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. 

Father Brown aka The Detective (1954)

Father Brown aka The Detective (Dir: Robert Hamer, 1954).

The second big screen outing for G K Chesterton's fictional detective Father Brown, adapted from his 1910 short story The Blue Cross.

Roman Catholic priest and amateur detective Father Brown (Alec Guinness) pits his wits against elusive master criminal Flambeau (Peter Finch), intent on stealing a priceless cross from the clergyman. 

Originally exhibited in the UK as Father Brown, the movie is now more widely available in prints bearing its US title The Detective. A glance at Father Brown’ s cast and crew and one would be forgiven for thinking this Columbia Pictures release was an Ealing Studios production. Director Hamer is reunited with his Kind Hearts and Coronets (1949) stars Alec Guinness and Joan Greenwood, whilst Ealing alumni Peter Finch, Bernard Lee, Sidney James and Cecil Parker all feature. However, any similarity between this lightly humorous detective story and an Ealing comedy ends here.

Languishing part way between comedy and mystery, the movie straddles both genres without a firm footing in either. Never reaching the witty heights of Kind Hearts and Coronets and not quite exciting enough to convince as a thriller. It ambles along nicely enough but lacks the narrative twists and turns that would have elevated the story above the mundane. Thelma Schnee and Hamer's screenplay never quite manages to over come the source material's inherent quaintness and at times threatens to become unbearably twee.

Following his outstanding work at Ealing, Father Brown is a surprisingly lightweight addition to Alec Guinness' resume. Yet he is excellent as ever here, once again immersing himself chameleon like in the role of Brown. He is matched by the equally impressive Finch in a rare comedic performance for the actor, albeit not one especially played for big laughs. The rest of cast are, unfortunately, somewhat underused in what is largely a two-hander between Guinness and Finch.

Father Brown is good movie, but can't help but feel a little bit of a disappointment considering the talent involved. With the potential to be a masterpiece it is merely a diversion, as entertaining a diversion as that may be. Everyone involved has made better movies, but Father Brown is still worth a watch, if only for the excellent performances from its leading men. Not quite a classic, but a high quality time passer nonetheless.

The Lavender Hill Mob (1951)

The Lavender Hill Mob (Dir: Charles Crichton, 1951).

A classic comedy from the golden age of the Ealing Studios.

Mild mannered bank clerk 'Dutch Holland' (Alec Guinness) concocts a daring gold bullion robbery. Engaging the help of souvenir maker Al Pendlebury (Stanley Holloway) they execute the crime and disguise the gold in the form of miniature Eiffel Towers. However, things do not go to plan when a casement of the souvenirs is accidentally opened and sold to group of British schoolgirls. 

1951 was a vintage year for Ealing comedies; with both this and The Man in the White Suit (Alexander Mackendrick) hitting UK cinemas in summer of that year. Like that film, The Lavender Hill Mob is a masterpiece. It is less satirical, but equally humorous as it gleefully sends up Ealing’s own popular crime dramas such as The Blue Lamp (Basil Dearden, 1951) and Pool of London (Basil Dearden, 1951). Director Charles Crichton effortlessly apes the quasi-documentary realist approach of those movies. The heist itself is as thrilling as it is humorous and makes excellent use of its real life London backstreets and warehouse locales. Crichton also manages to out Hitchcock Hitchcock with a vertigo inducing sequence which sees Guinness and Holloway make a dizzying descent down the steps of the Eiffel Tower. Reminiscent of the Statue of Liberty climax of Saboteur (Alfred Hitchcock, 1942) but a full seven years before a similar scene in Vertigo (A. Hitchcock, 1958).

Significantly for a British film of the era, it was rewarded by the American Academy with two Oscar nominations, winning Best Original Screenplay for TEB Clarke’s excellent script. Alec Guinness was unlucky not to win in the Best Actor category, losing to Gary Cooper for High Noon (Fred Zinnermann, 1951). As the criminal mastermind with the meek exterior he delivers another excellent performance; eliciting audience sympathy for a character which could have easily evoked apathy. Guinness would eventually win an Oscar for The Bridge on the River Kwai (David Lean, 1957), but it is detrimental to the Academy that they never rewarded him for one of his superlative comedy roles. Stanley Holloway is equally effective in the less showy role of co-conspirator. Surprisingly this was Guinness' and Holloway's only collaboration, although both appeared in numerous Ealing Studios productions. They make for a winning comedy team here, supported by Sidney James and Alfie Bass as fellow Mob members. Making a brief appearance in the opening sequence is future Hollywood legend Audrey Hepburn.

The Lavender Hill Mob made more impact internationally than any other Ealing film. Its theme of longing to escape from day to day drudgery is clearly a universal one. Like the best of the Ealing comedies it has hardly dated, despite its obvious post-War trappings. I would argue that The Man in the White Suit is the greatest of Ealing comedies but this movie is almost its equal. Excelling in all areas: writing, directing and acting, The Lavender Hill Mob is another Ealing masterpiece. 

The Computer Wore Tennis Shoes (1969)

The Computer Wore Tennis Shoes (Dir: Robert Butler, 1969).

Kurt Russell stars in the first of Walt Disney Productions' Dexter Riley trilogy. 

Ordinary Medfield College student Dexter Riley (Russell) acquires extraordinary knowledge after an electric shock from the science lab computer. Now able to learn facts and figures at lightning speeds, he finds himself mingling with the world's top intellectuals and winning TV game shows. However, he also finds himself dealing with bent bookie A J Arno; details of his illegal gambling ring having also been stored on the machine.

From the groovy opening titles, with its colourful graphics and song lyrics describing the "uptight, but outta sight" Dexter as "turnin’ on every chick in town at a cosmothropic pace", it is painfully obvious we are in the late 1960s. 1969 to be exact. However, as this is 1969 as depicted by the Walt Disney Studios there is no mention of the Vietnam War, no student protests, no Woodstock and certainly no drug taking. The Medfield bunch are clean-cut college kids, the like you only find in the movies. The Computer Wore Tennis Shoes is pure fantasy, but none the worse for that. After all, where would we be without escapism. 

A decade after their first foray into live action fantasy comedy with The Shaggy Dog (Charles Barton, 1959) one might expect the formula to be wearing a little thin. But actually The Computer Wore Tennis Shoes finds it in pretty robust form. As the 1970s drew to a close the Disney brand of slapstick had become somewhat tired, but this and the same year's mega-hit The Love Bug (Robert Stevenson, 1969) proved that audiences still had an appetite for such wholesome high jinks. It's all innocent, inoffensive fun, with the attractive youths, inept crooks and car chases that fans of 60s/70s era Disney comedies had come to expect. Granted, to modern audiences this will seem hopelessly dated and even a little quaint, but vintage tech fans should get a kick out of the computer; a behemoth of a machine that takes up an entire wall! 

Much of the movies appeal comes from the game playing of its appealing cast. 18 year old Kurt Russell was always one of Disney's most likeable leading men and here proves himself adept at light comedy. He is supported by an accomplished cast, notably Joe Flynn as the long-suffering Dean Higgins and TV Batman's The Joker Cesar Romero as shady businessman A J Arno. Disney regular Richard Bakalyan played one of his many small-time hood characters; a role in which he seemed eternally typecast. 

The Computer Wore Tennis Shoes was a significant hit for Disney and spawned a valuable franchise. Two sequels followed Now You See Him, Now You Don't (Robert Butler, 1972) and The Strongest Man in the World (Vincent McEveety, 1975), while a remake would appear on US TV in 1995. Factor in that the earlier The Absent-Minded Professor (Robert Stevenson, 1961) and sequel Son of Flubber (Robert Stevenson, 1963) were also set at Medfield College and those movies' villain Alonzo Hawk would appear in Herbie Rides Again (Robert Stevenson, 1974), it would appear that Disney were establishing cinematic universes long before Marvel! 

Nobody would argue that The Computer Wore Tennis Shoes is a masterpiece. Yet, at the same time it would be churlish to be over critical of it. It is lightweight fun that sets out to entertain and in this it succeeds. Perhaps best enjoyed for nostalgia value today; a whimsical period piece but with enough easygoing charm to coast through its 90 odd minutes.

One Hundred and One Dalmatians (1961)

One Hundred and One Dalmatians (Dir: Wolfgang Reitherman, Hamilton S Luske & Clyde Geronimi, 1961).

Walt Disney's classic animated feature based upon Dodie Smith's novel The Hundred and One Dalmatians.

One Hundred and One Dalmatians tells the story of dalmatians Pongo (Rod Taylor) and Perdita (Cate Bauer), whose 15 puppies are stolen by the evil Cruella de Vil (Betty Lou Gerson). With the help of cohorts Horace and Jasper, Cruella intends to turn these and 84 additional pups into spotty dog skin coats. Utilising the ingenious Twilight Bark dog social network, Pongo and Perdita track their offspring to Cruella's abandoned Hell Hall country estate and embark on a daring rescue.

Following the expensive failure of Walt Disney's previous animated feature, the elaborate Sleeping Beauty (Clyde Geronimi, 1959) it was clear that cost cutting measures were in order if the animation department was to continue. One such measure was the development, by former animator Ub Iwerks, of a Xerox process which copied the animator's art directly onto celluloid, effectively eliminating the time consuming procedure of hand inking drawings onto cell. In a film with one hundred and one spotted characters this was a significant time and money saver. 

The Xerox process resulted in a somewhat rougher style of animation, characterised by a sketchier look at odds with Disney's lush 1950s product. While some, Walt included, bemoaned the loss of a more lavish finish, it is fair to suggest that without Xeroxing a movie like One Hundred and One Dalmatians would have been impossible. However, what the movie lacks in polish, it more than makes up for in style. With it's impressionist background art and loose, stylistic approach to character design ...Dalmatians was Disney's most stylish and contemporary animation to date. Nearly sixty years after release it's highly graphic Mid-century modern stylings are as fresh and appealing as ever. In fact it's difficult to recall any other animated feature with such a dramatic and arresting visual style. In particular, praise must be given to beautiful rendering of early 1960s London; effortlessly capturing the spirit and atmosphere of the city and it's surrounding countryside.

Matching the impressive visuals is an exceptional well realised screenplay by Bill Peet. One Hundred and One Dalmatians is an expertly crafted thriller, tightly plotted and exciting while remaining lighthearted and extremely witty. It is populated by a fantastic cast of characters, not least Cruella de Vil, possibly the greatest of all Disney villains. Clean-cut canine leads Pongo and Perdita are both heroic and charming and audiences will have no trouble identifying with the parental pooches on their daring quest to rescue the stolen pups. Unusually for Disney, the movie was not a musical; especially ironic as Pongo's human pet Roger's occupation is songwriter. However, music plays important role; Mel Levin's jazz infused score complimenting the modernist animation perfectly. The one significant musical number named for baddie Cruella de Vil is a classic!

One Hundred and One Dalmatians easily ranks among the greatest of Walt Disney's many significant achievements. Its flawless storytelling, top notch vocal work and fantastic music combine to make ...Dalmatians a masterpiece of movie making. Best of all is its beautiful visual style; a bold departure for Disney, but one that certainly paid off in one of their most commercially and artistically successful features. 

The Shaggy Dog (1959)

The Shaggy Dog (Dir: Charles Barton, 1959).

Walt Disney's first live-action comedy movie, suggested by 'Bambi' author Felix Salten's novel 'The Hound of Florence'. 

Wilby Daniels (Tommy Kirk) discovers an ancient Borgian ring which magically transforms him into a shaggy Bratislavian sheepdog. Unfortunately for Wilby he has no control over when or where he will change. Also unfortunate is Wilby's father (Fred MacMurray) is a dog hating postman! As if this wasn't problem enough, Wilby is soon mixed up with Russian spies in what is undoubtedly one of the oddest concepts for a movie of all time!

Two years before the release of The Shaggy Dog, the Disney Studios scored a massive hit with Old Yeller (Robert Stevenson, 1957). This set the standard for a series of boy and dog movies such as Big Red (Norman Tokar, 1962) and The Biscuit Eater (Vincent McEveety, 1972). On the surface The Shaggy Dog might appear to be another boy and dog movie but the twist here is that the boy IS the dog. This weird set up was a welcome riposte to horror movie I Was a Teenage Werewolf (Gene Fowler Jr, 1957) and set the template for the seemingly endless steam of kooky comedies released by Disney for the next two decades. 

Originally intended for television, The Shaggy Dog has the feel of a homely 1950's sitcom. Star Fred MacMurray would soon be seen in long running TV comedy My Three Sons (1960-72) and much of the cast were familiar to TV audiences from Disney's Mickey Mouse Club (1955-59). Notably, it was the first feature film of Mousketeer and teen phenomenon Annette Funicello. 

Fresh from Old Yeller, Tommy Kirk was one of Disney's most appealing juvenile stars and here shows a knack for quirky comedy. MacMurray too, though a highly capable dramatic actor, had a flair for light comedy. Although at times he doesn't elicit much audience sympathy, chasing the dog with a shotgun, for example! Rasp voiced Kevin 'Moochie' Corcoran makes one of his many appearances as Kirk's younger brother. His turn as a youngster who desperately wants a dog stays just the right side of cute. 

The plot is ludicrous, certainly, but it is very funny. Much of the humour comes from sight gags such as the dog putting on pyjamas and cleaning his teeth. Honestly, there is little I find funnier that a sheepdog driving a hot rod! The pre CGI effects that allow Wilby to turn canine are neat, low tech but effective. 

Turned down for TV by the ABC Network, The Shaggy Dog would eventually make over $12 million at the US box office, a massive return on an investment of around $1 million. It would prove to be a durable brand for Disney; two sequels followed The Shaggy DA (Robert Stevenson, 1976) and the TV movie The Return of the Shaggy Dog (Stuart Gillard, 1987). It was further twice remade, for TV (Dennis Dugan, 1995) and again for cinemas (Brian Robbins, 2006). As is often the case, the original is the best. 

60 years after its original release, The Shaggy Dog has lost little of its peculiar charm. Disney comedies were notorious for their reliance on formula. Here the formula still feels fresh. It may not be high art but it is highly entertaining. 

On a side note, the movie was computer colorized in 1986. While I highly recommend this enjoyable shaggy dog story I would implore you to watch it in its original beautiful black and white.