scruffy58 Reviews

The Trouble with Angels (1966)

Gentle and sweet

[8/10 · 28 November 2014]

This film has been a favorite of mine for nearly 45 years now and I have seen it countless times. The comedy is gentle - not laugh-out-load - and the quieter moments are full of grace. As a matter of fact, the comedy actually supports and enhances the drama, and it is these moments in which the film really shines. The casting is perfect - Rosalind Russell makes for a very believable Mother Superior, a woman who is not without her faults but who is filled with humanity and patience. Haley Mills as Mary Clancy and June Harding as Rachel Devery make a terrific duo as mischievous students. In particular, Mary's growth and transition throughout the film are filled with wonderful details for those with an eye for such things. The supporting cast is terrific as well with Marge Redmond a standout as Sister Liguori, a close friend and confidant of Mother Superior, and the ever reliable Mary Wickes as Sister Clarissa, whistle and all. The direction by the great Ida Lupino is assured and understated and the memorable score by the great Jerry Goldsmith is full of warmth and charm. Each time I view this film, it is like visiting an old and dear friend. The visit is filled with humor, pathos and bittersweet moments, much like life itself.

Godzilla (1954)

The masterpiece still works its awful magic

[10/10 · 14 May 2014]

I recently attended a screening of "Gojira" at a local theater. I have seen it many times on DVD and Bluray, but this was my first opportunity to see it on the big screen. The film was just beautiful - the print itself cleaned up and the soundtrack sounding much better than I had expected it to. The film is a real treat to see on the big screen, as one can see greater attention to detail. There are some gorgeously framed and filmed compositions of the characters and the emotional context of the film - the triangular love story set against a very strong anti-war statement - was actually quite palpable and had a greater impact. The acting was all first-rate (some of the cast had already worked with Akira Kurosawa), the nighttime attacks actually nightmarish and the musical score by Akira Ifukube is, in my opinion, one of the greatest scores ever written for cinema. The film is, at times, very uncomfortable to watch: the radiation burns of the survivors in triage, the mother clutching her children as they are about to die, the heroic death of one of the major characters, the camera pan of a devastated Tokyo mimicking film footage of the burned and shattered remains of Hiroshima and Nagasaki. The only things that didn't work on the big screen were the jet fighters - one could easily see the wires. Other than that, I truly feel the film is a masterpiece and one to treasure.

Frankenstein vs. Baragon (1965)

Better Than Average Subplot

[7/10 · 1 March 2008]

It was a treat to finally see this classic film from my childhood. Of course, I was previously exposed to the truncated American cut. I was delighted to see that there were some better than average scenes underscoring the (at times) silly monster plot. I was very impressed with the relationship between Dr. Bowen and Dr. Togami. The ongoing dialog concerning the two cultures differences in cooking and humor was refreshing. I was also impressed with the sequences with Kazuko, the young girl dying from her exposure to the radioactive fallout from the atomic bombing of Hiroshima 15 years earlier. When she presented her handmade pillow to Dr. Bowen (as a remembrance of her since she knew she was dying), it was quite moving. This was a serious sidebar to the confrontations between the unfortunate looking Furankenshutain and Baragon monsters. The sequence when Drs. Bowen and Togami visit the grave of Kazuko was beautifully filmed and scored. If one saw that sequence alone outside of the film, one would never know that is was from a Japanese monster film. The entire film features one of Akira Ifukube's very best scores. As in other Toho productions, he really helped to humanize the monsters and give some pathos to the proceedings. His somber themes really do create a fair amount of sympathy for Furankenshutain. The ending of the International version is very different from the American version that most people are familiar with. The appearance of the Devil Fish comes out of left field and is rather awkward. As with all Toho productions, some of the visual effects are outstanding while others are less than convincing. This film is a welcome addition to my Japanese science fiction library. The film is a more somber than usual entry and it should be noted that the acting is better than average from the two leads - an effective Nick Adams and the very lovely Kumi Mizuno.

Under the Yum Yum Tree (1963)

Bright performance by lovely Carol Lynley

[6/10 · 10 November 2005]

Sure, the premise is sleazy, Jack Lemmon is embarrassing but the film is fast paced and certainly bouncy. The main reason to watch is because of a very charming and funny performance by the lovely Carol Lynley. Although she hasn't had many chances during her career to show off her comedic talents, this film contains a wonderfully funny scene in which Ms. Lynley's character is drunk. Her boyfriend, played perfectly by Dean Jones, is trying not to take advantage of her 'accessibility'. She runs the gamut from sexy to goofy with excellent timing. It is a wonderful performance and one that helps to take an edge off of the sleaziness of the main plot (Mr. Lemmon's apartment manager trying to deflower all these attractive young women).

Return to Peyton Place (1961)

Sequel misfire

[9/10 · 9 November 2005]

This sequel to the sturdy and beautifully made "Peyton Place" is not very good. The chief problem is the curious time warp. It appears to take place in 1961, the year the film was made, but the original took place during the Second World War. There is roughly a 15 year time gap, but no one has appeared to age much. Whats going here? The usually reliable Carol Lynley is rather miscast as Allison MacKenzie in an awkward transition role from her previous strong performances in films like "The Light In the Forest", "Blue Denim" and "Holiday For Lovers". Here she plays her first truly adult role, but comes off looking rather frumpy with that awful hairstyle hiding her stunning good looks. Tuesday Weld as Selena Cross suffers much the same fate. Everything appears drab and lethargic. Franz Waxman's score and Mary Astor's mother-in-law from Hell are the prime reasons to watch this disappointment.

The Shuttered Room (1967)

Overdue for a DVD release

[8/10 · 8 November 2005]

I haven't seen this film in many years now, but it has always stayed with me. It has a terrific creepy air to it. The feeling of desolation, the barbaric local thugs led by the perfectly cast Oliver Reed; the lovely and vulnerable Carol Lynley, trying to unlock the mysteries of her childhood; the jazzy score (I can still remember the main titles - the camera peering through the windshield of that cool Thunderbird convertible looking upon Ms. Lynley's gorgeous face while the reflection of trees pass over her image and all the while the peculiar and somewhat jarring title music underscores the visuals). Great stuff. Sadly underrated and now, seldom seen, this film is a perfect companion piece to Ms. Lynley's other top drawer film - 1965's "Bunny Lake Is Missing". A DVD release is in order.

Crosscurrent (1971 TV Movie)

Made for TV gem

[10/10 · 7 November 2005]

This gritty Made-for-TV film from 1971 boasts terrific on location photography in San Francisco; a mature, tight script; a well paced, pounding score by the awesome Jerry Goldsmith and good performances, especially by the lovely and likable character portrayed by Carol Lynley, no-nonsense SF police detectives Robert Hooks and Jeremy Slate, the always reliable Simon Oakland and a surprisingly good turn by Robert Wagner. Its a shame that the original title - The Cable-Car Murder - was dropped since the body found on the cable-car at the beginning of the film was the catalyst for setting the plot in motion. One of the better made-for-TV films from the early seventies. Tense and exciting, it deserves to be revisited and preserved on DVD.

Update: the terrific, sparse soundtrack by Mr. Goldsmith has been released and the liner notes say that 'Crosscurrent' was the original title. It was recut and renamed 'The Cable-Car Murder'.

Bunny Lake Is Missing (1965)

Lynley at her best

[10/10 · 7 November 2005]

I was thrilled when this film was finally released on DVD. I've always considered it among the best work of Carol Lynley. I love the b&w photography, the mostly dreary London settings, and the host of oddball characters. I especially like the chemistry between Laurence Olivier and Carol Lynley, especially during the pub scene. It is no surprise that Mr. Olivier turns in yet another terrific performance, but it is Ms. Lynley herself who delivers the goods. She carries the film on her shoulders and does a marvelous job. One isn't quite sure throughout the film exactly how stable her character is. It is particularly telling how, in the final scenes, she is able to revert to the level of the true and insane villain of the piece and knowingly acts rather deranged simply to gain some leverage. Excellent work.

A Light in the Forest (2003)

Sweet little family film

[19 January 2004]

This is a sweet little family holiday film that will appeal mostly to people looking for some undemanding and wholesome entertainment. The story mixes a long ago fantasy world with a modern day Southern California that goes a long way in trying to instill the holiday spirit in a lovely but lonely young lady nicely played by Danielle Nicolet. Of special note here is the appearance by Carol Lynley as the young lady's sweet and caring grandmother (another good performance).

Neon Signs (2002)

Interesting for cast

[6/10 · 19 January 2004]

This minor little film that never saw the big screen is interesting mainly for it's cast. It is a treat indeed to see the the three leads - William Smith, Carol Lynley and Barbara McNair. These old pros have a wonderful and effortless chemistry together - especially the on-screen jibbing and bickering of Lynley and McNair (who have the telling names of two of the virtues - Grace and Faith). They offer delightful performances that belie the serious undertones of their on-screen crime spree. Add a grizzled (and rather sad) performance by Smith and you have enough talent to offset the attractive but lack-luster lead (Matt Dotson) and an uneven script. The low-budget adds to the charm of this curious little road picture. Given the right director and script, Lynley (an under rated actress) can pull in a fine performance. Its a treat to see her in a more recent film. Kudos to the leads.