Take 3: I’m Not Ready for Christmas Review

Before Pale Writer’s Maxwell Caulfield Blogathon, I had seen two of Maxwell’s three Hallmark films. These titles were Missing Pieces, a Hallmark Hall of Fame movie from 2000, and Second Chances, a Hallmark Channel film from 2013. With one movie remaining, I selected the 2015 title, I’m Not Ready for Christmas, as my entry for the event. From a network that features the same actors and actresses in multiple projects, it’s interesting to note that I’m Not Ready for Christmas was Maxwell’s only Hallmark Christmas movie. As is sometimes the case, my review of this film was also this blogathon’s only article discussing any Hallmark film. When the movie first premiered five years ago, I skipped it in favor of other titles. This is because it was being compared to Liar Liar, a film I had not seen in its entirety, but was aware of the general premise. Personally, I like watching Hallmark films that either seem less predictable or have a creative component. Because the type of story found in I’m Not Ready for Christmas is more unique than Hallmark films from the past three years, I finally decided to check it out!

I’m Not Ready for Christmas poster created by Crown Media Family Networks and Hallmark Channel.

Things I liked about the film:

The supporting cast: There were several actors in the supporting cast that gave stand-out performances. One of them was this blogathon’s star, Maxwell Caulfield! Even though he was only in a handful of scenes, Maxwell found a way to make his character, Greydon DuPois, memorable. This was achieved through a confident personality and a strong on-screen presence. Another stand-out performance came from Mia Bagley, who portrayed Anna Geller, Holly’s niece. Her sweet demeanor reminded me of Jenny Wilder from Little House on the Prairie. Anna, like Jenny, wanted the best for the people in her life. The Christmas wish Anna tells Santa, where she wishes her aunt were more honest, effectively shows this. Brigid Brannagh is an actress I’m familiar with because her 2011 Hallmark movie, A Crush on You. While watching her portrayal of Anna’s mom, Rose, I could tell her previous experience with the network worked in her performance’s favor. This could be seen in the scene when Rose and Anna are at Anna’s Christmas recital. While Anna waits for Holly to show up, Rose’s face shows disappointment as she knows what lies ahead.

The messages and themes: Hallmark’s Christmas movies feature a variety of messages and themes that the audience can relate to. In I’m Not Ready for Christmas, a major theme is honesty, as Holly works on telling less lies throughout the film. Toward the end of the story, Holly is faced with a professional dilemma that could end her career. Instead of choosing what will benefit her, she chooses to do what is right. Seeing a character deal with a real-life conflict and make a positive decision is something that the audience can appreciate. It can also inspire them to apply these messages of truthfulness and placing others before one’s self to their own life.

The Cool Rider: Maxwell Caulfield Blogathon banner created by Pale Writer from Pale Writer.

What I didn’t like about the film:

An inconsistent performance: When it comes to Hallmark’s Christmas movies, Alicia Witt’s entries have been hit or miss. While I liked A Very Merry Mix-Up and Christmas on Honeysuckle Lane, I was not a fan of Our Christmas Love Song. In A Very Merry Mix-Up and Christmas on Honeysuckle Lane, Alicia was given material that complimented her acting abilities, allowing her performance to come across as consistent. Alicia’s performance in I’m Not Ready for Christmas, on the other hand, was very inconsistent. There were scenes where emotionality shined through, such as when Holly and Drew were sharing their life stories over apple cider. But whenever Holly was under her truth telling spell, she sounded robotic. Alicia’s performance made those moments feel awkward and jarring. I know Alicia has what it takes, talent wise, to carry a film. However, I feel she was miscast in this particular role.

Little to no sense in the story: Several moments in I’m Not Ready for Christmas made little to no sense. One example takes place toward the beginning of the movie. Anna and her mom, Rose, are upset that Holly, Anna’s aunt, has chosen to attend a private dinner over Anna’s Christmas recital. They feel Holly will miss Anna’s performance because of her personal choice. But this movie was released in 2015 and I’m pretty sure Rose owns a smart phone. With that said, wouldn’t Rose record a video of Anna on her phone and show Holly the video afterwards? Speaking of Anna, another confusing moment happens when Anna interacts with Santa after the recital. In this scene, there’s no clear indication that the Santa Anna is talking to is the real deal or that they had ever interacted before. However, when Santa calls Anna by her name, no one questions how he knows her.

Solving a problem with a problem: An overarching conflict in I’m Not Ready for Christmas is Holly learning how to be honest with others. However, one of the ways she learns this lesson is for some of the other characters to lie to her. In one scene, Holly’s assistant, Jordan, asks for some time off so she can take care of her grandmother. But several scenes later, Holly discovers that Jordan was lying about her personal life. In reality, Jordan was on a date with her boyfriend at the same ice-skating rink Holly and Anna were visiting. I understand why Hallmark made this creative decision, as to remind the audience to treat others as they would like to be treated. But in this story, it felt like the script was trying to solve a problem with a problem. This misstep made the moments where Holly was changing her ways seem like positive outcomes were happening too conveniently in her favor.

A story that doesn’t feel Christmas-y: Despite this movie being titled I’m Not Ready for Christmas, the story itself doesn’t need to belong in the Christmas season. The themes of honesty and self-improvement can be found in any time of year. In fact, this exact plot could have taken place outside of Christmas and it wouldn’t have made a difference. While there are Christmas activities featured in this film, they were obligatory for the sake of reminding the audience that this was indeed a Christmas movie. The scenes themselves forced the film to pause the story instead of allowing those moments to find a legitimate place in the narrative.

Blue sparkly Christmas tree image created by Macrovector at freepik.com. <a href=”https://www.freepik.com/free-photos-vectors/frame”>Frame vector created by Macrovector – Freepik.com</a>. <a href=’https://www.freepik.com/free-vector/merry-christmas-card_2875396.htm’>Designed by Macrovector</a>. Image found at freepik.com.

My overall impression:

As I said in this review, a major theme of I’m Not Ready for Christmas is honesty. Therefore, I will be honest by saying I did not like this film. This movie makes the exact same mistake 2019’s A Cheerful Christmas did: putting so much emphasis on creating a pointless, Christmas remake of a well-known ‘90s film, that the creative team forgets how to make a good movie. The story has a more unique premise than other films from Hallmark’s library. However, the execution of that story was very poor. The truth telling spell Holly falls under does not lend itself to comedy. Instead, it feels awkward and jarring. What also hurts this film is not utilizing the Christmas elements within the script, causing the film to be devoid of true Christmas spirit. Instead of trying to copy what Liar Liar did almost thirty years ago, I’m Not Ready for Christmas should have been a combination of a modern twist on It’s a Wonderful Life and a Christmas version of the Touched by An Angel episode, ‘Monica’s Bad Day’. If this had been the plan, it might have brought something new to the table.

Overall score: 4.9 out of 10

Have you seen Maxwell Caulfield’s Hallmark films? Are there any Hallmark Christmas films you’d like me to check out? Leave your thoughts in the comment section!

Have fun at the movies!

Sally Silverscreen

A Blogathon to be Thankful For has arrived!

Welcome to A Blogathon to be Thankful For, the second blogathon hosted on 18 Cinema Lane! From November 19th to the 22nd, participants will share posts about movies, people, and subjects related to Thanksgiving! This post will host the list of participates and their articles of choice, separated by the categories that were set up in May. Each participant put time and effort into their entry/entries, so please check out as many posts as you’d like!

Created by me, Sally Silverscreen, on Adobe Spark.

Collection of Participants

Category A

Movies Meet Their Match Movie Review: Holiday Inn (1942)

MovieRob — A Blogathon to Be Thankful For – The Vicious Kind (2009), A Blogathon to Be Thankful For – The Object of My Affection (1998), A Blogathon to Be Thankful For – The Daytrippers (1996), A Blogathon to Be Thankful For – The Myth of Fingerprints (1997)

Silver Screenings — The Bully at Thanksgiving Dinner

Hamlette’s Soliloquy — “Rocky” (1976)

Neil “The Musical Man” Powell — Thoughts From The Music(al) Man (2020) on… The Gold Rush (1925)

Taking Up Room — We Gather Together

themomshiediaries — DON’T YOU LOVE NEW YORK IN THE FALL? – A YOU’VE GOT MAIL REVIEW

Pure Entertainment Preservation Society — 100 New Code Films – #92. “Plymouth Adventure” from 1952; The True Meaning of Thanksgiving

Category B

KN Winiarski Writes — Thankful for Singin in the Rain

Pure Entertainment Preservation Society — Thankful for Code Films – A Blogathon to be Thankful For

Critica Retro — Rediscovering Marcel Perez

Category C

18 Cinema Lane — ‘Phantom of the Megaplex’ at 20: A Reflection on the Movie-Going Experience

Along the Brandywine — Movie Review // Pride & Prejudice (2005) with Keira Knightley and Matthew Macfadyen

Category D

Dubsism — Sports Analogies Hidden In Classic Movies – Volume 95: “The Why I’m Thankful For The Comedy of Jonathan Winters Double-Header”

Created by me, Sally Silverscreen, on Adobe Spark.

Take 3: Twentieth Century Review

Originally, I was going to write a double feature for The Sixth Annual Barrymore Trilogy Blogathon by reviewing Twentieth Century and Young at Heart. However, due to technical difficulties on my end, I was only able to find the time to publish one review. Because I’ve written about five of Frank Sinatra’s movies this year, I chose to take a break by selecting Twentieth Century. Back in January, I watched and reviewed In Name Only for The Carole Lombard Memorial Blogathon. At the time, it was my first time seeing any film from Carole’s filmography. Despite this, I ended up liking the film! As I have mentioned before, I try to feature movies on my blog that were recommended by visitors and followers of 18 Cinema Lane. Twentieth Century was suggested by Patricia from Caftan Woman and Vincent from Carole & Co.

Twentieth Century poster created by Columbia Pictures.

Things I liked about the film:

The acting: In my review of In Name Only, I praised Carole’s portrayal of Julie Eden, as her on-screen personality was down-to-earth and her overall performance contained the right amount of emotion. Carole portrays Lily in Twentieth Century, a character who is very different from Julie in In Name Only. This is because Lily experiences frustration on several occasions. One example is when Lily is forced to stay late at rehearsal because Oscar wants her to scream. Lily’s emotions spill over, causing her to yell and burst into tears because of her pent-up frustration. These emotions were able to be felt through the screen because of how good Carole Lombard’s talents were in this film! Speaking of Oscar, I liked watching John Barrymore’s performance in Twentieth Century! It showed a transition from a theater director who seemed to have his heart in the right place to a man who let power and influence get to his head. After Lily’s first performance on stage, Oscar visits her in her dressing room. The way he speaks to her indicates he is putting all his attention on her. But when you look and listen closely, there are hints of his possessive mentality. A good example is when Oscar tells Lily she was a diamond who needed some polishing.

The set design: While watching Twentieth Century, there was some impressive set design I noticed! Toward the beginning of the film, Oscar’s office was shown. Dark wood walls surrounded the space, with a medium shot signifying the room’s high ceiling. Eye-catching details helped give the space a unique identity, such as the inclusion of a suit of armor and stained-glass windows. Details in other scenes stood out, stealing the show whenever they appeared on screen. Lily’s bed is just one example, a massive piece of furniture that was shaped like a boat. It’s white woodwork and bedding is paired beautifully with dark wood carvings on the bed. On the train, there are sketches of animals located near the ceiling of the sitting room area. The style of the sketches looked like they came from a storybook from Medieval times.

Carole’s wardrobe:  I really liked seeing Carole’s wardrobe in Twentieth Century! However, there were two outfits that were the most memorable! On the night of Lily’s first performance, she wears an off the shoulder sparkly white dress. Despite the film being presented in black-and-white, the sparkly nature of the dress shown through beautifully! The second outfit was a silk pair of pajamas, complete with fine detailing on the shirt. The pajamas complimented Carole very well, highlighting her true beauty!

Masks of comedy and tragedy images created by freepik at freepik.com. <a href=”https://www.freepik.com/free-photos-vectors/background”>Background vector created by freepik – http://www.freepik.com</a>. Image found at freepik.com.

What I didn’t like about the film:

The mystery: In Twentieth Century, there was an on-going mystery revolving around the appearance of religious stickers on the train. The mystery itself felt randomly placed in the overall story, offering no strong significance within the plot. Had the religious stickers served as a reminder to not lose personal beliefs and values in the quest for fame and fortune, that would have added a meaningful moral to the movie. Sadly, it was a small piece just to keep the plot moving forward. When the guilty party is finally revealed, it seems like the script is providing them with excuses for their destruction of public and personal property. This can be heard through the characters’ dialogue; from the train security saying the guilty party has a “sickness” to describing the guilty party as “a little crazy, but harmless”.

An awful group of characters: I understand characters from any movie are not going to be everyone’s “cup of tea”. However, there is a fine line between personal preference and the characters themselves being awful. Twentieth Century is a perfect example of this, featuring a host of characters that are unlikeable to varying degrees. Oscar treats everyone around him horribly. He “fires” his friends on multiple occasions and he is abusive toward Lily, even after their relationship ends. Despite this, Oscar’s friends still try to help him fix his relationship with Lily, even going so far as to blame her for Oscar’s failures. Meanwhile, Lily turns into a diva after she becomes a movie star. It got to the point where I found myself not caring about the characters’ outcomes because their ugly personalities made me lost investment in them.

Lily and Oscar’s abusive relationship: I briefly mentioned in my previous point that Oscar is abusive toward Lily, even after their relationship ends. In the beginning, when Lily was starting out as an actress, Oscar gives the impression of having her best interests in mind. An example of this is when, after Lily expresses her frustrations over staying late at rehearsal, Oscar reminds her of her dream and how he’ll help her reach that dream. As Lily’s career grows, so does Oscar’s jealousy and obsession. He not only controls Lily’s life, but he also physically harms her, poking her with a pin just to get her to scream on stage. Oscar even goes so far as to threaten suicide if Lily does not stay with him. Even though Lily ends the relationship, Oscar is still obsessed with her. One of his worst actions in Twentieth Century is faking his own death just to trick Lily into signing his contract.

The Sixth Annual Barrymore Trilogy Blogathon banner created by Crystal from In the Good Old Days of Classic Hollywood.

My overall impression:

Back in January, when I reviewed Marriage on the Rocks, I said the film made me feel uncomfortable because of the movie’s one-sided view on marriage and divorce. Watching Twentieth Century made me appalled for several reasons. The abusive nature of Lily and Oscar’s relationship is just one example, especially since it exists throughout the whole film. It also doesn’t help that Oscar doesn’t face any accountability for his actions and behavior.  Another issue is the characters themselves, as all of them are horrible to certain degrees. Despite being poorly treated by Oscar, Oscar’s friends still support him. They even encourage Oscar to get back together with Lily. According to IMDB and Wikipedia, Twentieth Century is labeled as a “romantic comedy”. I will admit there were a handful of moments I found funny. But the aforementioned relationship, random mystery, terrible characters, and the story being ninety one minutes of those same characters complaining about their personal issues overshadows all of the movie’s strengths.

Overall score: 4.4 out of 10

Have you seen any of Carole Lombard’s or John Barrymore’s films? If so, which one do you like the most? Please let me know in the comment section!

Have fun at the movies!

Sally Silverscreen

One Week Left Until “A Blogathon to be Thankful For”

Hello everyone!

If you’re still interested in participating in my blogathon, A Blogathon to be Thankful For, you have a week left to sign up! Even though there is a three entry limit, you are allowed to publish more than three posts. Just let me know before November 19th if you plan on doing so.

Have fun at the blogathon!

Sally Silverscreen

Created by me, Sally Silverscreen, on Adobe Spark.

Take 3: Angel on My Shoulder Review

Last November, I participated in Pure Entertainment Preservation Society’s Second Annual Claude Rains Blogathon. My contribution was a review of the 1963 movie, Twilight of Honor, which I thought was ok. I also recognize the film was released outside of the Breen Code era. This year, I will write about the 1946 film, Angel on My Shoulder. I chose to review this title for two reasons. The first is my curiosity in seeing how a film from the Breen Code era would address topics such as the afterlife and the devil. The second is how the story’s basic concept reminded me of the animated film,  All Dogs Go To Heaven. As I mentioned in my Twilight of Honor review, I have seen some of Claude Rains’ films. Since Angel on My Shoulder is the sixth movie of his I have watched, I knew what to expect from him as an actor!

Angel on My Shoulder poster created by Premier Productions and United Artists.

Things I liked about the film:

The acting: Because Claude Rains is one of the reasons why I chose to review this movie, I’ll talk about his performance first. His role as Nick, the devil, was very different from his other roles I’ve seen. In Angel on My Shoulder, Claude carried himself with a kind of confidence that one would expect from a villainous character. Nick was an arrogant person. However, Claude made this component work by keeping his performance consistent. Another consistent performance came from Paul Muni! Throughout the movie, Eddie was on the edge of his seat, unsure of who to trust. This was an interesting quality for Paul to add to his character, as gangsters in movies sometimes deal with untrust-worthy people. Eddie also tells things as they are, another piece of his personality that Paul pulls off! Anne Baxter did a good job portraying Barbara Foster! In her performance, she utilized emotion, especially through her eyes, to make her character believable. When Eddie, as Judge Frederick Parker, interacts with Barbara for the first time, it is clear she is very uncomfortable with the way her fiancée is behaving. She pushes him away and attempts to walk away from the situation, showing her displeasure the entire time.

The depiction of Hell: Like I said in the introduction, I was curious to see how a Breen Code film would approach the subject of Hell and the devil. The way Hell is depicted in Angel on My Shoulder evokes fear into audience members who support good winning over evil. The underworld is a dark environment that only uses fire as its source of light. Shadows were cast over the characters, with light only being shown over the characters’ eyes. In entertainment media that features the devil, he will sometimes appear as an other-worldly creature. In Angel on My Shoulder, Nick, the name the devil goes by, appears as a human. This shows the reality of how someone can turn to the dark side.

The dialogue: Since Angel on My Shoulder was released during the Breen Code era, any talk of Hell or the devil needed to meet Breen Code standards. Within the story, the word “hell” is never spoken. Nick is not called “the devil”, but Mephistopheles instead. The script does feature subtle references to who Nick is that respects the intelligence of the audience. One scene shows Eddie and Nick riding in a plane. When Eddie notices how Nick appears uncomfortable, he asks Nick if he is ok. Nick tells Eddie that he likes being near the ground more than in the sky.

The Third Annual Claude Rains Blogathon banner created by Tiffany and Rebekah Brannan from Pure Entertainment Preservation Society.

What I didn’t like about the film:

A limited use of music: Music in film can help set a tone for a particular scene. One example is when suspenseful music is played during a scene that is more intense. Without music, the scene would be missing an emotional component. Angel on My Shoulder is an hour and forty-minute film. In that amount of time, about seven scenes feature music. To me, this seems disproportionate to the movie’s run-time. It also forbids certain moments in the film from having a more emotional impact.

A mostly static character: In a story like Angel on My Shoulder, it’s common for the audience to witness the protagonist grow as an individual over the course of the movie. While we do see Eddie change his ways, the transformation doesn’t happen until sometime between an hour and eleven to twenty-three minutes into the film. Beforehand, Eddie remains the same as he did before he died. He even refuses to act more like Judge Frederick Parker, even though acting more like Frederick would have helped avoid suspicion from those around him. Breen Code era movies typically feature a core lesson or message for the audience to take away. Even though Angel on My Shoulder does have a good message, it takes quite some time to get there.

A meandering story: Angel on My Shoulder is about a recently deceased gangster who works with Nick, the devil, to satisfy a favor. As I mentioned in the introduction, this concept reminded me of All Dogs Go To Heaven. But where Angel on My Shoulder failed is not having a sense of urgency. Because of this decision, the majority of the movie is spent showing Eddie reliving his life as Judge Frederick Parker. Any course of action for Nick and Eddie’s plan doesn’t appear in the story until an hour and eleven minutes into the movie. For me, I was waiting for something interesting to happen instead of actually watching something interesting happen.

Angelic statue image created by Marcelo Gerpe at freeimages.com. “FreeImages.com/Marcelo Gerpe.”

My overall impression:

 Angel on My Shoulder is a painfully average film. Because the movie placed more emphasis on showing Eddie reliving his life as someone else, it took almost the entire story just to get to the intended point. I liked seeing how this film addressed subjects such as the afterlife, Hell, and the devil in the time of the Breen Code era. But it should have been included in a stronger script. There were aspects of this movie I did like. The acting was enjoyable to watch and the script was intelligently written. But when I find myself checking the time on multiple occasions in order to see when this film would end, my unenjoyment of the overall project overshadows its strengths. If you’d like to watch a movie with a similar concept to Angel on My Shoulder, I would recommend All Dogs Go To Heaven. In my opinion, that movie did a better job executing almost the same idea.

Overall score: 5.5 out of 10

Have you seen Claude Rains’ films? If so, which one is your favorite? Comment below in the comment section!

Have fun at the movies!

Sally Silverscreen

Take 3: Funny Face Review (Fred Astaire and Gene Kelly Blogathon Part 2)

For the second part of my Fred Astaire and Gene Kelly double feature, I’ve chosen to review the 1957 film, Funny Face! Last September, when 18 Cinema Lane received 135 followers, I reviewed my first Fred Astaire movie. That was The Sky’s the Limit, which I thought was just ok. Speaking of firsts, reviewing Funny Face is a first for 18 Cinema Lane, as it is the first musical film starring Aubrey Hepburn I’ve seen! Even though I have seen Breakfast at Tiffany’s and The Nun’s Story, those films would be classified as dramas. Since this was my first time seeing Audrey perform in a different genre, I was curious to see if she would be able to hold her own. When I read the synopsis for Funny Face, it sounded similar to another musical starring Audrey: My Fair Lady. Because I haven’t seen that movie, I can’t make a comparison between it and Funny Face.

Funny Face poster created by Paramount Pictures.

Things I liked about the film:

The acting: The one word I’d use to describe the cast in Funny Face is comfortable. I chose this word because every actor and actress appeared comfortable in their role! This presented the characters as if they were real-life people dealing with real-life situations. Watching Audrey’s performance in this movie reminded me of her performance in The Nun’s Story for this reason: her character grows over the course of the movie. In Funny Face, Jo opens her heart and mind to a new chapter in her life that she never thought she’d embark on. She steps out of her comfort to not only follow her dream of meeting her favorite philosopher, but she also creates new dreams for herself. Audrey’s ability to adapt to any scenario helped her make Jo’s journey seem believable! As I mentioned in the introduction, I saw The Sky’s the Limit last September. Personally, I liked Fred’s character in Funny Face more than his character in the 1943 film. This is because Dick Avery had a better personality. He came across as easy-going and approachable, someone who you would want to tour Paris with. This made Dick Avery worth rooting for! Kay Thompson stood out to me as Maggie Prescott! While her character was no-nonsense and straight-forward in what she wanted, she was never cold-hearted or mean for the sake of it. This is different from other characters of this specific type. What’s also different is how Maggie was allowed to be silly, as could be seen when she and Dick are attempting to find Jo at the home of Jo’s favorite philosopher. This gave Kay an opportunity to apply her acting abilities to various situations!

The use of color: I love how color was used in Funny Face! Whenever scenes had a primarily plain color palette, like white or beige, objects or pieces of clothing were added to bring a pop of color to the space. The opening scene is such a great example! Each door of Quality magazine’s office was painted a bright shade of various colors, providing visual appeal to a mostly white lobby and hallway. Maggie’s office adopted a beige hue for about 85% of that location. However, certain pieces of fabric and even an assistant’s green coat add bold colors to a place that would have remained dull without them. This decision to use color was very detail oriented and showed how the film’s creative team really paid attention to how their project would be presented!

The musical numbers: Funny Face’s musical numbers were not only entertaining to watch, they also incorporated creative ideas that made them memorable. The very first musical number, “Think Pink!”, showed a montage of the different ways the color pink could be worn. Through the use of colorful visuals, it helped illustrate the point Maggie was trying to stress to her assistants as well as the audience. “Bonjour, Paris!” showed Maggie, Dick, and Jo simultaneously in a split screen shot. I have never seen a musical use a split screen before, so this detail is the one I remember the most! Each performer in these musical numbers looked like they truly enjoyed what they were doing! “Basal Metabolism” showed Audrey Hepburn having fun performing her dance trio. She appeared in her element and joy radiated from her routine. This definitely added to the overall enjoyment of Funny Face’s musical numbers!

Illustration of Paris, France created by Freepik at freepik.com. <a href=”https://www.freepik.com/free-photos-vectors/travel”>Travel vector created by freepik – http://www.freepik.com</a>. Image found at freepik.com.

What I didn’t like about the film:

No major conflict: While watching Funny Face, I noticed something was missing from this movie. That would be a major conflict, which I think would have made the story a little more interesting. Smaller conflicts, like finding a new face for Quality magazine, kept the film moving forward. But, because a major conflict was absent, it made situations feel like they worked out too easily in the characters’ favor. One idea could have shown Dick struggling to decide if he should continue to be a fashion photographer or become a stage performer. If this would have been a conflict in the story, it would have presented a mystery as to which career path Dick will choose.

A prolonged transformation: Like I said in the introduction, I haven’t seen My Fair Lady. Therefore, I can’t compare the two movies. What I will say about Funny Face is how Jo’s transformation doesn’t happen until the film’s halfway point. In the first half of the story, Jo’s perspective starts to change, allowing her to expand her intellectual horizons. But the physical transformation, from bookworm to fashion model, happens a lot later than most movies of this nature. When a character makes a dramatic change to their appearance, that moment may be the audience’s most anticipated moment. If they are forced to wait too long, they may start to lose interest.

An attraction that happened too quickly: In my review of The Crow: City of Angels, I pointed out how, to me, Ashe and Sarah’s attraction for one another was a flaw of that movie because it came about so quickly. The attraction between Jo and Dick in Funny Face makes the same error, as it also happens too quickly. Minutes after meeting for the first time, Jo and Dick share a kiss. Shortly after this encounter, Jo sings “How Long Has This Been Going On?”, a song about falling in love. If this song had been sung later in the film, after she had spent more time with Dick, the song itself would have been more impactful. Even though it is somewhat predictable for Jo and Dick to form a relationship, it should have taken its time to come to fruition.

With Glamour & Panache: A Fred Astaire & Gene Kelly Musicals Blogathon banner created by Heidi from Along the Brandywine.

My overall impression:

Funny Face is a film I had heard of for years, but had never seen. Whenever I heard about classic films or even movies starring Aubrey Hepburn, this film has, more often than not, been brought up. Now that I have seen Funny Face, I have developed an understanding for why this is the case. This is not just a good musical or a good Audrey Hepburn title. It is a good movie in general! Creative ideas within this project help it stand out. Some examples include using a split screen and incorporating objects with color into scenes with plain color palettes. Musical numbers were well-choreographed, featuring performers that appeared to enjoy the material they were given. Every actor and actress seemed comfortable in their roles, giving their characters a life of their own. While Funny Face does have its strengths, it has its weaknesses as well. Just one example is how Jo’s transformation happens much later in the film. Despite having seen only two of Fred Astaire’s movies, I’d pick Funny Face over The Sky’s the Limit. I would even choose Funny Face over Take Me Out to the Ball Game!

Overall score: 7.8 out of 10

Have you seen Funny Face? Which Fred Astaire musical is your favorite? Please share your thoughts in the comment section!

Have fun at the movies!

Sally Silverscreen

Take 3: Take Me Out to the Ball Game (Fred Astaire and Gene Kelly Blogathon Part 1)

Because Heidi’s new blogathon celebrates two classic film stars, Fred Astaire and Gene Kelly, I decided to write a double feature in their honor. I’m starting with one of Gene Kelly’s movies first, as my movie selection had a shorter run-time. On 18 Cinema Lane’s Pinterest account, there is a recommendation board where people who visit the blog can make a suggestion for future reviews. That board hosts some Gene Kelly titles, so I had plenty of options to choose from. In the end, I picked the 1949 film, Take Me Out to the Ball Game, which was recommended by Kristen from KN Winiarski Writes! The idea of a musical surrounding an athletic sport was a fascinating concept. It also gave me an excuse to finally watch one of Esther Williams’ films, as I had not seen one up until this point. 2020 has become the year of Frank Sinatra films on this blog, as Take Me Out to the Ball Game is now the fifth film from Frank’s filmography I’ve reviewed. An interesting coincidence I just noticed is how most of these movies have had a musical element included.

Take Me Out to the Ball Game poster created by Metro-Goldwyn-Mayer.

Things I liked about the film:

The acting: As I said in the introduction, I reviewed Anchors Aweigh back in September. In that review, I said that Frank Sinatra and Gene Kelly were one of the best on-screen duos I’ve ever seen because of how different their characters were from each other. Because of Frank and Gene’s experience working together, it allowed them to be familiar with the other performer and know what to expect from them in Take Me Out to the Ball Game! Like Anchors Aweigh, their characters in the 1949 film, Dennis and Eddie, were opposites of one another. This time, however, it was for different reasons. While Eddie was interested in the night life of his world, Dennis has a quieter soul that seems to notice the finer details within his surroundings. While I wrote a list article about the travels of Esther Williams, this was my first time watching one of her films. Even though Esther spent more time on land than in the water, she appeared at ease in her role as K.C. Higgins! When people tried to stand in her way, K.C. always stood her ground. At the same time, she tried to instill fairness into the situation. One great example is when she insists on a curfew penalty for every member of the Chicago Wolves. On the surface, it seems like K.C. is being unfair toward the team. In reality, she is looking out for their best interests by making sure they get a good night’s sleep so the team can perform better on in their baseball games.

The set design: Because a significant amount of time in Take Me Out to the Ball Game takes place in Florida, the sets surrounding the characters are going to reflect the Sunshine State. This is done through a variety of design choices. What made me like these sets so much was how appealing they were! When Dennis and Eddie arrive in Florida for Spring Training, the audience is introduced to the stadium, located right on the beach. With fair weather in the scene and the sandy shore taking center stage, the beach looked inviting! At night, when K.C. is interacting with both Dennis and Eddie near the pool area, lights illuminated this location to show off its exterior design. The white balcony of K.C.’s hotel room complimented the dark sky shown in the background. Light colored outdoor furniture consistently carried the color scheme this set was striving for! In an outdoor sitting area occupied by K.C. and Eddie, tan wicker chairs were paired well with green plants placed in various spots. This design choice showcased a good color combination!

The majority of the musical numbers: For the most part, I liked seeing the musical numbers in Take Me Out to the Ball Game! They were well choreographed and each performer looked like they truly enjoyed what they were doing. Like I said earlier, Frank and Gene’s experience working together helped them become familiar with the acting/performance style of the other actor. This certainly worked in their favor when it came to the musical numbers! In the opening number, “Take Me Out to the Ball Game”, both actors wonderfully pull off a tap-dance duet! Even though tap was out of Frank’s creative comfort zone, he was able to hold his own throughout the routine. Like I also said in this review, Esther spends more time on land than water. However, she was given one scene where she swam and sang the song from the movie’s opening number. Because of Esther’s experience with musicals, she was able play her own unique role in the film’s musical department that allowed her to stand out. Esther also appeared comfortable with the performance material given.

With Glamour & Panache: A Fred Astaire & Gene Kelly Musicals Blogathon banner created by Heidi from Along the Brandywine.

What I didn’t like about the film:

Two songs that didn’t age well: In Take Me Out to the Ball Game, there are two songs that have aged poorly. The first song, “Yes, Indeedy”, is performed by Frank and Gene when their characters are telling the Chicago Wolves about the females they met during their traveling talent tour. The lyrics reveal how one woman committed suicide and another female was 11 years old. Because the song itself is faster paced and upbeat, it almost sounds like Dennis and Eddie make light of the woman’s passing. Even though they say they didn’t interact with the 11-year-old for long, it makes me wonder why this child would have anything to do with Dennis and Eddie in the first place? The second song, “It’s Fate Baby, It’s Fate”, is performed by Frank Sinatra and Betty Garrett. The purpose of this song is for Betty’s character, Shirley, to share her feelings for Dennis. How she does it is very forceful, with the musical number showing Shirley blocking Dennis’ path, chasing him through the stadium, and picking him up against his will. Because of her aggression in the situation and her lack of accepting rejection, it feels like a unhealthy relationship in the works.

The character of Shirley: While Betty Garrett did a good job with the acting material she was given, I was not a fan of her character. Personally, I found Shirley to be a selfish individual who didn’t seem to care about the feelings of others. As I just mentioned, Shirley is very forceful when it comes to expressing her feelings for Dennis. If her musical number, “It’s Fate Baby, It’s Fate”, wasn’t bad enough, she wants to treat Dennis like she’s his mother. The way she talks to him in a scene where she blocks Dennis’ path with her horse and buggy shows Shirley talking to Dennis like she has more authority than him. More often than not, Dennis expresses how he doesn’t like Shirley in a romantic sense. He goes out of his way to avoid her and shows displeasure when she’s nearby. However, everyone surrounding him overlooks Shirley’s actions and encourages Dennis to spend more time with her.

An unclear time period: According to Wikipedia, Take Me Out to the Ball Game takes place in 1908. Certain aspects of the movie reflect this, with the various modes of transportation being one example. But there were some outfit choices that appeared to belong in a different decade. Whenever the Chicago Wolves are spending time in the hotel, all the team members wear team sweaters featuring their team logo. This style of sweater looked like it came from somewhere between the ‘30s and ‘50s. Like previously said, Esther has a swimming scene in this film. Her swimsuit resembles the style she wore in her “aqua musicals” of the ‘40s and ‘50s. These costume choices prevented me from getting fully immersed in the movie’s world.

Baseball game image created by Macrovector at freepik.com. <a href=’https://www.freepik.com/free-vector/baseball-game-illustration_2871359.htm’>Designed by Macrovector</a>. <a href=”https://www.freepik.com/free-photos-vectors/man”>Man vector created by Macrovector – Freepik.com</a>. Image found at freepik.com.

My overall impression:  

Even though Take Me Out to the Ball Game is the second Frank Sinatra and Gene Kelly collaboration I’ve seen, I’d still prefer Anchors Aweigh over the aforementioned film. While Take Me Out to the Ball Game is a fine movie, I feel the 1945 film was a stronger picture overall. However, I’m not going to dismiss the movie completely. One of the strengths of the 1949 project is the acting performances! Musical experience from Frank, Esther, and Gene definitely worked in this movie’s favor, with each actor appearing comfortable in their roles! I also enjoyed most of the musical numbers! They were certainly entertaining and fun to watch! Even though I didn’t mention it in my review, I feel the film’s conflict was underutilized. Within the last thirty minutes, Eddie tries to juggle baseball and performing in a café. Eventually, he learns that he can’t have everything he wants. Story wise, I think the film’s main conflict should have been Eddie’s struggle to fit his love of performing and baseball into his life. I actually found this part of the story more interesting than the Chicago Wolves dealing with a new team owner.

Overall score: 7.2 out of 10

Have you seen Take Me Out to the Ball Game? Which Frank Sinatra and Gene Kelly collaboration is your favorite? Tell me in the comment section!

Have fun at the movies!

Sally Silverscreen

Take 3: House of Wax (1953) Review

For KN Winiarski’s 1st Annual Spooky Classic Movie Blogathon, I chose to write about a film that was recommended to me by one of my fellow bloggers. As the title states, I will be reviewing the 1953 film, House of Wax, which was suggested by Patricia from Caftan Woman. This is a movie I’ve heard of, but had never seen. Since the film was released between 1920 and 1960 (one of the blogathon’s requirements), it gave me a good excuse to check it out! Even though I have seen and reviewed three of Vincent Price’s movies, only one of them was released during the Breen Code era. Because House of Wax premiered in the early ‘50s, it allowed me to view more of his films from that time period. Based on the synopsis, House of Wax is considered a “revenge film”. It made me curious to see how this type of story would work within the Breen Code era. I was also interested in comparing House of Wax to a project like The Crow, which I reviewed back in May.

House of Wax poster created by Warner Bros.

The acting: House of Wax is the fourth film of Vincent Price’s I’ve seen. While I enjoyed his acting performances in The Whales of August, House of the Long Shadows, and Shock, I really liked his performance in the 1953 film! When his character, Henry, is talking about his wax figures, the passion he has for his craft can be seen on his face and in his eyes. Vincent makes the audience feel bad for Henry when these figures and the museum burn to the ground. As time moves forward, Henry evolves into a man of sophistication. Through the power of his acting talents, Vincent makes this transition feel believable. Prior to watching House of Wax, I was not familiar with Phyllis Kirk as an actress. However, I really liked her portrayal of Sue Allen! The emotional intensity Phyllis brought to her role is what made her performance stand out! When she is chased through the city by a murderous criminal, the audience can see and feel the fear Sue is experiencing. This helped raise the intensity of that scene. After she reaches the safety of a neighbor’s house, she immediately bursts into tears. Sue’s emotions show just how emotionally exhausted she is from constantly looking over her shoulder.

The wax figures: Because this film is called House of Wax, a showcase of various wax figures is to be expected. What was unexpected for me was the overall quality of these wax figures! All of them were so well-crafted, they looked like real-life individuals. In fact, there were times when I was waiting for at least one of them to start moving on their own. Throughout the film, facts about the people these figures were representing and the artistic process were shared within the dialogue. One example is when Henry is explaining how he created his Marie Antoinette figure. He tells a potential investor that Marie’s eyes are glass and were inserted through a hallow part of the head before it was attached to the neck. I found this part of the story fascinating! I also wish there was a documentary about this particular art form.

The historical accuracy: House of Wax takes place during the early 1900s, with the time period influencing every aspect of the film. What works in this movie’s favor is how the visuals looked and felt like the time period the film’s creative team was striving for! As Henry’s wax museum is burning, a fire truck appears to put the fire out. A noteworthy point is the model of the truck resembled one from the early 1900s. Another way the time period was reflected was through the set design! The exterior of the House of Wax museum looked like a movie palace from decades past, commanding the attention of passers-by. The beige and red marble alcove leading to the museum reminded me of an outdoor market, with the museum itself selling a form of entertainment to potential customers. These design choices made the overall film feel immersive!

Scared audience image created by Katemangostar at freepik.com. <a href=’https://www.freepik.com/free-photo/terrified-friends-watching-horror-movie-in-cinema_1027311.htm’>Designed by Freepik</a>. <a href=”https://www.freepik.com/free-photos-vectors/people”>People image created by Katemangostar – Freepik.com</a>. Image found at freepik.com.

What I didn’t like about the film:

The 3D effects: One of House of Wax’s claims to fame is featuring one of the earliest forms of 3D in cinematic history. Any poster of the film and the movie’s opening credits boast this detail enthusiastically. However, the 3D in this movie stayed in 1953. In the scene where Henry opens his House of Wax museum, a spokesperson uses paddle-balls to get patrons’ attention. During his routine, the spokesperson breaks the fourth wall and tells a man in the audience that he is trying to hit his popcorn bag with one of the paddle-balls. When the paddle-ball moved toward the audience, the moment itself looked like it was filmed in 2D. The 3D in House of Wax comes across as an outdated gimmick that felt awkward and out of place.

A protagonist I can’t root for: More often than not, “revenge films” feature a protagonist who represents the opposite of the horrors committed against them. Eric Draven from The Crow is a perfect example. While he kills the villains who have wronged him and his fiancé, Shelly, Eric is fighting fire with fire when his city’s justice system is ineffective. He also chooses to keep his moral compass intact by helping those who are innocent. I won’t spoil House of Wax for those who haven’t seen it yet. But all I’ll say is that as time goes on, Henry throws away his moral compass and takes his mission too far. Because of this, I couldn’t bring myself to root for this character.

Scares that aren’t consistent: There are several moments in House of Wax that are truly unsettling to watch. Seeing Henry’s wax figures burning is just one of them. However, I expected the film to be much scarier than it was. The most terrifying moments happened toward the beginning and end of the movie. Everything in-between felt like a juggling act of darker and lighter moments. Right after Henry’s wax museum burns down, a happy dance party is shown. This feels like a major tonal shift from the ominous tone that was set up in the film’s opening scene.

1st Annual Spooky Classic Movie Blogathon banner created by Kristen from KN Winiarski Writes.

My overall impression:

As a movie, House of Wax is good! It is a horror title that relies more on tone and atmosphere. But as a “revenge story”, I feel a film like The Crow does a better job at expressing that type of narrative. One major difference is how the character of Henry is not worth rooting for, as he abandons his moral compass within the course of the film. I found this to be a surprising choice for a Breen Code era film. While it doesn’t overpower the movie, the 3D aspect of the project did not work. It was obvious that 2D filmed moments were waiting for the 3D effect to kick in. Sadly, the 3D failed to show up. I would say House of Wax is an interesting choice for Halloween viewing, as it utilizes wax figures to provide elements of horror. It eliminates the use of blood/gore and has the ability to put the audience on edge.  

Overall score: 7.5 out of 10

Have you seen House of Wax? Which film of Vincent Price’s is your favorite? Share your thoughts in the comment section!

Have fun at the movies!

Sally Silverscreen

Take 3: The Sea of Grass Review

When I participated in last year’s Spencer Tracy & Katharine Hepburn Blogathon, I reviewed It’s a Mad, Mad, Mad, Mad, World and One Christmas. The first movie was not my cup of tea, but I found the second movie to be just ok. This time around, I decided to write about one movie starring both Spencer and Katharine. As I’ve mentioned before, I don’t watch films from the Western genre often. This is the reason why I chose to review The Sea of Grass. Looking back on the movies I’ve seen from Spencer and Katharine’s filmographies, this is the first time I’ve seen one of their titles where both actors were the leads. Spencer and Katharine are talented actors individually, so it was interesting to see them acting alongside one another!

The Sea of Grass poster created by Metro-Goldwyn-Mayer and Loew’s Inc.

Things I liked about the film:

The acting: In The Sea of Grass, Katharine Hepburn portrays Lutie Cameron, a St. Louis native who moves to the country in order to marry Colonel Jim Brewton. Toward the beginning of the film, Lutie comes across as naïve, as she is a romantic at heart. As she stays in the country, Lutie gains a sense of maturity and grows as a person. Throughout her character’s journey, Katharine was able to show this transition in her acting performance by adopting a variety of emotions. The “sea of grass” this film is named after is Colonel Jim Brewton’s favorite spot. While talking about it with Lutie, Jim describes the fields like a convincing salesman. His face contains a look of longing; reflecting on the past, present, and future of his prized field of grass. The way he talks about it shows how much he cares for this patch of earth. The facial expressions and tone of voice Spencer adopts persuade the audience of this location’s importance. Spencer’s expressions and vocal inflections also reveal the cracks in Jim’s foundation as the story continues. Brice Chamberlain, a local lawyer, is portrayed by Melvyn Douglas. Whenever his character interacted with Lutie, Melvyn was able to, talent-wise, go toe-to-toe with Katharine. He delivered thought-out remarks with a serious calm that one might expect from a respected lawyer. A professional composure was also present in Melvyn’s performance. Because his on-screen personality was different from Katharine’s, it created an interesting dynamic.

The scenery: The majority of The Sea of Grass takes place in the country. Because of this, the natural landscape of this environment is shown in several scenes! When characters travel through the desert, huge mountainous rocks illustrate just how small humans are compared to the large scope of nature. Long and medium shots are used to emphasis this idea. Even the “sea of grass” is featured in a few scenes, its beauty captured well on screen! Sweeping shots showed the vast size of this field. As the wind blew, the movements of the grass looked like the rippling of water. All of these components came together to create a calming space!

Katharine’s wardrobe: Throughout the movie, Katharine showcased an impressive wardrobe that complimented her well! This is because all of her outfits were simple, but elegant. When Lutie and Jim are sharing their first dinner after their wedding, she wears a white long-sleeved dress with a small set of flowers in the front of the dress’s top. Later in the movie, Katharine wears a black-and-white, over-the shoulder dress. This outfit was paired nicely with a dainty black choker and ponytail hair-do. What’s also worth pointing out is how Katharine’s wardrobe in The Sea of Grass appeared historically accurate with the film’s time period.

The Third Spencer Tracy & Katharine Hepburn Blogathon created by Crystal from In the Good Old Days of Classic Hollywood and Michaela from Love Letters to Old Hollywood.

What I didn’t like about the film:

More emphasis on telling: At the beginning of the movie, several people in Salt Fork inform Lutie about how awful of a person Jim is. He is, apparently, such a bad person, some compare him to a tyrant. While the audience can hear Jim say harmful things, they never get to see him do harmful actions. This creative decision gives the viewers only part of a bigger picture when it comes to Jim Brewton. Whenever the subject of people using the “sea of grass” is brought up, Jim is very specific about how the land should be used. If someone objects to these ideas, Jim tells others what he’s going to do instead of carrying out the deed.

No major conflict: Since the film is called The Sea of Grass, you’d think most of the story would revolve around the “sea of grass” itself. Instead, the film prioritizes the personal events of the characters. Stories that are character driven can work. But when you have an interesting conflict like how to utilize a field of grass, the character’s stories don’t seem as interesting. While the triumphs and tragedies of Lutie and company are highlighted, the “sea of grass” is relegated to a subplot.

Times moves too fast: In a movie where time progresses, there is usually some indicator that a jump in time has occurred. This is done through on-screen text or a voice-over. The Sea of Grass, unfortunately, doesn’t utilize any techniques to inform their audience that time has moved forward, causing changes to appear abruptly. A perfect example are the lives of Sara Beth and Brock. In one scene, Sara Beth is shown as a little girl, while Brock is a toddler. The very next scene shows Sara Beth and Brock as older children, appearing to be ten and eight.

Small, western town image created by Freepik at freepik.com. <a href=”https://www.freepik.com/free-photos-vectors/background”>Background vector created by freepik – http://www.freepik.com</a>. Image found at freepik.com.

My overall impression:

When I chose to review The Sea of Grass, I wanted to expand my Western genre horizons. This decision taught me that Western tragedies do exist. Despite seeing a handful of Westerns, the movie was quite different from other films I’ve seen in this genre. Even though I knew that this movie was about a rocky relationship, it was sadder than I expected. The Sea of Grass is a fine film with strong components, like the acting and scenery. However, it does have its flaws that shouldn’t be ignored. While the “sea of grass” is shown on screen, it isn’t as significant as the title would suggest. In fact, this location feels more like a glorified backdrop. I will say that Katharine Hepburn and Spencer Tracy do work well together as actors. As the years go by, I would like to see more of their films where they both star as the leads.

Overall score: 7.3 out of 10

Do you like watching Western films? Are there any Westerns you’d like to see me review? Let me know in the comment section below!

Have fun at the movies!

Sally Silverscreen