Bugsy Malone (1976)

Bugsy Malone (Alan Parker, 1976). 

Alan Parker’s feature film directorial debut is really something special. A musical homage to 1930’s gangster movies with a cast made up entirely of children really shouldn’t work, but it does. 

Gang warfare rages in Prohibition-era New York as hoods Fat Sam and Dandy Dan battle for supremacy in the city. Armed with newfangled splurge guns (whipped cream firing machine guns), it looks like Danny Dan’s mob is winning. Speakeasy owner Sam engages good guy Bugsy Malone to help in his fight against Dan, while Bugsy has his sights set on aspiring showgirl Blousey Brown. 

Recalling both the classic Warner gangster flicks and early backstage musicals, Bugsy Malone is itself a film which largely avoids categorisation. It is a love letter to the Hollywood of the 1930s. The beautifully detailed sets of dimly lit back alleys and colourful speakeasies faithfully recalling the era of Cagney and Robinson. Paul Williams superb jazz inspired score provides perfect accompaniment to the visuals, while the witty, quick fire dialogue would befit a period screwball comedy. The soft focus camera work and plethora of brown on display gives the feel of an old sepia tone photograph and adds to the era atmosphere. 

All of which would matter nought, were it not for the engaging performances from its juvenile cast. An assured and charismatic performance by Scott Baio (later to find fame in TVs Happy Days) as Bugsy is surprisingly his first screen appearance. As was true of much of the cast. Florrie Dugger is touchingly melancholic as Bugsy’s gal Blousey in her only movie, while John Cassisi embodies gleeful roguishness as Fat Sam, one of only a handful of acting roles for the youngster. Only Jodie Foster, in the supporting role of showgirl cum moll Tallulah, was a veteran performer. Following a handful of Disney movies and, of course, her Oscar nominated turn in Taxi Driver (Martin Scorsese, 1976), Foster gives the first rate professional performance you would expect. But to the credit of the cast and director Parker, none of the kids put a foot wrong and are never upstaged by the more experienced star. 

It is hard to offer any genuine criticism of Bugsy Malone. It is a movie which sets out to entertain and it does just that. Narratively speaking, the movie’s climax is a little unsatisfactory; wrapping things up with a big song and dance number. However, so much imagination and creativity has gone into producing the rest of the film that this seems a minor gripe at best and, honestly, the sequence is so much fun that no one should really care! 

There really is nothing else like Bugsy Malone in cinema history. As artful as it is entertaining and equally enjoyable for children and grownups; a unique, unadulterated pleasure from beginning to end! 

King Kong (1933)

King Kong (Dir: Merian C. Cooper & Ernest B. Schoedsack, 1933).

RKO Radio Pictures’ modern day Beauty and the Beast is the daddy of all monster movies; chronicling the tale of the Eighth Wonder of the World, King Kong. 

Maverick filmmaker Carl Denham (Robert Armstrong) and actress Ann Darrow (Fay Wray) travel to the exotic Skull Island to shoot Denham's latest movie, there encountering the 20 foot tall ape King Kong. Kong falls for Darrow and is used by Denham as bait for the primate's capture. They return to New York with the intention of parading the mammoth beast before a paying public. The plan fails when Kong goes ape, resulting in a climax both thrilling and surprisingly touching and featuring one of the greatest last lines of any movie. 

The term 'movie magic' might easily have been coined to describe King Kong. Co-producer and directors Merian C. Cooper and Ernest B Schoedsack's epic fantasy was the most ambitious and groundbreaking feature of the early sound era; a predecessor of the modern special effects blockbuster. 

With a cast relatively unknown to modern audiences the real star of the picture is, of course, the gorilla. We are roughly halfway through the movie before we meet Kong. He is mesmerising. Provoking terror and eliciting sympathy from the audience, Kong is completely believable as a living, breathing creature. The animated ape has more personality than most leading men!

Willis O’Brien’s stop motion special effects are astonishing. From fighting dinosaurs in his Skull Island jungle home to derailing an elevated railway train in New York, King Kong is full of breathtaking special effects set pieces. A scene where an animated Kong shakes real life actors from a log bridge must have seemed miraculous in 1933, while the sight of Kong atop the Empire State Building is one of cinema’s most iconic and enduring images. Of course the effects do not look as slick as modern day computer graphics but they do have a tactile quality missing from CGI. They are certainly more impressive than the man in the monkey suit of some later Kong movies and for an 85+ year old movie look pretty darn fine to me.

The enormous impact of King Kong cannot be overestimated. A sequel Son of Kong (Ernest B. Schoedsack, 1933) was rushed into production and released within a year of the original. Kong would inspire countless imitations and spawn further sequels, remakes and reboots including the forthcoming Godzilla vs Kong (Adam Wingard, 2020). While, admittedly, many of the Kong spin-offs have had their merits, the original has never really been equalled. 

A truly astounding piece of filmmaking, King Kong is a work of art that is rightly regarded a masterpiece. 

NOTE: King Kong is also available in a computer colorized version. I would recommend avoiding this. This classic is best enjoyed in beautiful black and white. 

Pooh's Heffalump Halloween Movie (2005)

Pooh's Heffalump Halloween Movie (Dir: Saul Andrew Blinkoff & Elliot M. Bour, 2005).

A sequel of sorts to Pooh's Heffalump Movie (Frank Nissen, 2005), the feature which introduced the character of Lumpy the Heffalump to the Pooh universe. As with the previous movie, this one was also animated by DisneyToon Studios, the television production arm of Walt Disney Pictures. Unlike Pooh's Heffalump Movie, which enjoyed a theatrical release, Heffalump Halloween was a made for video effort. The movie is comprised of roughly two thirds new material, the remainder being recycled from the television special Boo to You Too! Winnie the Pooh (Rob LaDuca, 1996). 

Once again, Pooh is relegated to co-star status in a film which largely revolves around Roo teaching his best friend Lumpy about the Hundred Acre Wood's 'trick or treat' traditions on the young heffalump's first Halloween. During the course of which Roo attempts to 'unscare' Lumpy by telling him of the Halloween which was almost a Hallo-wasn't due to Piglet's fears of the spooky season. Taken from the earlier special, this noticeably different footage presents us with the awkward narrative conceit of Roo narrating a story in which neither he or Kanga appear, as both were inexplicably absent from the episode. 

Presented as an original movie and opening in a style similar to the classic Pooh featurettes, one would be forgiven for thinking this was a regular feature film. The repackaging of TV product as new material was common at Disney in the early 2000s. Arguably detrimental to the studio's reputation, this is a practice that they have thankfully discontinued. The patchwork nature of the movie is evident in the varying animation styles between the segments. The TV episode, although of higher quality than most TV animation, cannot help but look like a 1990s Walt Disney Television Animation production. The latter material is overall brighter, cleaner and exhibits a little more fluidity than Boo to You! and considering its made for video origins is quite pleasing. 

Narrative issues aside, the film is passable entertainment for the very young; the toothless, yet sweet, confection contains no real frights for even the smallest of viewers. Children will undoubtedly find Lumpy adorable and may even enjoy the handful of forgettable songs. The expected messages about braveness and friendship are hammered home without a hint of subtlety.  

There are certainly worse kid's movies out there than Pooh's Heffalump Halloween Movie, but there are much better Pooh movies. The youngest and most undemanding fans of the bear of very little brain will probably be enchanted by this spooky special. Older children and grownups would be much better served by watching Walt Disney's The Many Adventures of Winnie the Pooh (John Lounsbery & Wolfgang Reitherman, 1977), or by reading the original A. A. Milne stories upon which it is based.

Related reviews:

Winnie the Pooh: Springtime with Roo (2004):
https://jinglebonesmovietime.blogspot.com/2019/06/movie-41-winnie-pooh-springtime-with-roo.html

Winnie the Pooh (2011):
https://jinglebonesmovietime.blogspot.com/2019/06/movie-50-winnie-pooh-2011.html

Birds of Prey aka The Perfect Alibi (1930)
https://jinglebonesmovietime.blogspot.com/2019/05/movie-number-13-birds-of-prey-aka.html

The Lion King (1994)

The Lion King (Dir: Roger Allers & Rob Minkoff).

The 1990s Disney Animation renaissance continued with The Lion King, their biggest hit (when adjusted for inflation) to date. 

The movie tells the story of young lion and future king Simba (voiced by Jonathan Taylor Thomas as a juvenile and Matthew Broderick as an adult). Simba’s father Mufasa (James Earl Jones) is killed by his brother and Simba’s uncle Scar (Jeremy Irons). Scar leads Simba to be believe he is responsible for Mufasa’s death and goes into hiding. Believing Simba has been killed by Hyenas, Scar takes his place as king of the Pride Lands. However, Simba is rescued by comic relief duo meerkat Timon (Nathan Lane) and warthog Pumbaa (Ernie Sabella). When adult Simba learns of his uncle’s despotic machinations he returns to fight Scar, reclaim his crown and restore order to the Pride Lands. 

Unlike previous blockbusters The Little Mermaid (Ron Clements & John Musker, 1989), Beauty and the Beast (Gary Trousdale & Kirk Wise, 1991) Aladdin (Ron Clements & John Musker, 1992), this movie was not based upon a traditional fairytale. Rather, The Lion King was an original property, albeit one which is rooted in theatrical and cinematic classics. Dubbed ‘Bamblet’ by the Disney animators, the similarities to Bambi (David Hand, 1941) and William Shakespeare's Hamlet are hard to ignore but somehow The Lion King is more than the sum of it’s parts and never feels derivative of it thematic forefathers. 

Majestic seems a fitting word for The Lion King. Recalling earlier classic The Jungle Book (Wolfgang Reitherman, 1967) with its animal cast, particularly in the characterisation of Scar, a upper-crust Disney villain in the Sheer Khan mode. The movie feels both fresh, in its break from the fairytale genre, yet classic Disney with its anthropomorphised animal antics. 

It is easily one of the Studio’s most visually appealing features of the 1990s. It’s beautiful backgrounds of African landscapes is the match of the superior character animation. This is highlighted particularly in the  opening scene as the African animal populous gathers to welcome the newly born Simba to the Pride Lands. So impressed were the Disney execs by this scene, that it was used wholesale as the movie’s trailer. Happily the rest of the film has no problem in living up to this breathtaking beginning. 

In the 25 years since release Disney has continued to revisit the property with varying results. Releasing two made for video sequels The Lion King 2: Simba’s Pride (Darrell Rooney, 1998) and The Lion King 1 and 1/2 (Bradley Raymond, 2004). In 2019 it was remade as a photorealistic CGI epic (directed by Jon Favreau), returning The Lion King to the top of the box office charts. As is often the case, however, the original is the best. 

With outstanding animation, excellent voice work and a handful of hit songs by Tim Rice and Elton John, The Lion King reigns as one of Disney’s greatest post-Walt animated feature films. 

Mosby's Marauders aka Willie and the Yank (1967)

Mosby's Marauders aka Willie and the Yank (Dir: Michael O'Herlihy, 1967).

Originally produced for US television, Mosby's Marauders in a fictional historical drama set during the American Civil War.

Young Confederate Willie Prentiss (Kurt Russell) is protected by Union Corporal Henry Jenkins (James MacArthur) after accidentally shooting his commanding officer Lieutenant Mosby (Jack Ging). They strike up an unlikely friendship despite fighting on opposing sides. Jenkins soon develops a romantic interest in Willie's cousin Oralee (Peggy Lipton), further complicating their already compromised friendship and arousing the suspicions of Jenkins superior Sgt Gregg.

Mosby's Marauders was originally screened in three parts on Walt Disney's Wonderful World of Color in January 1967, under its US title Willie and the Yank. Following the success of the similarly edited feature Davy Crockett, King of the Wild Frontier (Norman Foster, 1955), it was common practice for Disney to recycle its television product in this way, particularly for countries that did not receive the programme. Apart from exhibiting a somewhat episodic narrative, this transference from small screen to big screen was barely noticeable. I doubt many cinemagoers realised they were watching a movie originating on television, thanks to the series excellent production values. Usually these movies were screened as the second half of a double feature, such is the case with Mosby's Marauders which was released in the UK alongside the comedy Monkeys Go Home! (Andrew V. McLagan, 1967).

Edited from three hour long episodes to an 80 minute feature film, it would be fair to assume that the movie suffered from such sever cutting. However, the version I watched for the purpose of this review was a full 135 minutes. I imagine this version is a reconstruction, combining the full length TV episodes (allowing for 10 to 15 minutes of commercials when broadcast) and the theatrical opening and end titles from the UK release. Presumably this was assembled for home video in the 1980s or 1990s. I can find no evidence to back these claims, but as the same reconstruction technique was used for the video release of an extended cut of Dr Syn Alias the Scarecrow aka The Scarecrow of Romney  Marsh (James Neilson, 1963), it seems likely that this is also the case for Mosby's Marauders.

To be honest, I would imagine that watching this movie in either its edited form or as three individual TV shows would be a more rewarding viewing experience. It does suffer from an episodic narrative and is rather slow paced, neither of which would be issues when viewed over three separate weeks but is a little harder to take in a movie approaching a 2 and 1/2 hour run time. Which is not to suggest that I did not enjoy the film. With exteriors shot at Disney's Golden Oak Ranch moviemaking facility, it is a handsome outdoor adventure with none the budgetary restraints one might expect from a TV movie. 

Its appealing cast is headed by 15 year old Kurt Russell, previously seen in Disney's Follow Me, Boys! (Norman Tokar, 1966). Although Disney would later cast him exclusively in light comedy, he acquits himself well here in a dramatic performance. James MacArthur was a Disney regular from a decade earlier. His co-starring role as 'the Yank' was his first for the studio since Swiss Family Robinson (Ken Annakin, 1960). Always underrated as an actor, MacArthur would find greater fame a year later in the role of Danny in TVs Hawaii Five-O (1968-80). Nick Adams, who found fame in Rebel Without a Cause (Nicholas Ray, 1955) and Picnic (Joshua Logan, 1956), struggled later in his career. He is great here as the callous Sgt Gregg, a year before his untimely death from a drugs overdose aged just 36. 

Mosby's Marauders is an unusual Civil War picture, in that it is told from the perspective of the South. Yet this is no Confederate flag waver and is told in a fairly matter of fact manner, sympathetic with the plight of those fighting for both North and South. It also has a surprisingly high body count for a Disney movie, inevitable considering its subject. Perhaps this, more than anything, has seen the movie fall into obscurity; a fate which it doesn't deserve. 

The Disney TV output of the 1950s and 1960s was always a high quality product and it is a shame that so little of it is available today. It is fair to suggest that moderm audiences, especially children, may be put off by the movie's subject matter and the fairly dry manner in which it is presented. With it's Civil War theme and high body count this is possibly not a Disney movie to show the kids, at least without engaging in conversation about the atrocities of war and the repercussion it has for both sides. While its narrative issues and lengthy runtime do not work in its favour, it is certainly worth a watch.  

The Shaggy D.A. (1976)

The Shaggy D.A. (Dir: Robert Stevenson, 1976).

This kooky canine comedy from Walt Disney Productions was the belated sequel to hit The Shaggy Dog (Charles Barton, 1959). 

Following on from the events of the original movie, now adult Wilby Daniels is now a successful lawyer, his dog morphing days behind him. However, the ancient cursed ring which turned him into a Bratislavian Sheepdog has been stolen from a local museum by some crooks in the pay of unscrupulous politician 'Honest' John Slade. With incredibly unfortunate timing, this occurs just as Daniels is about to run against Slade in a local election for the position of District Attorney (Hence the The Shaggy D.A., for those who thought the movie's title referred to an unkempt hairdo). Daniels must run his campaign and try to get the ring back from Slade, whilst proving him corrupt. All the time running the risk of inadvertently turning into a sheepdog! 

As is often the case with Disney movies of the era, a talented cast of veteran performers was assembled for The Shaggy D.A. Replacing Tommy Kirk in role of Wilby Daniels from the original movie is Disney regular Dean Jones. Jones is appealing as ever, displaying his considerable talent for quirky comedy. Reunited with Jones in their 3rd film together is the equally appealing Suzanne Pleshette. With less to do than Jones, she still makes a good impression as the understanding Mrs Daniels. The remaining cast is, likewise, made up of faces familiar to fans of 70's Disney movies. Keenan Wynn had a nice line in comic bad guys. His criminal aides here are Dick Van Patten and, as always, Richard Bakalyan in one of his countless appearances as a small time hood. Tim Conway puts in an appearance as a dim-witted ice cream salesman and John Myhers has some neat comedy business as the Daniels' bluff neighbour Admiral Brenner. 

Generally, I love that Disney employed the same performers in their movies. It gives the feeling of a rep company and adds to the notion of a 'Disney family'. But I feel in this instance it is slightly detrimental to the movie. So often have we seen the same faces playing the same characters that a certain amount of over familiarity has set in. Dean Jones was a dependable leading man at the studio, but by his 9th appearance in a Disney movie it is becoming difficult to distinguish this role from his similar roles in The Million Dollar Duck (Vincent McEveety, 1971) or Snowball Express (Norman Tokar, 1972). Likewise, Keenan Wynn; as bad guy 'Honest' John Slade the talented actor gives an assured comedy performance. However, it is virtually the same performance he gave as Alonzo Hawk in Disney's The Absent-Minded Professor (Robert Stevenson, 1961) and Herbie Rides Again (Robert Stevenson, 1974). 

I suppose the root of the problem is Don Tait's screenplay, suggested by the Felix Salten novel The Hound of Florence. This was Tait's 5th screenplay for the studio and adheres rigidly to the cookie cutter approach adopted by Disney in this era. True to form, we have some broad slapstick humour, the inevitable car chase and the expected police car pile up. All achieved by some unconvincing back projection. Director Robert Stevenson had a 20 year association with the studio and this was to be his last feature before retiring. Responsible for classics such as Old Yeller (1957) and Mary Poppins (1964), The Shaggy D.A. must be regarded as one of his lesser works. 

Viewed in isolation, The Shaggy D.A. is by no means a bad movie, in fact it is probably one the more consistently funny 70s Disney comedies. The performances are fine, the production is good and it has an innocent charm. The effects, which see Daniels turn sheepdog, are neat and recall the scenes where Spencer Tracy turns from man to monster in Dr Jekyll and Mr Hyde (Victor Fleming, 1941). Its biggest flaw is over familiarity and its doggedly formulaic structure. 

Still, I enjoyed this film as a child and get a nostalgic kick out of it as an adult. It doesn't quite live up to the weird and wonderful original but is certainly worth a watch if you like this sort of thing and clearly people do, as evidenced by the made for TV sequel The Return of the Shaggy Dog (Stuart Gillard, 1987) and Disney's reboot of the series two decades later with The Shaggy Dog (Brian Robbins, 2006). Not quite Best in Show then, but a likeable mutt of a movie nonetheless. 

Six-Five Special (1958)

Six-Five Special (Dir: Alfred Shaughnessy, 1958).

Six-Five Special was a pre-Top of the Pops, youth oriented music television show, broadcast on the BBC for 96 episodes during 1957-58. Although short-lived the show was significant as the first Rock 'n' Roll programme on British TV. It was also vastly influential, pioneering a style of music television that would continue to be copied for decades to come. It also inspired this feature film adaptation from B-movie purveyors Insignia Films.

The slender story involves Anne (Diane Todd) a young woman with a talent for singing who is persuaded by her friend Judy (Avril Leslie) to up sticks and travel to London to pursue a career in showbusiness. Boarding the overnight 6.5 special train, the pair are surprised to find the locomotive full of stars, themselves bound for London to perform on the Six-Five Special television show. All pretence of a plot goes out of the window at about the halfway mark when the movie becomes strictly a musical revue. 

Among the acts you won’t remember (The Ken Tones?) are enough genuine legends to make the movie a musical treat. Notable among the acts are Lonnie Donegan, Petula Clark, Jim Dale, Cleo Laine and Johnny Dankworth. Some laboured comedy skits come courtesy of Mike and Bernie Winters. Television's Six-Five Special presenters Pete Murray and Jo Douglas also make an appearance, as does its resident bandleader Don Lang. It's undoubted highlight is the terrific performance from skiffle pioneer Donegan who sings two songs, 'Jack O'Diamonds' and 'Grand Coolie Dam'. He alone makes it worth watching.

If you are seeking intricately plotted cinema with a serious message I would look elsewhere. However, if you are looking for a lighthearted, dare I say twee, documentation of the state of the Hit Parade in 1958 you are in for a treat! Admittedly, this nostalgia fest will be most appreciated by 1950s teens and those with an interest in that era's music. Railway enthusiasts will also appreciate the steam locomotives on display. An invaluable record of the pre-Beatles British music scene, Six-Five Special is corny by today's standards but a lot of fun, nonetheless. 

Touch and Go (1955)

Touch and Go (Dir: Michael Truman, 1955).

Jack Hawkins makes a rare foray into comedy in this lightweight, late period effort from the Ealing Studios. 

Following a disagreement with his boss, furniture designer Jim Fletcher (Hawkins) makes the snap decision to emigrate to Australia. Less than enthusiastic are his wife Helen (Margaret Johnston) and teenage daughter Peggy (June Thorburn) with concerns for the family cat and Peggy's new sweetheart. 

Aside from the excellent The League of Gentlemen (Basil Dearden, 1960), comedy was not really Jack Hawkins’ forte. Although an otherwise fine dramatic actor, he often seemed a little uncomfortable in domestic situations and was at his best as stoic men of action. Oddly, Hawkins was far more convincing as a naval officer or a pilot than he ever was as husband or father and his performance here is rather broad and lacking in subtlety. In fairness, he is given little to work with in a role which involves little more than expressing exasperation at his wife and daughter. 

Scenarist William Rose was an accomplished comedy writer; responsible for Ealing classics such as The Maggie (Alexander Mackendrick, 1954) and The Ladykillers (Alexander Mackendrick, 1955) and later co-scripting Hollywood epic It’s a Mad, Mad, Mad, Mad World (Stanley Kramer,1955). So it is all the more surprising that Touch and Go doesn’t quite deliver the goods. Its attempts at humour are somewhat laboured and never raise the hoped for big laughs in a plot which offers no surprises; the denouncement can be guessed within the first 10 minutes. Which is not to suggest the movie is without merit. It ambles along nicely enough and certainly provides some mild chuckles. The muted colour palette is attractive and the atmosphere is cosily nostalgic. 

Viewed today Touch and Go is a quaintly dated period piece. It does not rank among the greatest of Ealing Studios movies but neither is it a complete failure. Ultimately, it is just a little undistinguished and lacks the bite of other Ealing comedies. Still, it is a pleasant enough time waster that will certainly be of interest to Ealing completists. 

The Sign of Zorro (1958)

The Sign of Zorro (Dir: Norman Foster & Lewis R Foster, 1958).

Guy Williams stars as the vigilante hero who "makes the sign of a Z" in Walt Disney's feature film version of the hit Zorro TV series, broadcast on the ABC network from 1957-59. 

Following a lengthy absence, Don Diego (Guy Williams) returns home to the Spanish Californian pueblo of Los Angeles. Finding his hometown under the rule of cruel Captain Monastario (Britt Lomand), he dons a black cape, assumes the new identity of Zorro and determines to overthrow Monastario and restore order to the pueblo. Cue lots of sword fights! 

As with Walt Disney's earlier feature Davy Crockett, King of the Wild Frontier (Norman Foster, 1955), The Sign of Zorro was edited together from episodes of a TV series. However, where Davy Crockett was assembled from three 45 minute shows with a roughly continuous narrative, Zorro was cut together from eight 30 minute episodes. Screened in black and white but filmed in colour, Davy Crockett was a high quality production that transferred to the cinema with ease. Although episodic by nature, it rarely belies its TV origins, save for some stock footage recycled from the True Life Adventures documentary series. By contrast, Zorro was a more modestly budgeted production shot in black and white. Its static camera work and proliferation of close-ups, while perfectly acceptable on a weekly TV show, did not hold up as well on the big screen. The cobbling together of various episodes results in a somewhat disjointed narrative with multiple climaxes and plot threads which are never properly resolved. 

That said, the movie does have its compensations. Guy Williams makes for an appealing, athletic hero and is well supported by Gene Sheldon as mute man servant Bernardo and Henry Calvin as local law enforcer Sergeant Garcia; their deft comic performances nicely complementing the lighthearted heroics.

While not quite convincing as a feature film, Zorro was a high quality production for a weekly TV show, undoubtedly transferring to the big screen better than most of its contemporaries would have. Although it did not manage to repeat the success of the superior Davy Crockett, King of the Wild Frontier, it did well enough to warrant a sequel. However, Zorro the Avenger (Charles Barton, 1959) was marketed solely to international audiences and was not released in the US. 

Walt Disney's Zorro is probably best experienced in its TV format. Yet, despite its shortcomings, this is an entertaining movie, thanks to its appealing cast and general good-natured ambience. If, like me, you enjoy a bit of swashbuckling you will find The Sign of Zorro has an easy going charm that is hard to resist. Slightly shabby but a lot of fun!

The Informers aka Underworld Informers (1963)

The Informers aka Underworld Informers (Dir: Ken Annakin, 1963).

Based upon Douglas Warner's novel Death of a Snout. The Informers, released in the US as Underworld Informers is a police procedural drama shot in a quasi-realist style. 

Chief Inspector 'Johnno' (Nigel Patrick) investigates the murder of an underworld informer or 'snout' (John Cowley) linked to a series of bank robberies masterminded by gangsters Bertie Hoyle (Derren Nesbitt) and Leon Sale (Frank Finlay). Hot on the their trail, the hoods set 'Johnno' up so as to appear to have accepted a bribe. On suspension, he takes the law into his own hands and with the help of Ruskin's brother sets to bring the gang to justice.

Ken Annakin was a talented filmmaker, prolific in his time but vastly underrated today. Associated with the Disney Studios throughout the 1950s, he directed the best of their British productions including The Story of Robin Hood and his Merrie Men (1952) and blockbuster Swiss Family Robinson (1960). In contrast to those family friendly adventures The Informers is a crime drama which, 56 years after release, still feels uncompromisingly gritty. 

Standouts among the cast are the distinctively voiced Nigel Patrick as the wronged 'Johnno' and Harry Andrews as his tough superintendent. Derren Nesbitt makes for a thoroughly unpleasant bad guy, while Margaret Whiting elicits sympathy as his long suffering girl. Impressing further down the cast is Colin Blakely as the brother of the murdered snout. 

The Informers can be seen as something of a ‘missing link’ between the depiction of the friendly copper of TVs Dixon of Dock Green (1955 -76) and the more complex characterisation of the police force in The Sweeney (1974-78). Indeed, the movie seems ahead of its time in its depiction of the police and their relationship with the criminal underworld. It benefits from use of London locations from the banks of the Thames to backstreet Soho dives, shot in crisp black and white by cinematographer Reginald Wyer. 

Some of the characters in Alun Falconer and Paul Durst's screenplay do border on stereotypes, particularly the depiction of middle class police opposed to largely cockney villains. The climatic big punch up between good(ish) guys and the bad guys does verge on the comic, but overall this is still fairly hard-hitting stuff. 

I admit to knowing little of The Informers before I watched it and am surprised it is not a better known film. With some stylish direction from Annakin and a quality cast it is a solidly entertaining, if occasionally nasty, gangland thriller.  

The Ladykillers (1955)

The Ladykillers (Dir: Alexander Mackendrick, 1955).

Alec Guinness heads an ensemble cast in the last great Ealing comedy. 

Seemingly mild mannered Professor Marcus (Guinness) leads a gang of oddball criminals, masquerading as classical musicians, in the planning and execution of a daring bank van raid. When their elderly landlady Mrs Wilberforce (Katie Johnson)  learns of the wrongdoings they all agree she must be silenced. However, Mrs Wilberforce is not as easy to do away with and their perfect crime begins to go awry. 

Disguised with an oversized set of false teeth, Alec Guinness is excellent in his role as the cardigan wearing criminal. An outstanding ensemble cast makes up the rest of the gang. Cecil Parker as a corrupt retired army major, Herbert Lom as a Soho gangster, a subdued Peter Sellers as a cockney spiv and Danny Green as a dim-witted heavy all give superlative performances. Upstaging them all, however, is the marvellous Katie Johnson as the seemingly frail but no-nonsense little old lady who outsmarts the robbers. Also notable is perennial police man Jack Warner as police superintendent and Frankie Howard in a small role as a disgruntled barrow boy. 

One of only a handful of Ealing productions shot in Technicolor, cinematographer Otto Heller's beautiful muted colour palette lends it an oddly surreal, atmosphere. This is complemented by Jim Morahan's excellent art direction; the wonderful tumbledown Victorian house in which much of the movie is set adding to the general off kilter ambience.

Director Alexander Mackendrick fashioned a deliriously dark comedy of the highest order; the only film blacker in the Ealing canon is Kind Hearts and Coronets. He elicits career best performances from his distinguished cast in what is among his greatest films. The Ladykillers was to be Mackendrick's last film for Ealing. The following year he decamped for Hollywood to direct the excellent Sweet Smell of Success (1957). By the end of the 1960s he had retired from filmmaking and was made Dean of the Walt Disney founded California Institute of the Arts. He remained at CalArts for over two decades,  until his death in 1993. 

William Rose's BAFTA winning and Oscar nominated screenplay balances the light and dark with tightrope precision; neatly offsetting the contrasting worlds of ruthless criminals and twee little old ladies. Some broad farce involving an escaped parrot should sit uneasily with the subtle humour but, amazingly, the whole thing gels perfectly. Rose also made his way to Hollywood post Ealing and was responsible for classics It's a Mad, Mad, Mad, Mad World (Stanley Kramer, 1963) and Guess Who's Coming to Dinner (S. Kramer, 1967)

The Ladykillers has the distinction of being the last comedy shot at the Ealing Green studios before the location was sold to the BBC. Ealing would continue as a production company based at Borehamwood, through a deal with MGM British. But at this point they were a company in decline. By the end of the decade Ealing would cease to exist. As well as being the last comedy shot at the studio, The Ladykillers was also the last truly classic Ealing comedy. More comedies were to follow: Barnacle Bill (Charles Fend, 1957) is in the classic Ealing mould, while Who Done It? (Basil Dearden, 1956) and Davy (Michael Relph, 1958) were really vehicles for established stars Benny Hill and Harry Secombe, respectively. All three are worth watching but cannot help be viewed as disappointments considering the Studio's track record.

In actuality comedy only made up a small percentage of Ealing output; their run of wartime drama, social realist films and occasional ventures into portmanteau horror are equally notable. However comedy has proven to be Ealing’s lasting legacy. Not only is The Ladykillers an important film in British cinema history, it is also unarguably a masterpiece of comedy movies. Its mix of humour and thrills is irresistible and as an ambassador for the Ealing legacy it cannot be bettered. 

Joker (2019)

Joker (Dir: Todd Phillips, 2019)

Joaquin Phoenix stars in Todd Phillips much anticipated movie based on the DC comic book villain the Joker. 

Set in a pre-Batman Gotham City, Joker charts the descent into madness of failed comedian Arthur Fleck (Phoenix). Fleck bears a depressing, isolated existence, working as a clown-for-hire by day and caring for his elderly mother by night. Fired from his job and suffering a beating at the hands of Wayne Enterprises employees, Fleck turns vigilante on those who those he feels have wronged him, while desperately trying to find acceptance in an uncaring society, ultimately becoming his alter ego Joker. 

Joker has divided critics and audiences and I can understand why. 

Director Phillips found fame with comedy movies Old School (2003) and The Hangover (2009), but his Joker is anything but funny. In many respects it is a love letter to 70s cinema; paying homage, in particular, to the work of Martin Scorsese, notably Taxi Driver (1976) and King of Comedy (1983) and Paddy Chayefsky’s dark media satire Network (Sidney Lumet, 1976). Borrowing its themes and visual style from those movies, Joker could be accused of being derivative, but it certainly is a handsome production; its gritty 70s milieu is arguably its strong suit. 

Phoenix’s central performance is undoubtedly powerful and very intense. Many will acclaim this while others, myself included, may find it a little overwrought and lacking subtlety. By contrast, the surprisingly low-key performance by Robert De Niro, as a late night talk show host, is one of his best in recent years. Zazie Beetz, in a relatively small but important role as Fleck’s neighbour was the standout among the cast for me. 

Much controversy has arisen over the glorification of violence in the movie. Yes, it is brutal in places but I feel this is inevitable in a DC origins movie about a deeply disturbed, complex character. This is no PG13 or 12A superhero movie. Take heed of the rating, it is a relentlessly dark and very distressing movie and is definitely not suitable for children or young teens. This is a movie whose lead character is suffering mental illness and this was my major problem with Joker. I understand the movie’s conceit that Fleck is the manifestation and result of an unfeeling, disinterested society. However, I feel very uneasy about how mental health is paraded as entertainment and found its depiction here both cruel and potentially damaging. 

I wanted to love Joker but I didn’t. I don’t wish to discourage anyone else from watching the movie; this review represents my personal opinion. This may well be a movie that you enjoy as others at the screening I attended obviously did. For me both the handling of the theme and Phoenix's performance were lacking in sensitivity and bordering on the offensive. A disturbing and unsettling viewing experience that I would have difficulty recommending. 

Viceroy's House (2017)

Viceroy’s House (Dir: Gurinder Chadha, 2017).

Viceroy’s House is a fact based drama detailing the events surrounding the Partition of India from British born Indian director Gurinder Chadha.

Set in 1947 Delhi during the dissolution of the British Raj. As the last Viceroy of India, Lord Louis Mountbatten (Hugh Bonneville) is to oversee the transition from British rule to Independence. India is a country divided, between those who wish the independent nation to remain intact and those who wish to establish the separate Muslim country Pakistan. Against this backdrop is the Romeo and Juliet-esq tale of Jeet (Manish Dayal) and Alia (Huma Qureshi) whose love is thwarted as he is Hindu and she is Muslim.

The Partition of India was a bloody mess at the hands of the UK government. As the film's postscript informs us "14 million people were displaced and one million Hindus, Muslims and Sikhs died". It is a dark episode in 20th Century British history rarely spoken of in the UK. For this reason, Viceroy's House is a difficult film to criticise, as it relays such an important story. Perhaps it can only be faulted for not depicting how truly horrific it was. 

Dividing its time between the political mechanisms of the government and the human drama of the house's servants does lend it an air of Downton Abbey does India; something that the casting of Hugh Bonneville, in full on Earl of Grantham mode, only serves to reinforce. However, Bonneville is very effective as the beleaguered Mountbatten faced with the thankless and controversial task of dividing India. He is surrounded by a quality supporting cast of acting legends including Gillian Anderson, Michael Gambon, Om Puri and Simon Callow. As the star-crossed young lovers Manish Dayal and Huma Qureshi are both touching and appealing. 

Director Gurinder Chadha is a talented filmmaker. Her feature is incredibly moving and made more powerful by the knowledge that it draws upon Chadha's own family history; her grandparents were among those displaced and her aunt starved to death on the migration. 

It could be argued that Chadra's gentle approach to Partition does make a challenging subject more accessible for audiences. The fact that it addresses an issue largely untold in film is significant, however more palatable that issue has been made. Viceroy's House is a very good movie with an important story to tell. The powerful tale will certainly provide uncomfortable viewing for many, but do not let that dissuade you from watching this ultimately very moving film.