Reviews

This episode of "Death Valley Days" provides us with out-of-the-box performances by two legendary character actors of the post-war era: Robert J. Wilke and Jim Davis. Another great character actor, Denver Pyle, best known as "Uncle Jesse" on "Dukes of Hazard" directed this episode. His experience in Westerns was obvious in the quality of this episode. Robert Wilke was one of the best at playing "bad guys", and Jim Davis played western characters on both sides of the law, ending his career as Jock Ewing in "Dallas". In "Brute Angel", we see a quiet, introspective Robert Wilke as "Sherrif Tom McBain". Wait until you see him flash an engaging smile in conversation with his wife! Even though his first grandchild will be born in his home, he is still determined to bring in young gunslinger Sam Bolt, played by Sherwood Price. When Sherrif McBain arrives in Durango, he meets up with Pony Cragin, the weak-minded sidekick of Sam Bolt. Played by Jim Davis. McBain had once saved Pony's life. Out of gratitude, he tries to discourage McBain from taking Bolt into custody, without success. That evening, Robert Wilke shows what a truly talented actor he was, as he reads from the Psalms and offers a prayer that he does not lose his life (so he can see the birth of his grandchild), and that he not be forced to take the life of Sam Bolt. The emotion in his eyes as he offers that prayer is extremely moving. In the morning, McBain confronts Bolt, and a rather intriguing conclusion to the story shows that our prayers may not always be answered in the ways that we expect. Wilke and Davis are outstanding in this episode, showing a range that they were offered on only rare occasions. Bob Wilke did get one role near the end of his career "The Farm Foreman" in Terrence Malick's "Days of Heaven", which again showed the extent of his acting talent. A truly great episode of a wonderful series of classic Western television.

Part 2 finds Hazel using her wits to frustrate the mobsters summit meeting. Her friend Gracie (Linda Watkins) continues to be a flighty nervous wreck, and completely useless to Hazel. Her performance continues to be quite annoying. Roland Winters, Edgar Stehli, Emile Meyer and Lou Krugman provide solid support as mobsters...with a twist. You need to watch the episode to see what I mean. In the end, George Baxter (Don DeFore) drives to California and comes to the rescue, and of course, there's a happy resolution. If Gracie were played less broadly, I would give this episode a much higher rating.

I enjoy "Hazel" mostly for Shirley Booth, the third actress to be a Triple Crown winner (Tony, Oscar, Emmy). She truly shines in this role. This rare 2 part episode features a number of terrific character actors as a group of mobsters trying to have a summit meeting to resolve disagreements. Of course, Hazel winds up right in the middle of the situation, as a result of visiting her friend, Gracie, overplayed by Linda Watkins. It is Miss Watkins' hammy performance that forces me to not like this episode (and Part 2) more. She is far too over-the-top with her "Nervous Nellie" act. More in Part 2.

Over my years as a "Perry Mason" watcher, I've seen this episode countless times. I've really tried to like it, but there's one "fatal flaw" (sorry, I couldn't resist) in this episode. It's the performance of Marshall Thompson as "Arthur Poe". I've seen a number of films and TV programs with Mr. Thompson in the cast, and found him a more than capable actor. However, in this episode, he seems to be sleepwalking through the role. T Mr. Thompson goes through the entire episode delivering his lines in an affected voice, speaking pedantically, showing little emotion. Perhaps it was his interpretation of a physically wounded man that was captured, imprisoned and struggling with the PTSD that would come from such a situation. Of course, we also find that he feels betrayed by his two fellow POWs, especially "Ben Sutton" who stole the manuscript for his POW experience, which is understandable. If an internal rage is what Mr. Thompson was seeking, his demeanor just doesn't work and lessens the overall effectiveness of the episode. Fortunately, the episode is saved by the performances of the rest of the cast, especially Bethel Leslie as the accused murderer, and Frank Maxwell as the other POW. A well-written episode that could have been even better with a more nuanced performance, or a different cast member.

This is an especially interesting episode of one of the great police dramas of the 1970's, "Kojak", starring the dynamic and magnetic Telly Savalas as Lt. Theo Kojak. Along with his usual co-stars, Mr. Savalas is given excellent support by several '70's TV regulars: David Doyle (soon to be John Bosley on "Charlies's Angels), Mark Shera (soon to be Jedediah Romano "J. R." Jones on another favorite detective series, "Barnaby Jones"), and Norman Burton, a supporting actor on many programs of the decade. I especially enjoyed Norman Burton's portrayal of "Fisher", the head of one of two gangs that are seeming to struggle over the usual turf issues. He portrays the role with the usual smugness and arrogance you would expect, but with a touch of humor that is especially evident in a rooftop scene with Telly Savalas and David Doyle, as they begin to work on him to rat on the Laggo gang. There's a neat twist to the story that I will not reveal here. This is an excellent episode of a series that has stood the test of time.

Like several other reviewers, this is my first Charlie Chan film with Roland Winters cast as the detective. I have to be honest; I've always enjoyed Roland Winters in every role I've seen him in, so I'm a bit biased in his favor. IMHO, he brings a certain gravitas to the role that had been missing since Warner Oland's untimely passing. In his defense, Sidney Toler deserves much credit for purchasing the rights to the character, so that the film series could continue, but his health problems and age contributed to the energy draining from his later performances. I also liked that Mr. Winters' Chan appreciated the support of his son Tommy, finely portrayed by Victor Sen Young. It was a refreshing change from the condescension and sarcasm of the Sidney Toler portrayal toward any of his male offspring. Mantan Moreland, who I always enjoyed as Birmingham Brown, was also more subdued in this film. Now, to what dawned on me toward the end of the film... What I realized was that this could very well have been a Hopalong Cassidy movie, replacing Charlie Chan with Hoppy, and Tommy and Birmingham with Lucky and California. That's not necessarily a bad thing; plots, stories and scripts have been recycled for decades. The trouble here was that I realized it as I was watching the film. There was nothing about the plot that was noteworthy. Other drawbacks to this film are that the supporting cast was adequate, but that's about all that can be said. The budget was minimal. As other reviewers have indicated, the series was running out of steam. I sincerely believe that had Roland Winters assumed the role of Charlie Chan a few years earlier, the quality of the series would have improved, and more money would have been invested into the film series. All in all, not a terrible film, but it is noticeable where improvement could have been made. 6/10.

I'm like many of the reviewers here on IMDB. I enjoy classic movies of all genres. I am really not a horror movie "fan", but I do my best to view most of them, more for the acting, script and production than to be frightened. I've read of the reputation of "The Haunting", but had avoided watching it, because, in my experience, I am dubious about films that are so highly praised. Robert Wise made many great, classic films which I have watched numerous times over the years. Mr. Wise even made me like "Star Trek" a bit, with the first feature-length film in 1979. Today, I decided to chance it and watch "The Haunting" and to see if all the hype is really true. They hype was just that....hype. As I slogged through watching, I wondered at how a series of noises that are so obviously recordings are supposed to be frightening? Doors closing by themselves are supposed to strike terror into my heart? The most fundamental flaw into this entire mess is how can an obviously neurotic, depressed woman, not reconciled to the death of her mother, be able to distinguish between reality and the supernatural? No reputable doctor would be able to use any data collected from a woman with such problems and have it be credible. As soon as she begins to exhibit such behavior, any so-called "investigation" would be immediately terminated and she would receive the care she needed. I am sorely tempted to reveal the ending of this movie, so others do not completely waste their time and watch this to its conclusion, whatever it is supposed to be. By the end of the film, I decided that I've been more frightened driving on the NJ Turnpike than by one scene in this film. Some critics say that Mr. Wise's 1975 film "The Hindenburg" was a double disaster; a bad movie about a disaster. At least "The Hindenburg" was based on a real life event. This disaster is a work of fiction, and is a complete bunch of nonsense. I can now say that I have watched "The Haunting", and will never, never do that again.

The 2011 color restoration of "A Trip to the Moon" was just broadcast on Turner Classic Movies. It was my first opportunity to see this version, and those responsible for the restoration deserve congratulations for preserving this historic work of cinematic art by George Melies, the first genius of film. This excellent restoration was ruined by the most horrible, grating, annoying soundtrack of noise it has been my misfortune to encounter in fifty years of viewing thousands of films. Immediately after the film ended, I went to YouTube and found several versions of the restored film with different soundtracks, which were far more appropriate to the restored film. If you desire to watch this "A Trip to the Moon", I would strongly advise that you seek out one of those versions, and not endure the alleged "music" by "Air". I would rather hear the air emanating from the backside of a rhinoceros with lactose intolerance than ever, EVER, hear that soundtrack again. A 9 for the restored video; with the "Air" soundtrack included, a 4.

This episode of the classic Western antholgy series "Death Valley Days" relates the story of Sequoyah (here spelled Sequoia), a member of the Cherokee nation who sought to unite his people by arriving at a common written language. This important story needs to be more widely known, and while, of course, fictional elements are introduced into the story, the basic premise of one man trying to further the lives of his people through education is still present to enlighten people. What I also find notable about this episode is the portrayal of Sequoia by veteran Western character actor Lane Bradford, who usually played henchmen or villains. Here he shows true skill, playing this hero of his people with great dignity, and a subtlety and sensitivty that he was very rarely allowed to display. While it is always preferrable to have Native American actors portray their own people, Mr. Bradford did not act in a way that was disrespectful to the Cherokee people. The script also tells the story without resorting to the usual stereotypes and cliches of the times. A worthwhile episode in one of my favorite TV series. I strongly recommend it.

Let me start by saying that I am a TV and film junkie. I love classic film and television, and rarely watch anything past the mid-1990's. I can usually find something worthwhile and redeeming in almost anything that I have viewed over the years. Having said that, I must truthfully say that watching "Naked City" never really leaves me fulfilled as a viewer. Before I go completely negative, let me say what I have enjoyed about the episodes of Naked City that I have watched. All of the lead actors are very good, with John McIntire, Horace McMahon and Harry Bellever always spot on. The guest actors in the episodes are a Who's Who of postwar talent from stage, screen and television, with some still performing in 2021. We are fortunate that a few actors who rarely performed on television did film episodes of this series. The on location filming in New York City captures the beautiful and not so beautiful sections of the greatest city on earth at mid-century. The episodes that contain humor and/or black comedy are extremely well done. Two examples are "Bridge Party", starring legendary entertainer James Barton, and "Take and Put", starring Roland Winters and Mildred Natwick. Now, for what I have not enjoyed. So many of the hour long episodes are characterized by a pretentious and precious (not in a good way) spirit, with long monologues by very esteemed actors, some of which are fine to watch, but don't really seem to contribute to the storyline. It's as if they have been included to highlight the acting skills of the guest cast, and to fill out the hour time frame. And the episode titles....sheesh! I'm sorry, but most of them really don't make a lot of sense. The long, talky, pretentious dialogue of the scripts make it difficult to really care about the characters and their situations. Just yesterday, the episode "Hold Gloria for Christmas" aired, and it was painful to watch. Burgess Meredith, who I truly respect as an excellent actor (among many performances, watch "Advise and Consent" and I dare you to disagree with me), plays an eccentric poet who is murdered. The "poetry" that he recites is so over the top, so awful, that I tuned the episode out before I gave it a chance. I don't usually do that with a program I have not seen before, but I just couldn't imagine having to listen to that during a hour-long program. It is episodes like this that makes me just shake my head and regret that I cannot watch "Naked City" on a consistent basis, as I would like to.

This episode features three very fine actors, Warren Stevens, Tol Avery and Jack Lambert in unaccustomed roles. Usually these gentlemen are playing authority figures, bullies, heavies, etc. This time out, they're playing it for laughs. And all three are quite good. The real surprise here (to me), is Jack Lambert, usually the most threatening of the three. Here, as "Creek", the partner of Doc Holliday, he gets to flex his acting muscles, showing a definite gift for humor, and dare I say, comedy. This role was probably a welcome relief from all of the gunmen, criminals and henchmen he had previously portrayed so effectively during his career.

I'm not going to reveal the plot; all I will say is that you need to stay with the story to the end, which, as enjoyable as this episode is, will be a pleasure.

If you're worried that this review might contain spoilers, the answer is no. Nothing could be more spoiled or rancid than these wastes of celluloid. I know that humor is relative, and things found funny today would outrage the people of 1930. However, there is humor from 1930 that is timeless, and will live forever. These "Dogville Comedies" cannot be considered among that timeless humor. Beyond the cruel methods use to gain responses from the dogs involved in these travesties, the voice acting is so over the top and the attempts at humor so forced, they are actually painful to watch. Our British friends had it right when they were banned from being shown in the UK for animal cruelty. Perhaps all of them should be run in a loop and shown to gain confessions from suspected criminals. When I think of the thousands of hours of important cinema that is permanently lost due to degraded negatives, it is sad to see that these wretched "comedies" survived.

I am an avid Perry Mason watcher, and have been so for years. I've waited a very long time before writing this review, and it is written with regret. But this episode came on tonight, and I could hold back no longer. I am in complete agreement with Irishtom99; this is an awful episode. Examples: (1) the rarely-so-subtle Neil Hamilton is the model of restraint compared to the overacting of the rest of the guest cast. A prime example is John Larkin, who was quite memorable (among a cast of acting heavyweights) as Colonel Broderick in "Seven Days of May", gave terrific support as General Crowe on TV's "Twelve o'Clock High" and portrayed Perry Mason on radio for eight and a half years; he is absolutely manic in this episode as one of the nephews. The only guest cast member who came across as believable was the always enjoyable Jacques Aubuchon as the jilted paramour of Jeanette Nolan. (2) Speaking of Jeanette Nolan, perhaps her wig was meant to be that of a widow attempting to recapture her youth; that being said, even by 1960's standards, it is still pretty frightening. I think Phyllis Diller wore it when she went to Vietnam with Bob Hope. If Phyllis did, she should have dropped the wig out of the plane over the Pacific Ocean. (3) The French accents make Pepe' le Pew sound like he's speaking the Queen's English. (4) It seemed to me that the main cast, especially Raymond Burr, realized this was a stink-bomb in the making as it was being filmed, and they seemed to be going through the motions, which is rarely ever the case. I could go on and on, but I will leave it to others who are more eloquent or more schooled in acting, casting and directing than me to comment. Let me end with this; when I think of the tragedy of all the lost DuMont kinescopes and films that were dumped in Upper New York Bay, and when I think of all the tapes of BBC programs there were wiped to reuse the tapes, why couldn't this moldy lump of Roquefort join them in TV oblivion?

Let me be clear: I do not pretend to be an expert on film scoring. But I do know that there are hundreds of pieces of classical music that would have been infinitely more listenable than that noise that permeated the entire film. I'm sure Mr Somers' and his music have thousands of devotees who will no doubt be offended by my comments, and for that I apologize to him and to them. My review is of the entire movie, and frankly, his music is completely out of context with the period of time covered by the film. That being said, I would recommend this film to anyone, with the advise to be prepared for an over-use of the Ken Burns effect and to watch accordingly, and to turn off the sound, and put on your favorite music, if you find that necessary.

This is my first review of any film or documentary on IMDB. I just felt I had to say something about this documentary, which I viewed last night (9/9/18) on Turner Classic Movies. As I say in my title, I was fascinated by the photographs and the recovered film that has been expertly restored by Canadian and American film preservation experts, and we should all be grateful for their skill and determination to accomplish this task. I'm also grateful for the filmmakers to bring this important story to light. Perhaps it will inspire others to become preservationists, to search for lost films, or just to appreciate the films we have. HOWEVER.......I must mention two things that caused me to lower my rating of this film. 1) The interminable use of the "Ken Burns effect" (panning and scanning of the still photos). At the thirty minute mark of the film, I had to take a dose of Dramamine to prevent motion sickness. I believe that the filmmakers were attempting to pay tribute to "City of Gold" (1957), an important documentary about the Yukon. A tribute is commendable, but I believe in this case it was taken to distracting, unnecessary lengths. 2) The musical score. I have been watching all types of films for over 45 years, literally thousands, and I can truthfully say that I have never heard a worse film score than this one. This so-called ambient music was totally unsuited for this film. This noise should be called ambien music, because it could make someone want to reach for a bottle of that drug and consume the entire contents.