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joecline
Reviews
Dragnet 1966 (1969)
The brightest noir ever!
I saw a few episodes of the original series back when I was but a wee tyke, but have only seen one or two over the intervening years; one impression I've retained, though, has been the look of the original shows -- very atmospheric, very noir-ish lighting.
This one, however, looks like a sitcom. The sets all look as if they were lit with a half-dozen giant scoop lights, making the whole production seem completely flat.
Webb's repertoire company is in their usual over-the-top mode, but Harry Morgan really makes the flick watchable -- he may be the best deadpan comedian since Keaton.
Story of G.I. Joe (1945)
Bill Mauldin shoulda got credit
I've been hearing of this one for years, but tonight was the first time I had a chance to watch it. Even on the tube, it shows some really fine B&W photography, and the story (or rather, the lack of one, which makes it all the more realistic) and acting are absolutely fine.
And noticed that several of the comedy scenes (and, yes, there's always comedy in wartime, so that, too, is part of the film's reality) came directly from Bill Mauldin's Willie and Joe cartoon panels. They should have given Bill at least partial credit!
A Nero Wolfe Mystery (2001)
A TV rep company!!
The Christmas Day, 2001 all-day Wolfe Marathon was a delight, and it brought out a detail I had missed: it's done by a de facto repertory company!
In addition to the regular cast of characters (Wolfe, Goodwin, Cramer, Saul, Stebbens, etc.) there are about six or so actors who appear in several episodes as different characters. The last series I remember using this casting method was the old Wodehouse Playhouse from England a couple of decades ago.
I agree that Maury Chaykin as Wolfe is often over the top, but the rest of the cast, the writing, direction, set design and decoration and everything else about the series is first-rate. I may even break down and buy the whole thing, if it's ever offered on DVD, if for no other reason than to compare the many roles of the rep company.
Grand Ole Opry (1940)
A rare glimpse of stars of country music, circa 1939.
Made as an attempt to cash in on the radio success of the Grand Ole Opry on Nashville's WSM radio, this film offers a rare glimpse of one of the legends of the country music business: Uncle Dave Macon.
Uncle Dave was the first "star" of the Opry; he had become an entertainer at age 56, after retiring as owner of a mule-powered hauling company in middle Tennessee. His stage persona, that of a southern gentleman in a plug hat, tail-coat and chin whiskers, was only a slight exaggeration of his real self. He carried on a tradition of minstrel-style banjo playing, and sang songs that ranged from sentimental ballads through comedy songs, fiddle tunes and breakdowns to topical political numbers. After several years on the southern vaudeville circuit, he joined the Grand Ole Opry not long after it went on the air in 1926.
Poverty Row studio Republic Pictures executives traveled to Nashville after hearing of the popularity of the Opry, which had been picked up by the NBC Blue network after a decade on the high-powered clear-channel WSM Radio. They signed Opry founder and emcee George Hay and his newest singing star, Roy Acuff and his band, the Smokey Mountain Boys, along with Uncle Dave and his son and guitar accompanist Dorris Macon to appear in the film, which was to star Republic comedy troupe the Weaver Brothers and Elviry.
The plot was pure fluff, but the movie featured several songs by Roy and the band, along with one song, Take Me Back to My Smokey Mountain Home, by Uncle Dave and Dorris. This would be the only filmed appearance by Macon, whose recordings have remained in print up until the present day, and who is still the subject of stories and anecdotes in the country music industry.
Also appearing the the film was Allan "Rocky" Lane, who later would portray Red Ryder in B westerns, and would furnish the voice for TV's Mr. Ed.