I honest saw a special engagement of this latest 70th Anniversary version of Pinnochio at Disney’s El Capitan Theatre in Hollywood in come of the DVD re-release. Though I am ecstatic to observe the movie be given public exposure on a gargantuan theatrical cloak, over the years I have seen many theatrical screenings of the movie on at least 12 different occasions including an current nitrate 3-strip Technicolor studio vault print in the early 1980′s (before the studio dismantled its last nitrate screening room) and non-digital film restorations and was afraid to gawk that this latest restored version has digitally tampered with the film’s recent color palette for no justifiable reason.
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Some of the chosen character hues are unique day, well-liked color hues, but perceive out of station in this early spellbinding classic including obvious pinks, reds and blues which are reused so often in identical shades that to classic animation buffs it becomes distractingly noticeable. For those animation buffs who know about Pinnochio, Walt intentionally muted colors in some of the scarier or sadder scenes. In the restored version, for example, when Pinnochio gets locked in Geppetto’s “birdcage” the nighttime scene is radiant and garish where it should intentionally be darker and muted.
The modern movie had hand inked character outlines in colors that matched the interior ink colors, none of that is apparent in this restoration. The characters, though admittedly sharper and clearer, survey color-wise like they were electronically tampered with, then reinserted in front of the new backgrounds.
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At this point, the injure is done and obviously this restoration was “stylistic.” But in any case, it might be compared with someone redoing the Mona Lisa with more unique color hues for the purpose of improving the artwork or making it more unique day acceptable. Either two things, perhaps no one at Disney was knowledgeable enough to gaze what the outside restoration company was planning to do with the film in early test segments or maybe they figured that novel day DVD audiences would not know the disagreement or care, but this is the first “DIGITALLY RESTORED” classic Disney film that I have ever taken mumble with. What a let down since it is my very popular Disney film of all!!!
P.S. I was the founder of the feeble, long time Disney employees’ Sharp Film Club (later referred to as the Disney Film Club) which included Disneyland and Walt Disney Studio employees. It was founded in 1976 and continued on and off for many years afterward with visits from surviving novel Disney animators, screenings of rare Disney footage and more.
The one-two whammy of audience and considerable indifference to “Pinocchio” and “Fantasia” killed Walt Disney’s desire to experiment with the limits of animation in the 1940s. From then on, play it superior was his motto. This may be one of the greatest tragedies to beset celebrated American culture in the 20th century; despite the depths of pretension and kitch in “Fantasia,” it was at least evidence of a captivating mind in pursuit of the unattained — but “Pinocchio” must have broken customary Walt’s heart. There are visual effects in this movie that remained unchallenged until the digital age, and it’s worth recalling that every single one of them was drawn by hand. It has one of the most aesthetic and fascinating musical scores in the history of the movies (I can’t hear Cliff Edwards’ high, pure falsetto holding that final ticket of “When You Wish Upon a Star” without chills), a deeply plangent sense of emotion that never tips over into bathos, and a wealth of detail that is unruffled staggering after 65 years. But it may be too dismal a movie to conclude the popularity of more joyful Disney cartoons like “Snow White” — although even that one can frighten the tots. Now: where is the double-disc Special Platinum Edition???
Total Gym 3000
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September 21st, 2010
Even if you are not a automobile audio connoisseur, it’s easy to become impressed with a vehicle music system speaker while searching around in an expo or convention. Honda center caps. They’re the very first thing you’ll almost certainly notice, they come in different colors, shapes and sizes. Those major throbbing concaves blaring incredibly low bass lines or cool little tweeters whistling out seething treble sounds.
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September 8th, 2010
These films are like the 80′s movies that made everything that mattered happen. Ferris, Goonies, Breakfast Club, etc . . . except they are surfing classics, legend documentaries if you will.
**Bruce Brown has the classic surfer fair, and narrates each film poignantly and humorously.
Endless Summer 1 is the classic older film, paced a runt more slowly and fun-lovingly. It sets a colossal preface to Endless 2, an astonishing multi-hemisphere hobble.
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Both films have pleasant cinematography as well as dialogue and interplay between characters. Endless 2 is as goofily trivial as it is deep, as splendid as it is mundane. . .
There are beautiful scenery shots that do Cape Town, Indonesia, Figi, (my fav) and Alaska, justice as extraordinary places not only to surf, but also to objective be.
Our two titillating and yin and yang protagonists, 1, a Pat O’Connell gives suffusively satisfying short board licks, and 2, a. wing-nut supplies all of the long board smoothness to coalesce.
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Five stars, in my to 25 of all time. A truly blooming film made by those who admire life.
This is a animated collection of films that span several decades. Of course, this is a must-see for anyone eager in surfing. However, it also has value to people who might never location foot on a board.
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Endless Summer I was filmed in the early 60s, when most of the world was unaware of surfing. Two young surfers plot out on a valorous prance around the world to fetch unique places to surf. Remarkable of the entertainment in this film comes from the different cultures and characters they meet around the world. One of my favorites was an sharp experience with an African village. This film is considered a classic documentary in the surfing world, and it probably had a lot to do with the spread of surfing around the world.
Endless Summer II was filmed almost 30 years after the first one, but it was filmed by the same man and includes one of the unusual surfers from the first film. Recent advances in surfing and filming are quite evident after watching the two films together. ESII has some dramatic surfing video, including great footage from some of today’s most illustrious surfers. Two novel young surfers follow a similar path to ESI, including visits to some of the same places along with modern places (e.g., Costa Rica) . As with ESI, the film is as mighty about the characters and cultures as the surfing.
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The third fragment of The Endless Summer Collection is a nice follow-up to the first two documentaries. You score a lot of slow the scenes stories about the films and how they came to be. If you enjoyed the Endless Summer films, you will be eager to sight what has happened to some of the characters and to learn more about the account gradual the films.
I don’t know how you can search for this collection without wanting to go out to the beach and derive on a board!
Ultimate Colon Cleanse
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September 3rd, 2010
I was expecting a lot more from this movie than I got. On one level it’s a fairly taut crime drama that takes residence in Tokyo in the mid-Fifties. On the other hand, it has a lot of tough guy cliche dialogue and a performance by Robert Stack that is unprejudiced not marvelous. The tale line is simple, but discover out for spoilers ahead.
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Sandy Dawson (Robert Ryan) heads up a gang of ex-servicemen in Tokyo who pull off robberies with military precision and complete ruthlessness. If anyone gets wounded, he’s killed lawful then. The U.S. Army and the Japanese police join forces to crack the gang. They send in a ringer, Eddie Spanier (Robert Stack), to infiltrate the gang. Spanier is a counterfeit identity; he’s actually an Army crime investigator. What follows is the record of Dawson’s operation and how it works, and of Spanier gradually gaining Dawson’s trust. The climax pits the two against against each other when Dawson at last learns of Spanier’s valid job.
The movie was shot in Tokyo and looks tall. Anyone who has spent time there will sight a number of locations. (One spurious mark is when Samuel Fuller cuts to a scene that was actually filmed in Kamakura at the Large Buddha and at the Hachiman shrine.) Robert Ryan and, in a smaller role, Cameron Mitchell as Griff, his second in jabber, do genuine jobs, especially Ryan. Sandy Dawson is a unsafe man, superficially polite and solicitous, but not far below the surface is a expansive ego, a bound of cruelty and what could be a hint of homoerotic feelings for Spanier. This isn’t stressed, but it explains Dawson’s actions concerning Spanier, and his intensity when he finds he has been betrayed. Dawson is also honest a bit off. His last dialogue with a quiet Griff is not that of a man who is in total verbalize of his marbles. Ryan dominates the movie. Unfortunately, the movie is about the efforts to regain Ryan’s character, and these efforts center on Robert Stack’s character. Stack fair isn’t a kindly enough actor. Sam Fuller evidently wanted Stack to play Eddie Spanier like a staunch tough guy, but Stack can’t carry it off. He “acts” like a tough guy would hump and disappear. He “acts” the method a tough guy would recount and sound. It’s phony from the first sentence out of Stack’s mouth, and it undercuts the effectiveness of the narrative.
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The romance scenes between Stack and Shirley Yamaguchi seem stilted and almost unnecessary, but Fuller pumps up the tension on the action sequences. The dispute robbery, the robbery at the cement factory and the place up for the robbery of the bank bus are well handled. And the showdown between Dawson and Spanier, with the Tokyo police, at a children’s fun park high on top of a business building is big. On balance, however, House of Bamboo’s strong points seem to me to be a nice performance by Robert Ryan and some expansive scenery. The DVD narrate is first rate.
This 1955 Sam Fuller film noir is basically saved, character-wise, by Robert Ryan who plays a vicious crime boss in, of all places, post-WW II Japan. The first American film shot there after the war, this is new for that aspect. Ryan is spacious, as usual; I can’t mediate of one film he’s in that he doesn’t construct better than it is thanks to his presence. He runs a bunch of pachinko (read: pinball) parlors, a front for his crime operations which include robbing American supply trains of all kinds of stuff (the opening scene shows this really well) .
Robert Stack plays an undercover cop who infiltrates Ryan’s gang to bag out exactly how the man murdered at the beginning of the film during the heist bought it. Thanks to not only luminous settings, but Ryan’s mountainous performance, this is better than it should be. The script is kind of ho-hum. Stack is OK, aesthetic apt, not great; he’s Robert Stack. He falls for the widow of the murdered guy; she’s Japanese so Fuller brings in another (semi-) controversial element, interracial savor (which he also did in Crimson Kimono) .
Fuller’s an unusual, no request. Whether that originality is always of high quality is questionable, but he does like to hit the viewer in the face with issues bright social convention and in that respect, he’s definitely worth watching. When he’s great–as in Pickup on South Street, or Shock Corridor–where everything fits together and purrs like a Ford Cobra engine–he’s unbeatable. Here, in House of Bamboo, he gets some of the issues in, but the epic is nowhere advance as strong as it could or should be.
Worth seeing. Owning? I dunno.
Total Gym 3000
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August 20th, 2010
Boy, the reviewers here are pleasing harsh on this movie. Calling it dated is like calling Snow White or Cinderella unrealistic. It’s a frothy laughable well-written & well-acted film with one of Sinatra’s most curious performances & some big abet from Debbie Reynolds, David Wayne & Celeste Holm. Plus one hilarious set-piece scene about a hung-over morning after.
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Directed by the mostly unsung Charles Walters who started off as a dazzling dancer & gargantuan choreographer. Well-worth watching.
By the device, Robert Preston starred in the modern Broadway version the year before.
*The Tender Trap* has got to be one of the most scathing indictments of Fifties life ever attach to hide. The screenwriters practically beat us over the head with their disgust of the reigning conformities. It’s good in the title, after all: “Trap”.
I’m jumpy that, today, this movie will be misunderstood. People will survey it as another dead Sinatra Swinging-Guy movie with a hep exiguous tune thrown in. You gotta read between the lines with this one: judge the Debbie Reynolds character. She says things like “A woman unprejudiced isn’t FULFILLED until she’s married and has children, dontcha assume? ” Her character has a promising career as a stage singer, but will throw it away toot-sweet unbiased as soon as she can procure herself a husband. In fact, her single-minded, frenzied ambition for landing a hubby should send up the red flags for you. The screenwriters, in their bear frenzy of sarcasm, have created a evil figure in the chillingly perky frame of Miss Reynolds. Jeepers, she even goes to some sort of Homemakers Convention, sizing up the appliances and furniture, husband-hunting in the weirdest blueprint I’ve ever seen in a movie — she has several men sit in a easy chair, trying to discern WHICH man best “fits in” with the furniture she’s fond of. Uh, the message is heavenly loud and distinct!
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Sinatra’s buddy from Indianapolis, the not-coincidentally named Joe (the typical American Shmo, 50′s style), loves his wife of eleven years so mighty that he decides to shack up with Sinatra’s Charlie for TWO WEEKS, to do . . . what? Figure it out. This Joe guy, played by David Wayne, is the probably the key to the whole recount, and is certainly contrasted with marriage-and-babies-crazy Debbie Reynolds. We explore the results of a agreeable Fifties marriage: Joe hides out, drinking and smoking like a maniac in his swinger-friend’s sleazy apartment, whining about his wife’s care for of wall-to-wall carpeting and the cost of the kids’ braces. He begins dating one of the swinger’s girlfriends, Sylvia (brilliantly played by Celeste Holm) . This Family Man proposes to Sylvia reach the demolish of the characterize (she talks him out of it) . The hypocrite will return home to his wife in Indianapolis, who will never know how stop her husband came to abandoning her. Getting the understanding? Sylvia’s another key character: in a startling monologue directed at Joe, she talks about how a woman is washed up by the age of 33. There are no available men left (thanks to the emasculating Reynolds types who circle guys like a pride of sharks), and those who are available are nutcases working on their fifth divorce, 19-year-olds looking for Mamas, etc. It’s yet another depressing, scathing, indictment of what was going on culturally.
Another expansive scene is when Sinatra and Reynolds are alone at her parents’ apartment. They turn on TV, and inspect a bathing couple produce out. Panting, Ms. Reynolds switches off the station and opens what she hopes will be a uninteresting art book, which turns out to gain sexy Raphaelite prints. She slams the book closed, only to survey a married couple accomplish out from the apartment across the intention. Furious, Sinatra puts the build on her, and she tells him that the other couple have the “correct” to do that, because of their set of grace as a married couple. Predictably, the scene ends in a spacious fight, which is the only method these horribly repressed people can release all their pent-up hormones.
Invaluable as a survey of 1950′s attitudes toward sex and marriage, *The Tender Trap* will surprise you. It was the Satisfactory Veteran Days . . . and definite moviemakers were none too cheerful about it. Keen.
FHI Flat Iron
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