "What Have They Done to My Song, Ma?" Melanie channels A.A. Milne for the delightful "Alexander Beetle."
You'll also discover some amazing new songs, which prove to be equally compelling. Among them are "The Roamer," "Smile" "To Be The One," "The Ballad of Crazy Love," "I Tried to Die Young," "The Motherhood of Love," "Ordinary Rain," the exquisite "And We Fall," written after the birth of her first daughter, and "Poet is King." Melanie is indeed a moving, thought-provoking, eloquent poet who can weave spellbinding melodies. "Extraordinary" is another shimmering gem from this extraordinary artist.
Melanie's intros to the songs are quite charming, humorous and informative. The generous running time of 145 minutes includes sound check footage with a full version of her lovely "Hush A Bye," her historic performance of "Peace Will Come" from the "Glastonbury Fayre" film, a couple of fine guitar solo numbers from her talented son Beau Jerrod (who accompanies her on throughout) and insightful interview segments with Melanie.
This concert represents a very welcome return for a magical performer. It's clear that Melanie is one of the very real, very human, very honest, very beautiful people.
Be sure to read the PCC interview with Melanie: http://popcultureclassics.com/melanie.html
"TELEVISION'S LOST CLASSICS, VOLUME 2"
This new VCI release features early TV pilots. It's a treasure trove for nostalgic TV buffs.
1950's "Racket Squad" kicks things off. The plot of this 1951 pilot involves a team of con artists. The climax is strikingly similar to that of "The Sting." Reed Hadley, in an ongoing, godlike narration, chides the victim (Milburn Stone, later Doc on "Gunsmoke"), for being a sucker. Hadley's main concern seems to be hawking the sponsor's cigarettes.
Next on the disc is 1958's "Cool and Lam." It boasts impressive credits. The show is based on mystery novels penned by Earl Stanley Gardner, the creator of Perry Mason (Gardner himself introduces this program, on camera!) and it's directed by Jacques Tourneur ("Cat People"). This must be a lost classic! Well, maybe a camp classic. It's loads of fun in a "so awful, it's good" way. The writing is embarrassing, but not so much as the acting. The amateurish leads appear to have been escapees from the world's worst 1950s community theatre. So let your zingers fly, a la "MST 3000."
Remember the early sitcom classic "Life of Riley" with belllowing William Bendix in the title role of a blue collar husband and father? Jackie Gleason played the role in an earlier incarnation. And apparently there was an unsold 1948 pilot version starring -- wait for it -- Lon Chaney Jr. as Riley. Yes, that Lon Chaney Jr. The Wolf Man. Lenny from "Of Mice and Men." You think Chaney, you think broad comedy, right?
And If the first three entries didn't sufficiently tickle your fancy, the fourth and final one should. It's "Nero Wolfe," starring Kurt Kasznar as the rotund detective, with William Shatner as his right-hand man. For Shat-heads like myself, this is simply a must-have!
"THE SOUND OF MUSIC"
What a wondrous holiday gift from Shout! Factory -- a Blu-ray release of the ITV British live broadcast of "The Sound of Music." Though it's a live theatrical production, it doesn't feel confined at all, thanks to the use of 17 cameras on three soundstages.
As the lovely novice-nun turned governess Maria, Kara Tointon ("Mr Selfridge") displays a voice that is simply exquisite, As Captain von Trapp, the widowed father of seven, Julian Ovenden ("Downton Abbey") brings charm and earnestness to the role. The pair may even momentarily make viewers forget Julie Andrews and Christopher Plummer in these plum parts. Katherine Kelly as the Baroness and Alexander Armstrong as Max Detweiler are outstanding in support.
The entire cast is splendid and brings to life the memorable songs of Rodgers and Hammerstein. Highlights include "Something Good," "Climb Every Mountain," "My Favorite Things" and "The Hills Are Alive." The sets and costumes are as impressive as the performances and the music. As the idyllic hills of Austria begin to feel the intrusion of Nazi evil, the musical maintains a dewy-eyed spirit of resilience and optimism.
The elegant, expansive production has been deftly directed by BAFTA-nominated Coky Giedroyc. This sumptuous version compares very favorably with the recent NBC recreation. Extras include an enjoyable audio commentary with Tointon and Ovenden, as well as a behind-the-scenes featurette.
"DETECTORISTS: COMPLETE COLLECTION"
The understated magic of "Detectorists" cannot be overpraised. And the release of Acorn Media's impressive "Complete Collection" package is the perfect time to celebrate this uniquely endearing British series. It includes all three seasons on five discs, plus the delightful Christmas special and all sorts of bonus features, including cast interviews and behind-the-scenes featurettes.
From the brilliant writing and direction of Mackenzie Crook (remembered for his colorful on-screen portrayals in "The Office" and "Pirates of the Caribbean") to the spot-on performances from Crook, Toby Jones, Rachael Stirling and Diana Rigg (Stirling's real-life mum) to the beautiful cinematography to Johnny Flynn's irresistible, gentle theme song, "Detectorists" is pure perfection.
Who would have believed that a show ostensibly about metal detecting could be so adorable? It's really all about the very real and very embraceable characters. And Crook has made them funny, poignant and eccentric. His protagonists are romantics, eternal dreamers. These ingredients result in a superb comic soufflé.
If you've already experienced the charms of the series, you'll definitely want to own this collection and purchase additional copies for friends. If you haven't yet discovered the show, treat yourself now. It's that rare sort of series that you'll want to rewatch again and again.
MARIANNE FAITHFULL - "COME AND STAY WITH ME: THE UK 45's 1964-1969"
If you're a faithful follower of British Invasion-era pop music, you know that Marianne Faithfull recorded some of the prettiest tracks of the era. This enchanting new collection presents 22 disarming tunes, comprising, in chronological order, all of her UK singles from 1964 to 1969, including B-sides, as well as her "Go Away From My World" EP.
This is the Faithfull whose voice projects purity and innocence, beginning with the lovely rendition of "As Tears Go By." The song was co-written by Mick Jagger and Keith Richards with their manager Andrew Loog Oldham, who discovered Faithfull. Oldham's arrangements of the traditional "Greensleeves" and "House of the Rising Sun" work well for folk-pop vocalist Faithfull.
She works wonders with Jackie DeShannon's "Come and Stay With Me." Among other top tracks are John D. Loudermilk's "This Little Bird," Bob Dylan's "Blowin' in the Wind" and Donovan's "The Most of What Is Least." Faithfull serves up a sophisticated interpretation of "Et Maintenant (What Now My Love?)" and a sumptuous rendition of Paul McCartney's "Yesterday." Bob Lind's "Counting" is another winsome gem. The flirtatious, bluesy "That's Right Baby" is an inviting change of pace. The hard-to-resist "Is This What I Get for Loving You?" penned by Gerry Goffin, Carole King and Phil Spector, sounds like it should have been a smash for Faithfull. There are two fine Faithfull originals -- "I'd Like to Dial Your Number" and "Oh Look Around You."
The album closes with 1969's "Sister Morphine," which Faithfull co-wrote with her paramour Jagger and Keith Richards. It provides a hint of what's to come for her. After heartbreak, Faithful fell into heavy alcohol and drug abuse in the 70s, then re-emerged with that delicate, delightful voice transformed.
With a lower, harsher sound, Faithfull delved deep into the human soul, delivering cabaret numbers that were often dark, raw and strikingly real. Her performances have been courageously honest. In this later incarnation, she has become a true icon. But it's a treat to hear this new compilation album, which reminds us of the sweet charms of the young Ms. Faithfull.
THE ROLLING STONES - "BEGGARS BANQUET" 50th ANNIVERSARY EDITION
The holiday season has brought a heavenly gift for followers of that devilish band, The Rolling Stones. In various formats and editions, ABKO has made available, in celebration of its 50th anniversary, the classic "Beggars Banquet" album. A handsomely designed three-disc package is quite a musical feast. The outer cover repeats the record label's 60s sanitized artwork, depicting a tasteful wedding invitation. Inside the gatefold, you'll find the Stones original choice -- the grimy, graffiti-filled toilet photo.
In the package, you'll find two Hybrid SACD discs, for immaculate listening, plus a flexi disc. In addition to the original album, you get a mono version of "Sympathy for the Devil," plus a 1968 interview with Mick Jagger.
"Beggars Banquet" was the last full album to be released featuring founding member Brian Jones and it was their most adventurous to date. The Stones used a wide variety of instrumentation, including sitar, tanpura and Mellotron. In addition to "Sympathy for the Devil," the potent material included, "Street Fighting Man," "Parachute Woman," "Salt of the Earth" and "Prodigal Sun."
Recorded in 1968, it vaulted past the British Invasion era joyfulness to plunge into a sound that was darker, tougher and edgier than even earlier Stones records. It reflected the political and social tumult of the time. With the startlingly sharp SACD sound, it's a great time to rediscover a landmark achievement in Stones history.
SARAH BRIGHTMAN - "HYMN"
Sarah Brightman merges the worlds of classical and pop with this uplifting, spiritually satisfying new album. Naturally, her soprano vocals on "Hymn," are absolutely heavenly. She can be equally effective in intimate musical moments or epically dramatic surges. The orchestration is designed to build the sweeping, majestic aura.
Brightman draws on material from diverse composers/songwriters, including Eric Whitacre ("Fly to Paradise"), the British prog rock band Barclay James Harvest ("Hymn"), German DJ Paul Kalkbrenner ("Sky and Sand") and Japanese icon Yoshiki, who guests on "Miracle." French tenor Vincent Niclo joins Brightman on the magnificent "Sogni." As a closer, Brightman has chosen to revisit "Time to Say Goodbye," her popular duet with Andrea Bocelli, this time singing English lyrics she wrote herself. This album should have immense crossover appeal. An international superstar for decades, Brightman and her three-octave range continue to shine.
THE LIVES OF JUSTINE JOHNSTONE: FOLLIES STAR, RESEARCH SCIENTIST, SOCIAL ACTIVIST
By Kathleen Vestuto [McFarland; www.mcfarlandpub.com; 800-253-2187]
This is a fascinating study of a woman who was both of her time and ahead of her time. Author Kathleen Vestuto examines all facets of a life filled with diverse accomplishments. Being dubbed "The Most Beautiful Woman in the World" while still in her teens, Justine Johnstone became a much heralded show girl and fashion icon, featured in the Ziegfeld Follies.
By 1915, she was a star. Luminaries such as F. Scott Fitzgerald and H.L. Mencken sang her praises. She may have been one of the inspirations for Anita Loos' "Gentlemen Prefer Blondes." Close friends included Marion Davies and Harpo Marx.
But Johnstone's unquenchable intellectual curiosity didn't allow her to be satisfied simply with standing on stage in elaborate costumes, looking lovely. A voracious reader, she worked hard to become a performer in musical comedies and eventually a serious actress. Not content to be at the mercy of the men in power, Johnstone found her own theatrical properties. She made the transition into silent films, though almost no footage survives.
But Johnstone remained down to Earth and fame didn't fulfill her. She married producer Walter Wanger, who benefited from her celebrity, advice and finances. The wayward Wanger eventually moved out of her orbit. Johnstone, an early feminist, embraced single motherhood, adopting two children. She also entered the male-dominated field of scientific research.
Absorbing massive amounts of information, Johnstone contributed to the pre-penicillin treatment of syphilis and worked on revolutionary cancer treatments at Caltech. Always involved in important social and political causes, Johnstone helped blacklisted Hollywood writers find work. The book tells a truly remarkable life story. Vestuto also gives the reader a rich picture of the changing times.
THE COMPOSER ON SCREEN: ESSAYS ON CLASSICAL MUSIC BIOPICS
Edited by Paul Fryer; Foreword by Russell Jackson [McFarland; www.mcfarlandpub.com; 800-253-2187]
For years, I've watched movie biopics, intrigued, but curious about just how much of the dramatization is actually based on truth and how much is total fabrication. This new collection of essays, edited by Paul Fryer, goes a long ways towards answering those questions in depth. It explores the factuality -- or lack thereof -- within many of these films, created not only by Hollywood, but abroad, as well. The essays offer critiques of the filmmaking, as well as backgrounds on the composers' lives and works.
Some of the movies perpetrated old myths, others dreamed up new ones, taking poetic license as far as possible. Often, romances were invented or altered to build commercial appeal. Some tried to meticulously paint an accurate portrait of artists and their processes and inspirations. Films sometimes proved to be as timeless as the music they examined. Others were very much of their own time. In some instances, elements of the composers' lives were ignored, glossed over or contradicted, because it would have been too upsetting for audiences of the day.
The book covers a wide range of composers, including Verdi, Wagner, Berlioz, Strauss, Elgar and Gershwin. There are some who are less familiar for those not steeped in the classical world, among them Nannerl Mozart, sister of Wolfgang Amadeus Mozart, and the 12th century innovator Hildegard von Bingen.
It's interesting to read of composers who had multiple films made about their lives and to study the similarities and differences. For instance, "Night and Day," the Cole Porter biopic starring Cary Grant is little like the later "De-Lovely," a flight of fantasy featuring Kevin Kline. They diverge stylistically, as well as in the handling of Porter's homosexuality.
The essay collection is informative and thought-provoking. It will send both music and movie aficionados searching for these films to experience or re-experience.
THE HOWLING: STUDIES IN THE HORROR FILM
By Lee Gambin [Centipede Press]
"The Howling" is an extraordinary horror movie. And author Lee Gambin has written an extraordinary book about that ferociously funny and seriously scary flick. The film stars Dee Wallace (who wrote the book's introduction) as a TV newswoman who, following a traumatic incident involving a serial killer, is sent to The Colony, a secluded, Esalen-like retreat. Unfortunately for her, the place is a haven for werewolves. And lycanthropes are even harder to get along with than misanthropes.
"The Howling" was released in 1981, when slasher films, not monster movies, were all the rage. But this one bucked the trend, because it was so fresh, exciting, thanks to smart direction by Joe Dante ("Gremlins") and a witty script that had been revamped by John Sayles ("Piranha," "Passion Fish").
For all the razor-sharp incisors on display, the movie definitely has tongue in cheek. The macabre humor helps to make the movie special. Social commentary is also a plus. The lampooning of pop psychology adds an extra dimension. And the startling makeup effects by genius Rob Bottin elevates the fright factor immeasurably.
Dante, of course, sprinkles the movie with plenty of pop culture and horror references. And "The Howling" boasts cameos by Roger Corman and Forrest J. Ackerman. John Carradine, Dick Miller, Slim Pickens and Kevin McCarthy also pop up in the film. And the leads -- Wallace, Patrick Macnee, Dennis Dugan, Christopher Stone, Brenda Balaski, Elisabeth Brooks and Robert Picardo -- deliver first-rate performances.
Gambin provides a detailed analysis, and includes insights and anecdotes from many of the principals, including Dante, the screenwriters and many cast and crew members. In addition to the interviews, Gambin provides almost 150 stills, including frame enlargements and never-before-published, behind-the-scenes photos.
The remarkably detailed book gives readers entertaining info on virtually every aspect of this memorable movie. It's something every horror fan will find fascinating. And it will certainly make you want to re-watch "The Howling" with all of your newfound knowledge about how all the tasty cinematic ingredients were stirred together.
EDMOND O'BRIEN: EVERYMAN OF NOIR
By Derek Sculthorpe [McFarland; www.mcfarlandpub.com; 800-253-2187]
Now best remembered for his work in the film noir genre, Edmond O'Brien was actually a marvelously versatile actor whose intensity and conviction made him a dynamic screen presence for decades. This new biography by Derek Sculthorpe fully explores O'Brien's passion for his craft and how it helped him overcome daunting physical challenges. A lover of Shakespeare, O'Brien was impressive on stage, as well as in films, radio and television.
He made his movie debut in 1939's "The Hunchback of Notre Dame." After that, he played in everything from romances to comedies to westerns to war pictures. A hard worker, O'Brien clicked with audiences and critics in his post-war noir efforts. He could be equally interesting as a hero or villain. He wasn't afraid to explore a character's human flaws. He knew how to convey suffering and desperation, reflecting the era's anxieties.
In 1954, O'Brien was an Oscar for his performance in "The Barefoot Contessa." He starred in the TV series "Sam Benedict" and "Johnny Midnight." Late in his career, O'Brien created one of his most memorable characters, the grizzled, growling cowboy in Sam Peckinpah's "The Wild Bunch."
A drinker, O'Brien had numerous long-term health issues, including near blindness, early onset dementia and heart disease. Eventually these cut short his still busy career.
Sculthorpe quotes many of the actor's peers, who sing his praises. He goes into detail not only regarding all the works O'Brien completed, but even touches on proposed projects which never came to fruition. The author also sketches the actor's personal life. It's a rich portrait of a compelling dramatic artist.
