I grew up hearing about Bob Hope and Lucille Ball. It was more about his television credits and hosting accomplishment. I’d say hosting the Academy Awards 19 times, which to my understanding is a record that still holds up to this day, is something to be proud of. Hell, his next closest competitor is Billy Crystal, who is still ten behind him. Then there is Lucille Ball, who is obviously most notable for her popular television series, I Love Lucy. I hear about these comedic icons all my life and now through Fancy Pants, the second of four films that these two collaborated on. I got to see them in action. And while there is much about the film’s brand of comedy that went over my head, it was easy to see the appeal of these two, as individuals and as a comedic pairing. Based on a musical by the name of Ruggles of Red Gap, Hope stars as Humphrey, real name Arthur Humphry, a struggling American actor masquerading as British to be part of a British acting troupe. When another British actor enlists the cast to pose as an aristocratic family in order to impress visiting Americans, Effie and Agatha Floud (Ball), Humphrey, pretending to be the family butler
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“In the 1940’s, a new genre – film noir – emerged from the world of hard-boiled pulp magazines, paperback thrillers, and sensational crime movies. These films, tough and unsentimental, depicted a black and white universe at once brutal, erotic, and morally ambiguous.”

Film Noir officially started in the 40’s, but the movement was well underway by the early 30’s. You can trace its roots to the Great Depression and the arrival of the dime pulp magazines. These were highly stylized, mostly mystery stories that provided cheap escapism for the masses who were not having a good time of it. Writers like Raymond Chandler crafted the mold that was easily transferred to the silver screen. These were low-budget films that were intended to be second billing with the more mainstream releases. They were shot quickly. Many have a very flat look, created intentionally. The lighting was often minimal, crafting odd shadows and unusual textures.
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France is a country that is absolutely saturated by a rich cinematic history. Beginning in the late 1890’s with the Lumière Brothers and their Cinématographe, traveling to the middle of the century with Cahiers du Cinéma, the French New Wave, and Cinéma Vérité; all the way to more contemporary French cinema. The country still makes incredible waves that influence the film industry. Interestingly, the term “film noir” came directly from French film critics, commenting on the low-key lighting used in many of the gangster films of that time period, calling them “black films” or “dark films.” It wasn’t until the 1970’s that Auteurs began to intentionally make film noir, however, the characteristics of classic film noir were not lost on French filmmakers who consumed these “dark films” as means of inspiration
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Director William Wyler is a bit of an icon when you look back in Hollywood history. He’s a director with such classics under his belt as Roman Holiday, Funny Girl, and then of course Ben-Hur. But before he filmed those, he did a smaller and more intimate film called Detective Story. This isn’t a big spectacle, but instead it is a gritty drama that takes place over a single day in a New York police station. The film is so simplistic in scope that it’s no surprise that it was originally a stage play, but it’s Wyler’s direction that elevates this film to something bigger. Then there are the remarkable performances from Kirk Douglas and the rest of the cast that make this film better than the potential snore-fest this could have been. Jim McLeod (Douglas) is a hard-nosed cop who likes nothing more than to take the criminals down in his city, to the point that he doesn’t realize it’s been days since he’s been home and seen his wife.  He’s about to head out when he has an encounter with a criminal that sets McLeod off, and he attacks then criminal in custody. The altercation is bad enough to send the criminal to the hospital and jeopardize McLeod’s career. This is just one of the stories going on in the police station.
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“I’m going to make you an offer you can’t refuse.”

Everybody loves an origin story. The comic book films are loaded with them. Fans have this unquenchable curiosity. We want to know how our heroes became what they are. The same can be said for our favorite movies. I recently read It’s Alive. It was a look at the making of Frankenstein through the eyes of the various principals. But it was also a story of the studio system at the time of the early 1930’s. I spoke to the author, Julian David Stone, and we talked about how much that story is an integral part of the story of that one particular film. You can listen to that chat here. Now Paramount + has given us a limited series event that takes us back to the late 1960’s and early 1970’s and takes a dramatic look at the making of The Godfather. Appropriately enough, it’s called The Offer, and it just might be the best season of television I’ve seen in at least a decade.
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“There is an old saying that blood is thicker than water.”

We’ve had Keeping Up With The Kardashians, Gene Simmons with his Family Jewels, and even Snoop Dog’s Father Hood. It’s become a bit of a trend to follow these celebrity families around and watch the drama of their privileged lives unfold on our television screens. You might think it’s a relatively recent phenomenon, but would you believe they were doing it back in the infant days of television when we followed around a musician named Ozzie and his wife way back in 1952? No, we’re not talking about Ozzie Osbourne and his family. I’m talking about Ozzie and Harriet Nelson. They were television’s darling family before we ever heard about Lucy and Desi. The show actually started on radio like many of the fledgling industry’s early hits including the likes of Gunsmoke. Four years after the radio brought us The Adventures Of Ozzie And Harriet, they moved to television.
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Some movies are simply timeless. The Apartment (1960) is one of those films that I feel still holds up today and is still rightfully considered a classic. Then there are films like Peking Express (1951) that may have been good for their time, but my experience with the film just felt like a chore I couldn’t wait to finish. It’s not that the film did anything wrong. It was shot well, had decent acting, and the story was simple, but it just didn’t grab me. I like older films. I never had a problem with B&W films, but I guess to simply put it, this one just didn’t do it for me. That’s not to say that this film is bad. It just wasn’t my cup of tea, I guess you could say. The focus is mostly on Dr. Michael Bachlin (Joseph Cotton), a doctor who works with the World Health Organization who is traveling from Shanghai to Peking.
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The 1972 film The Valachi Papers is the mostly true story of Joe Valachi, who was made famous/infamous for his testimony to the US Senate about the activities of the Cosa Nostra, or what we more commonly call the mafia. I have to be honest; I don’t’ know how this film has escaped me for so long, I hadn’t even heard of it till Kino pulled this one from the vaults to release on Blu-ray. For film lovers, and especially those who love a good old fashioned gangster film, I’d say this is a must-watch, mostly because the first thing that came to mind while watching this film is how much this film must have influenced Martin Scorsese and his approach to making Goodfellas, If that’s not enough to get you to want to check out the film, well, let me tell you a little more about it.
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I was surprised to read that actor Henry Silva passed away back in September; he’s one of the great tough-guy actors who thrived in the 60’s and 70’s that we just don’t have any more. Personally I was a fan of his Euro Crime films, The Boss and The Italian Connection. Silva just had a way of exuding cool and badass that in  my eyes made him a rock star on the screen. He was like a rougher Charles Bronson. He was in two movies that made a big impression on me as a kid. Granted they are both glorified B movies, but Allan Quaterman and the Lost City of Gold and Alligator (1980) were movies that were in a high rotation for me as a kid, and it’s Henry Silva’s mean-guy mug that has stuck with me for so long.
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