Movie Review: When Marnie Was There

Movie Review: When Marnie Was There directed by Hiromasa Yonebayashi

Anna is an orphan with asthma and alienation issues.  When she is sent to a rural village for the fresh air, Anna believes her foster parents are just dumping her on their friends  for the summer.  But the area certainly isn’t a bad place to be, and her hosts are gracious.  Anna starts making sketches of the nearby Marsh House.

When Marnie Was There

Anna is told that the Marsh House is long abandoned, and when she peeps in the windows, it certainly appears to be.  But sometimes there are lights, and a girl named Marnie that seems very interested in meeting Anna.  Are Anna’s experiences just dreams by a lonely girl…or is Marnie very real after all?

People who are only slightly acquainted with anime might think it is only kiddie shows designed to sell toys and lurid sex & violence shows for “mature viewers”, but Japanese animators also have a long tradition of creating adaptations of classic children’s literature.  In this case, it’s a relatively obscure British book by Joan G. Robinson, done by Studio Ghibli (Spirited Away).

The setting is swapped from Norfolk to rural Japan, but this does little violence to the story.  Indeed, Anna’s unusually blue eyes become part of the reason she feels like an outsider, and she’s very sensitive about them.

There are some mildly scary bits, and Marnie’s background turns out to be quite sad, so parents of younger viewers should watch this with them.  But it’s a gentle story that unfolds slowly and to a certain degree predictably.  Anna learns that she isn’t as unloved as she thought, that she has connections, and even becomes able to make friends in the ordinary world.

As usual with Ghibli, the art is beautiful, with many views of lived-in houses, watery landscapes and rolling green hills.  The Japanese voice acting is excellent, and there are some fine voices in the dub as well.  There’s some odd staging of the first few scenes between Marnie and Anna that make it come off like the start of a romantic relationship; presumably this is due to Japanese cultural differences, because that is not what Marnie has in mind.

Worth looking into if you have enjoyed other Ghibli films, or have children around twelve (Anna’s age) to watch it with.  Also consider reading the book; the movie gave it a boost, so you may be able to find it at finer libraries.

 

Movie Review: Bender’s Game

Movie Review: Bender’s Game

Futurama was a science-fiction cartoon created by Matt Groening (The Simpsons) for the Fox Broadcasting Company.   It starred Philip J. Fry, a New York City pizza delivery worker who is “accidentally” cryogenically frozen for a thousand years.  In the bizarre future world, Fry has trouble fitting in at first, but quickly becomes employed by his distant descendant, eccentric scientist Hubert J. Farnsworth, as a delivery person for one-ship operation Planet Express.

Bender's Game

Fry befriends vice-ridden robot Bender and violence-prone cyclops Leela, who join him at the delivery company.  Other employees include fussy bureaucrat Hermes, naive intern Amy, completely incompetent lobster doctor Zoidberg and Scruffy the janitor.  They went on to have many comedic adventures on network TV from 1999 to 2003.

The Fox executives never particularly liked Futurama, despite or perhaps because of its critical acclaim, so the scheduling was erratic at best.  Eventually, it was not so much cancelled as not scheduled for a year.   A couple of years later, Comedy Central picked the show up for syndication, and helped fund four direct to DVD movies in 2008, of which Bender’s Game is the third.

In one plotline, Bender learns to play the role-playing game Dungeons & Dragons™ which is a bit difficult for him as he has never really used his imagination before.  He makes a breakthrough, but it turns out that as a robot, his imagination gets the better of him, making him delusional, living in a fantasy world based on the campaign.  Bender is institutionalized.

In the other main plotline, the price of “dark matter” fuel is skyrocketing due to a purported shortage.   Leela’s pet Nibbler (actually a superintelligent being) produces dark matter as excrement, which helps.  But evil corporate mogul Mom owns the only dark matter mine and her monopoly allows her to set any price she wants.  Professor Farnsworth reveals that he has a method to break Mom’s monopoly, but it can only be done inside the mine itself.

The two plotlines combine when dark matter inside Bender is stimulated by…events…and his imagination transforms the world into his fantasy adventure.  The situation in that world is a twisted mirror of the previous events, and the transformed Planet Express crew must fulfill their quest lest the universe fall to darkness!  Oh, and there’s a surprise revelation about one of the minor characters.

It’s obvious the writers and voice actors had a ball making this, with all the D&D references and other pop-culture bits (Ender’s Game is not referenced beyond the title.)   While it will help to have seen some episodes of the series before, the loose continuity of Futurama should allow most viewers to catch on quickly.  Past events that are important are referenced in the movie itself.

The movie is designed to split into four episodes for showing in syndication, and it’s pretty obvious where the transitions are supposed to take place.

If you are new to the series, you should be aware that cartoon nudity crops up every so often, and all the characters will turn into jerks whenever it’s convenient for a joke.  (Bender is almost always a jerk.)  One thing I wasn’t too keen on is that this movie leans heavily on potty humor, well beyond what is called for by the plot.

After the movies, there was another season of regular episodes, but then the show was canceled again so it may not be coming back.

Recommended for anyone who’s ever played Dungeons & Dragons™.

 

 

Movie Review: Tokyo Gore School

Movie Review: Tokyo Gore School

Fujiwara leads a double life.  He’s the leader of a gang of high school bullies, and also the teacher-trusted student president.  He’s reasonably comfortable with this, having a binary view of life.  There are winners and losers, and he’s determined to be a winner.   Fujiwara is baffled, however, when he’s suddenly being chased on the street by complete strangers.

Tokyo Gore School

It turns out that Fujiwara is listed as one of the participants of something called the “Chain Game.”  Your data is listed on a cell phone-accessible website, allowing people to track you down.  If you capture the other person’s phone, you learn their darkest secret, and gain points that can be used to erase parts of your data, making it harder to track you.  If you lose, then your secret is out.  A lot of the involuntary participants default to violence as a means of getting cell phones, thus the “gore” in the title.

While some of the secrets are just embarrassing, like having your mom sew your name into your underwear, others are much more dangerous, and Fujiwara will find himself doing anything he must to avoid his secret getting out.  Oh, and the vaguely described “School Justice Bill” the government just passed may have something to do with all this.

This is a 2009 Japanese movie, currently available on the Crunchyroll website.  It’s an “R” for gory violence (which takes a while to get there–the first few fights are relatively bloodless.)  Also on the content front are suicide, rape (off-screen), torture and some rough language.

As you might guess from the plot description, Fujiwara is more protagonist than hero.  He does defend a young woman, but its for his own purposes. He’s invited to join a large group that’s using numbers to protect itself, but declines.  While he’s correct about the deficiencies of the strategy, his refusal is what causes that group to fracture.

Fujiwara’s antagonist for most of the movie, though it takes him a while to figure it out, is his ambitious lieutenant Todoroki, who enjoys violence for its own sake; the other bullies are stupid and easily led.

The movie has some nasty twists towards the end, and its philosophy becomes nihilistic in the negative sense.  There’s some nifty fight sequences, and the gore doesn’t get too overdone.

If teenagers fighting to the death as part of a game is your thing, this isn’t nearly as good as Battle Royale or Hunger Games but is enjoyable on its own terms.

Movie Review: Reet, Petite and Gone

Movie Review: Reet, Petite and Gone

Years ago, Schuyler Jarvis (Louis Jordan) was a young entertainer who fell in love with a woman named Lovey Lynn (Bea Griffith.)  She liked him plenty too, but her mother disapproved because Jarvis was a poor man, and forced Lovey to break off the affair.  Lovey was married to a wealthy gentleman and had a daughter named Honey Carter (also Bea Griffith) while Jarvis married some other woman and had a son named Louis Jarvis (also Louis Jordan.)

Reet, Petite, and Gone

Lovey passed some time back, and Schuyler, now quite wealthy in his own right, is on his deathbed.   He’s determined to marry his bandleader son to Honey, and sets up his will to ensure this by specifying the exact physical dimensions of the woman Louis must marry to inherit the dough.

Crooked lawyer Henry Talbot (Lorenzo Tucker) sees an opportunity to profit and alters the will to make it appear that the required woman matches the description of his secretary Rusty (Vanita Smythe.)  He also heads off Honey and her friend June (June Richmond) at the airport, attempting to get them to fly back to New Orleans.  (June is a savvy woman and keeps the bribe he gives them so the girls can use it as the first month’s rent on an apartment.)

Talbot initially gets away with it because Schuyler passes away before Louis can get back from the radio station he’s performing at.  He’s repulsed by Rusty and wonders if perhaps he can skip the inheritance.  His manager Sam Adams (Milton Woods) reminds him that they’re about to put on a Broadway show, and the money would sure come in handy.  Then the show biz men get an idea.   They’ll scout for another woman with the same dimensions as Rusty but more palatable by claiming it’s a beauty contest/audition for the show.

This doesn’t go so well, apparently Rusty is unique among women.  However, Honey hasn’t been able to find a job and winds up at the Jarvis mansion to audition.   She doesn’t match the altered criteria either, but she’s able to remind Louis of who she is, and the two hit it off well.

Talbot manages to get one of the show’s backers to bail out, now making it absolutely essential for Louis to inherit if he doesn’t want to close the show before opening and become box office poison.  Things are looking pretty dire, and Louis must make his marriage decision before midnight.  At the last moment, Dolph the aged butler (David Bethea) reveals that he’s been holding a trump card….

This is another “race” picture,  where the cast and crew are all black, designed to air in segregated theaters.    This gave actors who normally got stuck with roles as maids and comic relief the chance to shine.   It’s also a musical and as such a showcase for Mr. Jordan and his Tympani Five band.  As such, there are multiple swing numbers, three of them before the plotline even starts!

Ms. Griffith was apparently not a particularly good singer, so the film avoids her breaking into song as much as possible.  Instead, we’re treated to a couple of fine numbers by June Richmond.  (She’d actually have made a better female lead, I think, but was too heavy-set for Hollywood to give her that role.)

The fan service is heavy in this film–the showgirl costumes and bathing suits are at least plot-relevant, but there’s a scene of Ms. Griffith in her underwear when she didn’t need to be.  (Really obvious when Ms. Richmond is in the same scene, fully clothed.)  Mr. Jordan’s taste for fine-looking ladies is treated as being a lovable scamp.  But the next to last song in the movie is a misogynist screed “Ain’t That Just Like a Woman?”, that really jarred when the finale is “If It’s Love You Want, Baby, That;s Me.”

As such, if you are watching this with younger viewers, you might want to discuss the harmful effects of casual misogyny

The Mill Creek edition of this movie cuts off just before the resolution of the plot; the Internet Archive print is complete, but has much worse picture quality.

Movie Review: Private Buckaroo

Movie Review: Private Buckaroo

When bandleader and trumpeter Harry James (playing himself) is drafted, his entire band enlists to accompany him.   However, his main vocalist, Lon Prentice (Dick Foran) is initially classified 4-F due to a foot problem.  One visit to the doctor later, Lon is cured and can enlist with the other fellows.

Private Buckaroo

However, the vain Lon is already an expert shot and finds most Army training and menial duties below him.  To everyone else’s surprise, the base commander (Ernest Truex) gives the order that Lon is excused from any training or duties he doesn’t want to do.  At first, he doesn’t mind, even though his fellow trainees are giving him the stinkeye when they get saddled with his guard rotations.  It’s not until Lon learns that he won’t be shipping out with the rest of the boys, but assigned to a rear echelon desk job that his attitude changes.

Meanwhile, First Sergeant “Muggsy” Shavel (Shemp Howard) is in a rocky relationship with his fiancee Bonnie-Belle Schlopkiss (Mary Wickes).  Not only is she rather shrewish, but USO entertainer Lancelot Pringle McBiff (Joe E. Lewis) is making time with her, and she doesn’t seem at all reluctant.

This 1942 musical is essentially a recruiting film for the Army put out by Universal Studios.  In addition to the above mentioned entertainers, the Andrews Sisters feature heavily.  The more unpleasant aspects of boot camp are skipped over entirely, and it ends with a montage of our brave boys shipping out.

There’s a fair amount of slapstick humor, with Sergeant Shavel taking the brunt of most of it.  The fact that Bonnie-Belle is the dominant one in their relationship is played for laughs, but the domestic violence won’t play as well with a modern audience.  There’s also some period slurs against the Japanese, in keeping with the subject matter.

As part of the mildly military aspect, the base commanders’ nieces have pretty much free run, especially precocious tyke Tagalong (Susan Levine), who gets some of the best lines.

The musical numbers are well worth seeing, but the previously mentioned content may make it a no-go for younger viewers without parental guidance.

Here’s a trailer for the movie.

 

 

Movie Review: Trocadero (1944)

Movie Review: Trocadero (1944)

Hollywood columnist Erskine Johnson (playing himself) needs a story for his Sunday slot, and goes to his favorite nightclub, the Trocadero.  It’s hopping as usual, but headwaiter Sam (Ralph Morgan) finds a moment between celebrity cameos and musical numbers to talk to the columnist.  He reveals that things were not always so rosy here….

Trocadero

The club used to be Tony Rocadero’s Restaurant, and we see the owner (Charles Calvert) at the end of Prohibition getting a legitimate liquor license.  He wants to turn his place into a class joint for the sake of his adopted children Judy and Johnny Edwards (Rosemary Lane & Johnny Downs.)   Unfortunately, he is killed in a street accident.  There’s only enough income from the restaurant to send one of the kids to college; the other will have to stay and help manage the place.

Johnny goes off to earn a degree while Judy takes over as acting manager and star singer of the night spot.  They struggle along until in 1935, the place is broke and about to close its doors.  Musical agent Mickey Jones (Sheldon Leonard) buys ten percent of the business as he’s convinced it can be revived with a new jazz band he’s representing.  Even this might not have worked, but then swing band leader Spike Nelson (Dick Purcell) barges in with his own musical troupe, and Judy takes the risk of having two house bands.

It’s obvious that both Jones and Nelson have more than a business interest in Judy, but she’s got a nightclub to run.  A slip of the tongue renames the place the Trocadero, it shifts emphasis from dining to dancing, and business heats up.

Some time later, Johnny has finally graduated from college, and returns.  Problem!  He’s fallen in love with society dame Marge Carson (Marjorie Manners), whose father (Emmett Vogan) owns a tobacco brokerage.  She’s less than enthused by the tawdry entertainment industry, and wants Johnny to join her father’s business.  So he can’t take over the Trocadero after all.

Judy has her own problems.  Jones is more or less okay with just being friends, but Nelson feels he’s been strung along too long and accepts another gig.  Only after he leaves does Judy realize that she actually loves the lug.

Meanwhile, Johnny discovers at the engagement party that Marge’s relatives are deadly dull people who care only for money and prestige, and look down on “hoofers” like himself.  He dances a fiery rebuttal and calls off the marriage.  He returns to the Trocadero to console his lovelorn sister and finally help manage the place, which is more popular than ever.

Which brings us back to the present day.    But this is a Hollywood musical, and there’s no way it’s going to end on a bittersweet note.

There was a real-life Trocadero nightclub, one of Hollywood’s hottest spots, but its history was nothing like this movie’s version.  Still, it’s a sweet story in its own way, a fantasy of making it in show business.  There are several fun musical numbers, including a grand finale with four, count ’em, four bands combining their talents.  One song in the modern section obliquely references World War Two, which was going on at the time.

As mentioned, there are several celebrity cameos, the most unusual of which is animator Dave Fleischer, with a little cartoon creature that comes out of his pen.

There’s of course lots of drinking, but the cigarette girl isn’t too keen on smoking (at least the Carson brand.)   Johnny and Judy do some playful scuffling, and have perhaps a bit too much chemistry for siblings, but that and the slightly offscreen death of Tony are it on the violence front.  By 1940s standards the movie is surprisingly non-sexist; no one thinks Judy can’t run a nightclub just because she’s a woman.

This is a lovely confection, fun but not very deep, and should be okay to watch with younger viewers.

Movie Review: All-American Co-Ed

Movie Review: All-American Co-Ed

The movie starts with chorus girls’ feet and legs kicking behind the title sequence.  Then the camera is pulled back and we discover that the “chorus girls” are all men.  The Zeta Fraternity of all-male Quinceton University are putting on a drag revue.

All-American Co-Ed

Matilda Collinge (Esther Dale) sees a description (but no pictures) in the paper and strongly disapproves.  As president of Mar Brynn Horticultural College, she would never allow such shenanigans on her all-female campus.   Still, enrollment has been falling off, and the college needs something to boost its profile.

Matilda’s publicist Hap Holden (Harry Langdon), a newspaperman, and her niece Virginia Collinge (Frances Langford) come up with an idea.  Rather than only admitting upper-crust girls, this year the college will offer scholarships to twelve young women from across the country who’ve won contests with their produce (who also look pretty.)

As an additional attention-grabber, these scholarship students will be referred to as “likely to succeed” in direct contrast to the loathsome oafs of Quinceton’s Zeta fraternity.  When this dig comes to the boys’ attention, they decide to dress up Bob Sheppard (Johnny Downs) as Flower Queen Bobbie DeWolfe and submit that picture.  Bobbie is chosen, so now Bob must go undercover as his alter ego, to seek revenge for the Mar Brynn slight.  Hilarity ensues.

This 1941 musical comedy has a disclaimer that “any resemblance to actual college life is purely coincidental.”  It’s from a time when “man in a dress” was considered comedy gold all by itself, and then adds some gags.  Let’s face it, Bobbie desperately trying to not be unmasked before “she” achieves her goal leads to some pleasant silliness.  I note that the disguise is helped by fashions of the day giving every young woman linebacker shoulders.

The first few songs are good, but the final agriculture-themed performance just drags on with labored rhymes.

Less good stuff:  There’s 1940s-style sexism, as Virginia declares, “Girls don’t want minds, Auntie, they want a husband!”  One comedic sequence turns on the stereotype of black people being superstitious and a little dim.  And sexual harassment is played for laughs, because it is just so hi-larious when a man is doing it to another man under the impression he’s a woman.

You may not want to watch this one with younger viewers in light of the last thing, or be prepared to remind them that in real life sexual harassment’s not funny.

This was nominated for two Oscars, so clearly has some merit, but it’s a specialty taste.

Movie Review: Till the Clouds Roll By

Movie Review: Till the Clouds Roll By

This 1946 musical, filmed in glorious Technicolor, is loosely based on the life of songwriter Jerome Kern (Robert Walker).  It opens with the opening of Showboat, the famous Oscar Hammerstein play he wrote the music for.  After several numbers, we skip to the end of the performance.  Mr. Kern asks his chauffeur to take him to a certain neighborhood that has special meaning to him, and we go into a long flashback.

Till the Clouds Roll By

This turns out to be the beginning of his long relationship with music arranger James Hessler (Van Heflin) and his daughter Sally (Joan Wells/Lucille Bremer.  Mr. Hessler is tired of silly love songs and wanting to write a symphony, but Mr. Kern’s music convinces him to arrange again.

Things aren’t doing too well on Broadway, and Mr. Kern has to travel all the way to England, where he meets his future wife, before he can convince a producer to take a chance on an American songwriter.  After a near miss with the Lusitania, Kern and Hessler finally find success with a hit show.

As the years pass, Sally becomes convinced she wants to  be in show business, and Mr. Kern is able to swing her a plum spot in his latest production.  However, the producer of the show takes away Sally’s big number and gives it to established star Marilyn Miller (Judy Garland).  Sally has a fit and runs away to seek her own fortune, not even returning when her father dies.

Distraught after his friend’s death, Mr. Kern is unable to write until  he finally finds Sally singing in a club near the Mississippi, determined to succeed on her own merits.  Heartened, he is also inspired by the river to create the music heard in Showboat.   The flashback over, Mr. Kern worries that this is the natural end to his career.  The chauffeur assures him that it’s not, and drives him to the afterparty.

A quick montage of success later, the now elderly Kern is brought to Hollywood to do music for the movies, and is pleased to see that Sally is by complete coincidence the star of the one he’s working on.  The movie ends with a medley of Kern hits.

Like many musicals, the plot is a little thin, but there are some great musical numbers sung by such luminaries as Angela Lansbury, Lena Horne and Frank Sinatra.  And it’s in color, which is always nice.

One interesting bit; the parts with Judy Garland were shot early, and with a different director, Vincente Minnelli, as she was pregnant at the time and they wanted to make sure she wouldn’t show.  Jerome Kern was still alive at this point and visited the set shortly before he passed.

Thankfully, there’s no overt sexism or racism in the movie, although the latter is in the metatext–Lena Horne’s number is carefully framed so that it could be removed by Southern theater owners without causing a noticeable gap, and there are two versions of “Old Man River”, one with a black performer (as part of Showboat) and then at the end with young Frank Sinatra in an all-white showcase.

The romance is kept nice and clean.  There’s some smoking and drinking–one scene takes place during Prohibition with the booze served literally under the table.

This film is in the public domain, so easily findable, and well worth it for the musical numbers alone.

Film Review: Hi-De-Ho (1947)

Film Review: Hi-De-Ho (1947)

Jazz singer and bandleader Cab Calloway (Cab Calloway) has a new manager named Nettie (Ida James).  His girlfriend Minnie (Jeni Le Gon) becomes insanely jealous, despite the relationship being purely professional.  When Nettie lands Cab and his orchestra a gig at the ritzy Brass Hat Club, Minnie hies herself over to a rival nightclub run by mobster Boss Mason (George Wiltshire).

Hi-De-Ho

Minnie convinces Boss Mason and his triggerman Mo the Mouse (James Dunmore) to try and lure Cab away from the Brass Hat Club and Nettie, or failing that kill him.  Just as the hit is about to go down, Minnie overhears a conversation between Cab and Nettie that reveals the truth of their relationship.  But is it too late to prevent tragedy?

his is another “race picture”, filmed with an all-black cast for showing in movie theaters catering to African-American audiences.   Even the cops are black!   As one might expect from a movie starring Cab Calloway, it’s a musical.

Good:  Cab Calloway was a national treasure and backed by some really wonderful jazz musicians and dancers in this film.  I’m not too keen on this particular rendition of “St. James Infirmary” but otherwise the musical numbers are excellent.

I also like the running gag of the one character who hangs around Cab all the time reading Variety and making smart remarks, but never takes place in the action and seems to have no actual job he does for Cab.

Less good:  The plot, thin to begin with,  resolves halfway through the movie, with the romance subplot resolved in a montage sequence no less.  The remainder of the film is a long performance by the now world-famous Cab Calloway and his Orchestra in a club…somewhere.

Problematic:   Cab is callous towards Minnie, and even slaps her to the floor when she backtalks him.  Later, Boss Mason does the same thing, and in both cases we are meant to think she had it coming.  Minnie having implied sexual needs is treated as a flaw in her character.  Nettie is subjected to a “you’re beautiful without your glasses” scene, though this is done without the dialogue.  On the other hand, Nettie is shown to be an effective manager for Cab in his early career.

Some viewers may want to skip straight to the last half of the film for the musical numbers.  Parents watching the movie with younger children may want to remind them that slapping around your girlfriend is no longer accepted practice, even if she’s being obnoxious.

Apparently, there’s also an earlier film short titled Cab Calloway’s “Hi-De-Ho” which has a different plot.  And here it is!

Movie Review: The Duke is Tops

Movie Review: The Duke is Tops (1938)

Duke Davis (Ralph Cooper) is a show producer who has a star act, Ethel Andrews (Lena Horne), who is also his sweetheart.  Their current show, “Sepia Scandals” is doing very well in the small Southern cities it’s playing.  A big-time East Coast agent wants to put Ethel on Broadway, but doesn’t need Duke tagging along.

The Duke Is Tops

Worried that he’s holding Ethel’s career back, Duke tricks her into breaking up with him so that she can head up to New York City.  Unfortunately, without her, his next show flops.  Now poison in local show business, Duke happens to meet up with an old friend, Doc Dorando (Laurence Criner.)  Doc’s elixir sales have been doing poorly, as he’s still using the same old spiel.  Duke convinces Doc to let him turn their old trailer into a full-fledged medicine show.

Things go poorly at first, but after they reach the bottom of a river, Duke turns the business around using savvy marketing and good music.  Then he learns that Ethel’s show on Broadway has been a flop.  Turns out the big-shot agent is no producer, and is mishandling her career.

Ethel finally learns the truth about Duke’s trick moments before he shows up at her door.  With his help and that of his medicine show pals, they put on a show that’s a real hit, and Ethel becomes a star.

This musical is different from the other ones I’ve reviewed in that almost everyone in the cast and crew was African-American.  At the time, these were known as “race films”, designed to be shown at segregated movie houses that black people were allowed to be seated at.   Thus it effectively takes place in an alternate universe where there are no white people, and no struggle with racism.  The effect can be a bit eerie for pale-skinned people like me, so used to seeing white casts, with one or two token minorities (especially in these older films.)

This was Lena Horne’s first film, it was reissued in 1943 as Bronze Venus with her name above the title as she’d become a star n her own right.  Ralph Cooper was the host of Amateur Night at the Apollo Theater for a whopping fifty years!

Good stuff:  The music is excellent.  Ms. Horne isn’t quite up to her career peak, but the songs are lovely.  Duke and Ethel make a good couple.  For most of the film, it’s free of the usual Hollywood stereotypes of black people.

Less good:  For most of the film, it’s refreshingly free of the Hollywood stereotypes inflicted on black characters in the 1930s.  And then comes the “tribal number.”  Um.  The contrast really makes this stick out.

Also, Duke is manipulative of Ethel, “for her own good.”  This gives her little agency in the film.

Of interest to people who like musicals, and want to see more black people as the stars of the show.

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