Happy Birthday, Lois Lane

August 17th is the comic book birthday of Lois Lane.  For whatever reason, that's her fictional birthday, with the year sliding around to keep her somewhere between 28 and 38ish.  I tend to think of Lois as maybe a couple of years older than Superman.

Lois Lane is an ass-kicker, and has been since her first appearance in Action Comics #1.

don't just assume you can claim a spot on Lois' dance card

Noir Suspense Watch: Beware, My Lovely (1952)

There's nothing much complicated about Beware, My Lovely (1952).  But it works.

Based on a short story and play by the same person who wrote the screenplay, Mel Dinelli, the movie takes place in 1918 in the wake of WWI.  Ida Lupino plays a war widow who now runs a boarding house (so, don't actually expect to see Lupino's plunging neckline as in the poster, which... tamp it back a bit, poster artist.).  Robert Ryan, an actor who I like more and more with every movie, is a day-laborer she's hired to get some cleaning and work done around her gigantic Queen Anne-style house.

Oh, and he's totally crazy.  Memory lapses and a desire to kill perfectly nice ladies seems to be the overriding set of symptoms of whatever's ailing him.  So, it's more or less a good hour of Lupino realizing this dude is going to kill her and keeping herself alive by managing to stay a step ahead of him and trying to tell her idiotic neighbors that this dude is going to kill her.

It's pure suspense, has a brief running time and Lupino and Ryan, so what's not to like?

It does seem this movie has been made over and over, with a recent example being the Idris Elba/ Taraji Henson film, No Good Deed (2014).  But, you know, it's a pretty primal fear, so it's inherently interesting.  I mean, every time Jamie has to let someone into the house to fix the AC or whatever, I'm always like "oh gosh, what if they do something to my comics?".

Poor, helpless comics.

Madventure Time

Thanks to RHPT for the link!

Marx Bros. Watch: Duck Soup (1933)

If you want to see Patient 0 for a goodly portion of American comedy, you really need look no further than The Marx Bros.  I can't even say the Marx Bros. are an acquired taste, because you either like them or you're dead inside.

I've written before, at some point, that few things in this world please me more than Margaret Dumont, and she is very much in the middle of this movie.  Here's our introduction to Rufus T. Firefly (Groucho) as he's introduced as the new Regent of the nation of Freedonia, thanks to Dumont, who has a crush on Firefly, getting him placed in office.



Harpo and Chico play spies from the neighboring nation of Sylvania, and, eventually, there's a war between the two countries.  Because.

Anyway, this is one of my favorite of the Marx Bros. movies.

Sure, the set-up mostly seems like an excuse for the Marx Bros. to recycle bits from their vaudeville act, and that's okay.  As Jamie rightfully pointed out - the thing about the Marx Bros. is that they don't rely on the sitcom formula of set-up, punchline, set-up, punchline that creates a sort of rhythm to the show (see: The Big Bang Theory).  They just go for punchline, punchline, punchline, and you just need to keep up.

If you've never seen it, well, it's a bit too late to catch it last night on TCM, but it'll be on again at some point.

80's Watch: Tapeheads (1988) - Let's get into trouble, baby

Tapeheads (1988) is most certainly a cult movie, but it's a sort of under-the-radar cult movie that feels like it should be one of those movies people talk about a LOT more than they do.  If people have seen it, it's one of the movies they saw 20 years ago, but probably not a lot since, and maybe not that many times.

Oscar Winner Watch: Birdman - Or (The Unexpected Virtue of Ignorance) - 2014

Man.  I really struggled with this one.

Let's make no mistake, Birdman: Or (The Unexpected Virtue of Ignorance) (2014) is a technical marvel, and the sort of thing you have to give a tip of the hat just for its audacious approach to style and technical function.  It wants to be a melding of cinema and theater (or: theatre), and I'm not one to say that doesn't occur.  It's also a movie that's going to demand repeated viewings, something Pauline Kael refused any movie, and I think she has a point (asking someone to watch your movie over and over to "get it" shouldn't be a point of pride.  But rewarding viewers who catch something new on the second viewing should be a life goal.).  Our actors are all good, all on point, and the performances are not lacking - even when one character is supposed to be a bad actor, he nails his line delivery of line delivery, demonstrating to everyone that this is going to be a disastrous performance.

Birdman won the Oscar for Best Picture in 2015, and, of course, it's a movie about Hollywood's self-loathing and a desire to produce something better, something that matters as much as a well-written novel or beautifully produced play, and which isn't about superheroes and celebrity, even when that's exactly what Hollywood is exactly about on a good day.   Hollywood loves nothing so much as movies about itself (see: The Artist and it's Oscar win - and immediate dissolution in cultural memory after the fact - and how Argo made filmmakers into courageous action heroes), and even more so when Hollywood feels like a movie is doing their job for them and baring the artists to the public, as if to say "this is how Hollywood really feels, and what we really want to make if only there weren't so much money in making dumb shit for the flyover states.*"

The movie both criticizes and indulges in pretension in such a rapid fire, alternating current that it's hard to know what's satire and what writer/ director/ producer Alejandro G. Iñárritu actually thinks.  All of which makes a movie nigh-critic proof, because something is going on here, clearly, and if you get it wrong... well.  And, my god, the references and name-dropping.  Didn't you read Borges in undergrad?  No.  Shame on you.  You'd understand this scene and it'd be hilarious.  Otherwise you might mistake this as just a scene from yet another backstage dramedy about yet another at-his-wit's-end actor in crisis going through the motions you've seen before.  But, hey.  Good camera work.

Rin Tin Tin Watch: Caryl of the Mountains (1936)

So, mid-way through reading the Orlean Rin Tin Tin book, I ddi some Googling, as I had no real recollection of watching any version of a Rin Tin Tin movie.  Someone on eBay was selling an 8-disc set for $1 plus S&H, and for 8 movies, I figured it was worth the risk.

Caryl of the Mountains is a...  I have no idea.  53+ minutes of confused storytelling with a few pretty good stunts by Rin Tin Tin Jr., and the most lantern-jawed Mounty you'll ever see.  Pretty clearly low-budget, the movie is the sort of thing where you spend the first five minutes watching someone put mail in an envelope and lots of people talking when horses aren't riding.

This is the second Rin Tin Tin, one that never grabbed audiences in the same way that the original had managed to win over millions of people.  Of course, talkies hadn't done dog pictures a lot of favors (a point Orlean covers beautifully), and by '36, that had taken it's toll.

It's an interesting little time capsule of a particular kind of movie from a particular time, but it's not exactly something I'm suggesting folks run out and add to their collections.

Signal Watch Reads: Rin Tin Tin - The Life and the Legend, Susan Orlean (2011 - audiobook)

I am not entirely certain why I decided to read this book.  I've not read any prior Orlean, and I had literally never seen anything with Rin Tin Tin in it other than a few scant moments of the circa 1990 series, Rin Tin Tin: K9 Cop.  It is true that I like a happy looking dog, and I was marginally aware of a strange history of the pooch.  But after reading the Larry Tye Superman book, a topic I knew entirely too much about to ever wonder where it was going, and partially because, lately,  I've been thinking a lot about the lifespan of a media-driven concept - as the 20th Century and the first media giants fade in the collective memory, Rin Tin Tin seemed to be a good place to pick up that thread again as any.

Certainly I was curious as to what became of the media empire that I knew once existed and, today, there's not a kid out there who knows what the words "Rin Tin Tin" mean.

And, hey, it's about dogs.  I'm a fan.

Susan Orlean is perhaps most famous for the book she wrote, The Orchid Thief, which was turned into a Meryl Streep movie which I confess that I have never seen (Adaptation).  In Rin Tin Tin: The Life and the Legend, Orlean traces more than a century of history, from the ramshackle, lonely and unpredictable childhood of Lee Duncan, the man who would find a litter of German Shepard puppies in a kennel within an evacuated German base in WWI France, straight through to the modern era of DVD's and memorabilia collection.  And, of course, the tangled existence of a very real dog who became a screen legend, only to become a fictional character with his passing, and becoming the sort of property that people wind up suing one another over until the value of the property has fallen through the bottom.

Orlean weaves her own story into the book, not one that's particularly remarkable as these things go, but it gives the reader context when it comes to her research, what sparked her interest, how the misty memories of both the dog on the television in the 1950's series The Adventures of Rin Tin Tin and her relationship with an knowable grandfather echoed back to her as she tried to bring the past into the present, with things both on the screen and real.  And, it's an honest approach as Orlean necessarily frames her experience hunting down the folks who are still alive from Lee Duncan's family, those associated with the show and a Texas woman who has been breeding heirs of Rin Tin Tin in Texas, and who was smart enough to run out and trademark Rin Tin Tin when Hollywood had not.

Yesterday marked the 83rd anniversary of the death of Rin Tin Tin

Rin Tin Tin the First

Passed August 10th, 1932

Crawford Watch: Possessed (1947)

You know, I probably like Joan Crawford more than your average straight dude born in 1975.  Thanks to Faye Dunaway's performance in Mommy Dearest, the Joan Crawford of legend has superseded the Joan Crawford who shows up in her movies.  But watching those movies, you can see why folks decided maybe Joan was a little on the intense side.  And, her personal reputation as one tough lady did nothing to soften that edge (look up her rise within PepsiCo some day.  Absolutely bad-ass.).

To get real, Joan Crawford was a great beauty in the 20's and 30's when she hit Hollywood, and as she aged, maybe some of that slipped on her.  She remained attractive, but there's only so attractive someone can be when anger seems to their default setting, and you can see it set in somewhere in their resting face.  Here's where this boomerangs back - because Joan Crawford said "screw you, I'm still playing the sexy dame in middle-age", and did not just disappear into motherly, unsexed roles - and it kind of flips back on itself that the iron will in there somewhere is attractive all on its own.

Probably the first Joan Crawford movie I saw was Whatever Happened To Baby Jane?, which is a crazy movie to start to get to know Crawford.  I love that movie, and she's great in it, but Mildred Pierce, which I saw next, is still my favorite Crawford movie.  She's so damn good in it, and it's such a weirdly excellent movie for a movie about a lady making pies.

It turns out Possessed (1947) is sort of Yin to the Yang that is Mildred Pierce.  And I have new second favorite Joan Crawford movie (move over, Johnny Guitar).  It's not a mother and daughter coming up together in a tough world with lay-abouts for men and fried chicken joints as cash cows.  It's a woman on her own, trying to find love, witha  complicated relationship with her step daughter.  Oh, and she has schizophrenia.