LOONEY TUNES SUPER STARS: TWEETY & SYLVESTER -- DVD Review by Porfle

Originally posted on 1/19/2011
 

When the Warner Brothers animation department was at its peak in the 40s and 50s, they consistently churned out some of the best and funniest cartoons ever made.  One of their most memorable comedy teams was the cute little bird Tweety and the always-hungry cat Sylvester, whose catchphrases ("I taught I taw a putty tat!" and "Sufferin' succotash!") are part of cartoon history.  With Warner Home Entertainment's LOONEY TUNES SUPER STARS: TWEETY & SYLVESTER, fifteen of their classic shorts have been collected on DVD--some uproariously funny, others not quite hitting the bullseye.

The team, who had already appeared individually in several Warner Brothers shorts, scored an Academy Award for Best Short Subject (Cartoons) with their first pairing, 1947's "Tweetie Pie" (sic).  This initial outing, in which homeless Tweety is taken in by a household whose cat sees the tiny bird as a mouth-watering meal, seems to be an answer to MGM's Tom and Jerry.  The cat who would later be known as "Sylvester" is referred to here as "Thomas" just like the MGM character, and is similarly harangued by a generic housewife seen only from the waist down. 

With Tweety's cage suspended from the ceiling, he sits in his swing warbling a strange little tune ("I love little putty, his throat is so warm...And if I don't hurt him, he'll do me no harm").  Meanwhile, Sylvester devises a series of ingenious methods of attaining his prey, giving the writers a chance to come up with some pretty funny material while establishing the basic formula for the series.  Sylvester causes more and more chaos and destruction with each attempt, either by his own ineptitude or the playful deviousness of the little bird.
 

Next comes "Bad Ol' Putty Tat" (1949), the classic situation in which a cartoon cat lays siege to a bird perched high up in a birdhouse, and "All Abir-r-r-d!" (1950), with similar antics taking place in the baggage compartment of a passenger train.   These initial offerings are mid-level Warner Brothers stuff, well-drawn and animated but not all that outstanding. 

With "Canary Row" (1950), the characters have come into their own and the gags are snappy and clever.  "Friz" Freleng's direction also gets progressively sharper and more inventive.  As always, musical maestro Carl Stallings' score plays a major part in making the action a lot funnier as Sylvester tries to sneak into a hotel to get Tweetie.  Thanks to voiceover legend Mel Blanc, we hear the cat speak for the first time as he impersonates a bellboy: "Your bagth...madame?"

Blanc's speeded-up voice is charmingly funny as Tweety sings his theme song over the titles:

"I'm a sweet little bird in a gilded cage
Tweety's my name but I don't know my age
I don't have to worry and that is that
I'm safe in here from that old putty tat."

Tweety's kindly old protector, Granny (first voiced by Bea Benederet, later by June Foray), makes her first appearance as well, thus rounding out the cast and giving the series a more distinctive character.  Thankfully for us cat lovers, it's not as painful seeing Granny whack Sylvester with her umbrella as some faceless harridan beating him with a broom.


1951's "Putty Tat Trouble" opens with Tweety shoveling snow out of his nest ("This is what I get for dweaming of a white Chwistmas!") and catching the attention of two housecats, Sylvester and a roughhousing rival, who go at it tooth and nail over the tiny bird.  This is the first real laugh riot of the collection and had me guffawing out loud several times.  (Look for the cardboard box with the words "Friz--America's Favorite Gelatin Dessert", a self-reference by director "Friz" Freleng.) 

The all-out hilarity continues in "Room and Bird" (1951), with both Granny and Sylvester's owner sneaking their pets into a "No Pets Allowed" hotel where they're joined in mischief by a belligerent bulldog, causing the house detective a huge headache.   "Tweety's S.O.S." (1951), in which Sylvester spots Tweety through the porthole of his cabin on board a docked ship, gives the cat another rare early line of dialogue: "Hell-o, breakfast!"  Later, when Granny catches him and he puts on an innocent act, Tweety exclaims "Ooh, what a hypocwite!"

"Tweet Tweet Tweety" (1951) takes place in a national forest with Sylvester trying to cut down the tree in which Tweety's nest is perched.  We hear his catchphrase "Sufferin' succotash!" for the first time here as he grows increasingly more talkative.  "Gift Wrapped" (1952) is an amusing Christmas-themed story.

In "Ain't She Tweet" (1952), a pet store delivers Tweety to Granny, who also keeps a hundred or so vicious bulldogs fenced in her yard.  The sight of Sylvester repeatedly falling into this roiling mass of teeth and claws in his attempts to get into the house are somewhat nightmarish. 

"Snow Business" (1953) is the first time we see "Tweety & Sylvester" billed together as a team.  They start out as friends this time, until they get snowed in up in Granny's mountain cabin with nothing to eat but bird seed.  While a starving Sylvester tries to trick Tweety into a boiling stew pot, he must also avoid a hungry mouse who's after him.  For some reason, the cat never thinks of eating the mouse.

"Satan's Waitin'" (1954) suffers from an unwieldy premise--Sylvester gets killed while chasing Tweety, goes to Hell, then finds that his punishment will be delayed while his other eight lives are snuffed out one by one.  An unfunny bulldog-Satan eggs them on in a series of tepid gags, each climaxing with another death.  Geez, getting hit with a broom is bad enough--I don't really want to see Sylvester being cast into a fiery lake of devilish bulldogs for all eternity.

1961's "The Last Hungry Cat" shows the more modern influence of later WB cartoons with angular backgrounds rendered in an appealingly creative way.  High concept strikes again in this spoof of "The Alfred Hitchcock Show" in which Sylvester thinks he has "murdered" Tweety and is sought by the police.  The guilt-ridden cat suffers a torturous, sleepless night, constantly needled by the Hitchcock-like narrator, until he discovers Tweety is still alive and reverts back to form.  While this short is nice to look at, it just isn't funny.
 

The trend of over-thinking these stories continues with "Birds Anonymous" (1957).  Sylvester is initiated into an "AA"-type group for bird-crazed cats, who are presented as helpless addicts.  ("I was a three-bird-a-day cat," one of them testifies.) 

Increasingly preoccupied with being clever, the writers of these later cartoons sometimes forget to pack in the funny, fast-paced gags that made this series so popular in the first place.  Here, Sylvester endures yet another mental ordeal, with a grotesque bloodshot-eyes closeup that's almost a duplicate of the one from "The Last Hungry Cat."  Why the heck has Sylvester suddenly turned into Ray Milland?

The final short in the collection, "Tweety and the Beanstalk" (1957), is a fun take-off on the old fairytale (June Foray can be heard as the unseen woman who throws Jack's magic beans out the window).  The idea of Sylvester running around the giant's castle trying to nab a Tweety who's the same size as him, while eluding a monstrous bulldog, sounds tiresome at first but actually manages to generate some old-style sight gags with an outrageous ending.

The DVD is in standard format (no choice of matted widescreen this time) with Dolby Digital English and Spanish mono sound, and subtitles in English and French.  The titles on this disc have appeared previously in other Warner Brothers DVD collections.

While uneven in quality, the fifteen shorts in LOONEY TUNES SUPER STARS: TWEETY & SYLVESTER are examples of some of the finest theatrical cartoons ever produced by one of the top animation studios of its time, in an era when such fare was designed to be enjoyed and appreciated by audiences of all ages. 

LOONEY TUNES SUPER STARS: TWEETY & SYLVESTER -- DVD Review by Porfle

TOM AND JERRY: THE GENE DEITCH COLLECTION -- DVD Review by Porfle

 

Originally posted on 5/31/15

 

I originally watched these cartoons during my college days, many years ago, on a tiny portable TV.  Thus, I never realized that they're actually fairly nice-looking, colorful cartoons with some lovely backgrounds.  My only reaction at that time to the Gene Deitch "Tom & Jerry"s was abject horror at how awful they seemed compared to the earlier Hanna-Barbera ones, which were actually known to win Oscars from time to time.

The only way any of the thirteen cartoons in Warner Home Entertainment's TOM AND JERRY: THE GENE DEITCH COLLECTION would get an Oscar would be if producer William L. Snyder taunted members of the Academy enough to have one thrown at him.  With Hanna-Barbera's departure from MGM, the studio turned to Snyder and Chicago-born animator-director Gene Deitch (a former Terrytoons producer and father of famed underground comix artist Kim Deitch) to keep the cat-and-mouse game afoot.

From Snyder’s Prague-based animation studio, Rembrandt Films, they churned out 13 new shorts from 1960-62 (after viewing some of the celebrated originals for the first time and disliking them) and created a run of "Tom & Jerry"s which stand as some of the oddest, least accessible, and, some might say, most bizarre mainstream cartoons ever made. 

Even as the age of the theatrical cartoon began to wane, moviegoers young and old must've scratched their heads as these wacky artifacts unspooled before them on the big screen. (A later Deitch creation, the Nudnik, would be even harder to relate to, although, to his credit, one of Deitch's unrelated shorts during this period won an Academy Award.)

A follower of the UPA style of animation, Deitch was unused to MGM's old-school, freewheeling slapstick hijinks and outlandish gags.  His attempts to recreate the works of animators such as William Hanna, Joseph Barbera, and the brilliant Tex Avery while adapting their brand of outrageous comedy to his post-modern sense of humor resulted in a series of hybrid efforts which, while hardly as entertaining as their forebears, are nevertheless curiously compelling.

Many of the odd, poorly-rendered gags make little or no sense--after being buried alive in "Switchin' Kitten", Tom's tail slithers up out of the ground and then his head appears on the end of it like a flower, looking just as perplexed as we are. The eye-pleasing artwork is at odds with the jerky movements and editing, while the sound effects often consist of reverb-heavy electronic noises that seem to have been recorded in a restroom. 

Rather than simply come up with the usual domestic antics for the duo, Deitch started putting them into all kinds of outlandish settings and situations (something Looney Tunes vet Chuck Jones would continue to do when he took over the reins from Deitch later on).  Haunted castles, ancient Greek cities, the jungle, outer space, and even a ship under the command of Captain Ahab ("Dicky Moe") are some of the backdrops for these stories.

Some of them consist of Tom simply doing what's expected of him--protecting the homefront from vermin.  Meanwhile Jerry, who is basically a home invader out to steal food (and, let's face it, spread disease), gleefully causes the hapless feline to get beaten and tortured for his efforts.   Honestly, it's as though we're expected to despise cats with a passion in order to find these cartoons funny.

Deitch lays the anti-cat sadism on thick as the writers try to top themselves coming up with ways for poor Tom to suffer (some of his punishments here are positively medieval) while Jerry, of course--insufferable little bastard that he is--dances around gloating and basking in his own horrid "cuteness."  The cat-hate is taken to especially uncomfortable extremes whenever Tom's new owner, a surly fat guy who constantly abuses him, takes him aside for a severe beating as Jerry looks on with a smirk and gorges himself on ill-gotten food.

Fortunately, some of the later entries in the series manage to tone down the Tom-related violence a tad as the stories become a bit cleverer and even the already-passable artwork seems to improve.  "Landing Stripling" and "Calypso Cat" come closest to the classic MGM cartoon style (while still displaying the usual Deitch touches) with an old-school look and gags that are actually funny. 

In "Landing Stripling", this is helped by making Tom the clear-cut bad guy from the start so that he deserves what he gets for once (although it's clear we're being manipulated to feel that way).  The duck character here is a throwback to Yakky Doodle from the classic era although not as cute.  "Calypso Cat" finds Tom once again trying to woo a beautiful girl cat, this time aboard a luxury cruise ship, while Jerry mischievously cramps his style--leading to some genuinely funny gags.

Deitch also harkens back to earlier cartoons with the music-based "Carmen Get It!" and the fourth-wall-breaking "The Tom & Jerry Cartoon Kit", although such attempts tend to emphasize the relative awkwardness of the newer ones.  "Dicky Mo", the western "Tall in the Trap", and "Sorry Safari" suffer from Deitch's grotesque depiction of human characters, whom Hanna-Barbera generally avoided save for the occasional pair of legs.  Another above-average entry is "Buddies...Thicker Than Water", whose tale of penthouse-dwelling Jerry taking in a homeless, freezing Tom actually generates some charm.

The DVD from Warner Bros. Home Entertainment is in standard format with Dolby mono sound in English and Spanish.  The 13 cartoons are newly remastered and look very nice.  Subtitles are in English, Spanish, and French.  Extras consist of a Gene Deitch interview, "Tom and Jerry…and Gene: The Rembrandt Years", and a series retrospective entitled "Much Ado About Tom and Jerry" which spans the decades from their debut cartoon all the way to their most recent TV incarnations.

Although as a cat-lover I eventually came to find even the earlier, classic MGM "Tom and Jerry" cartoons somewhat hard to endure (feeling sorry for Tom and seething with hatred for Jerry the whole time), I still watch them from time to time simply to enjoy the sheer genius behind their creation.  As for the 13 shorts in TOM AND JERRY: THE GENE DEITCH COLLECTION, the reason I watch them is the same reason I watch Ed Wood movies or gaze at kitsch art--because some things are so interestingly bad that they instill in the viewer a curious blend of revulsion, disbelief, and perverse pleasure.


Featured Shorts:
•Switchin’ Kitten
•Down and Outing
•It’s Greek to Me-ow!
•High Steaks
•Mouse Into Space
•Landing Stripling
•Calypso Cat
•Dicky Moe
•The Tom & Jerry Cartoon Kit
•Tall in the Trap
•Sorry Safari
•Buddies Thicker Than Water
•Carmen Get It!


Buy it at the WB Shop

Street date: June 2, 2015

TOM AND JERRY: THE GENE DEITCH COLLECTION -- DVD Review by Porfle

GONE WITH THE WIND 75TH ANNIVERSARY ULTIMATE COLLECTOR'S EDITION -- Blu-ray Review by Porfle

(Stills used in this review are not taken from the Blu-ray disc. This review was originally posted on 10/16/14.)

The year 1939, many believe, was the pinnacle of creativity in Hollywood, and MGM's super-production GONE WITH THE WIND is widely regarded as the finest film to come out of it. Unfortunately, I haven't had much luck over the years with trying to like it as much as I'm supposed to.

Watching the cut up, squeezed onto a small screen, interrupted by frequent commercials, and spread out over two nights version on network TV was underwhelming. Years later, my neighbor loaned me the 2-volume VHS version but I can't even remember if I watched it or not.

So I was determined that now, with the GONE WITH THE WIND 75TH ANNIVERSARY ULTIMATE COLLECTOR'S EDITION from Warner Bros. Home Entertainment in my hot little hands, I was going to sit down and, for the first time, really, really watch this undying classic. Like, definitively watch it, paying undivided attention to it and everything.

This time I think I finally got the most out of it that I'm ever going to get. The bottom line is that I find GONE WITH THE WIND not all that moving as drama, but as impressive as a movie can be when it comes to mind-boggling spectacle and sheer Hollywood movie-making magic--the quintessential "movie-movie."

Visually, it's simply one of the most gorgeous works of art ever concocted for the screen. Bold, impressionistic use of Technicolor coupled with exquisite special effects, set design, camerawork, and lighting combine to create an endless succession of stunning images.

Much of what we see in this recreation of the Old South before, during, and after the Civil War is purely the work of MGM's technical department, and watching these images unfold for close to four hours, especially in the first half before the intermission, almost felt like stuffing myself with some rich dessert.

The story, taken from Margaret Mitchell's wildly popular novel, takes place in an antebellum fairytale land ("Here in this pretty world, Gallantry took its last bow" the film's scrolling introduction tells us) of genteel, benevolent plantation masters, contented slaves, and a generation of young ladies and gentlemen whose leisure hours are filled with elegant parties and breathless romantic infatuations.

Probably the most breathless of them all is the Tara plantation's teenaged princess Scarlett O'Hara (Vivien Leigh), a spoiled, silly young girl who expects to get her own way even if that includes stealing handsome Ashley Wilkes (Leslie Howard) away from his intended bride and 2nd cousin Melanie Hamilton (Olivia de Havilland).

But a chance meeting with dashing rogue Rhett Butler (Clark Gable) during a party at the Wilkes' family mansion Twelve Oaks will usher in a new era of turbulent romantic entanglements in Scarlett's young life, one which will be intertwined with the encroachment of the Civil War and its devastating effect on an entire civilization soon to be "gone with the wind."

When war comes, it's here that Scarlett's character finally gains some dimension after being thrust into a chaotic world of violence and terror. Caught in an Atlanta that's under attack, she helps tend wounded soldiers until the enormity of war's horror (a famous wide shot of hundreds of injured men is still staggering) drives her away. But then she must deal with a weakened Melanie's painful delivery of her child while Northern forces close in.

Her frantic flight from the burning city in Rhett's carriage along with Melanie, her baby, and young slave girl Prissy (an endearingly funny Butterfly McQueen) is a thrilling high point of the film as they're menaced by crazed scavengers as well as exploding munitions and collapsing ruins.

Fans of KING KONG can even watch the Great Wall from that film go up in a final blaze of glory in one specatacular sequence. Like much of GONE WITH THE WIND's visual splendor, it's the kind of dazzling imagery that you just can't get with CGI. The later scenes at the ruins of Twelve Oaks and Tara, where Scarlett discovers just how lost her former life is, have a bleak, haunting quality that's nightmarish.

It's shocking to see such an idyllic, "pretty" existence so ruthlessly destroyed. When GONE WITH THE WIND is dealing with things like war's destructive and pointless waste in such effectively graphic terms, its easier to accept the film's initial idealization of the Old South way of life. The fact that this involves something of an idealization of slavery itself remains problematic. And yet, I once knew a black woman who counted this as her all-time favorite movie.

It helps that the black characters are all sympathetic even though largely stereotypical, and that the funny but wise Mammy (Hattie McDaniel, who won an Oscar for Best Supporting Actress) is more of a caring maternal figure to Scarlett than the rather aloof Mrs. Ellen O'Hara (Barbara O'Neill).

At any rate, all of this changes after the war ravages Scarlett's world and forces her to scrounge in the dirt, figuratively and literally, for her very existence while carpetbaggers try to wrest Tara from her grasp. In desperation she begins using men such as family friend Mr. Kennedy (Carroll Nye), whom she seduces away from her own sister, and finally the wealthy Rhett Butler, who offers financial support in return for the pretense of a tempestuous romance.

The rest of the story is a maelstrom of torrid emotional conflicts, deceptions, and assorted tragedies, most of them resulting from Scarlett's undying selfishness. Even as she enters middle age she's still the coquettish belle of the ball in her own mind. She uses people like pawns to further her own ends and is hardly an admirable heroine save for her tenacity and, in some cases, a reckless kind of courage.

I've never been able to make myself care much about Scarlett and I still find her generally insufferable, although Vivien Leigh's performance is so utterly perfect that it's a wonder to behold. The same holds true for the stalwart Clark Gable, whose manly and mostly honorable Rhett Butler is the main reason for me to stick with the sometimes turgid second half of the story. I can't imagine any other actor being able to pull off the role as well--his delivery of Rhett's celebrated final line is an unparalleled moment in film.

GONE WITH THE WIND is dense, intoxicating, a one-time-only convergence of creative forces that's almost otherworldly. It's like a cinematic fever dream. Maybe that's why I've always had trouble remembering previous viewings--as do other dreams, it drifts back into the ether when I awaken from it.

Warner Bros. four-disc, limited and numbered GONE WITH THE WIND 75TH ANNIVERSARY ULTIMATE COLLECTOR'S EDITION set adds to the excitement of the movie itself with some fun extras. Upon opening the box you get a handsome, richly-illustrated book about the film's opulent costuming entitled "Forever Scarlett: The Immortal Style of Gone With the Wind." In addition to this there's a music box with a picture of Rhett and Scarlett, and one of Rhett's monogrammed handkerchiefs.

Disc one is the Blu-ray restoration of the movie itself, which also contains a commentary track by film historian Rudy Behlmer and the original mono soundtrack.

Disc two features the TV-movie "Moviola: The Scarlett O'Hara War" which we reviewed HERE. There are also numerous other extras including:

"The Making of a Legend: Gone With the Wind"
"1939: Hollywood's Greatest Year"
"Gone With the Wind: The Legend Lives On"
"Gable: The King Remembered"
"Vivien Leigh: Scarlett and Beyond"
"Melanie Remembers: Reflections by Olivia De Havilland"
Cast and production bios, trailers, newsreels, and more

Disc three contains a documentary entitled "Old South, New South" which addresses, in depth, the issue of race in the film and in reality. There's also more newsreel footage of the film's Atlanta premiere.

Disc four is a flipper featuring the lengthy and exhaustive documentary "MGM: When the Lion Roars", hosted by Patrick Stewart.

Finally, the keepcase contains instructions on how to obtain your own digital HD copy of the film.

GONE WITH THE WIND is presented in its original non-widescreen format with Dolby Digital 5.1 soundtracks in English, French, and Spanish, and subtitles in several languages.

Full coverage of the "Gone with the Wind 75th Anniversary Ultimate Collector’s Edition" can be found HERE.

 
Stream rare and hard-to-find movies and TV shows at Warner Archive Instant; purchase discs at Warner Archive Collection. Even more at www.wbshop.com or www.wbultra.com

GONE WITH THE WIND 75TH ANNIVERSARY ULTIMATE COLLECTOR'S EDITION -- Blu-ray Review by Porfle

YOGI BEAR'S ALL-STAR COMEDY CHRISTMAS CAPER -- DVD Review by Porfle

Originally posted on 12/21/10

 

In the 60s, Joseph Hanna and William Barbera pioneered the use of limited animation for television, knocking off a string of successful cartoon shows such as "Huckleberry Hound", "Quick-Draw McGraw", and "The Flintstones."  While simpler and cheaper than fully-animated theatrical cartoons, the initial Hanna-Barbera TV output was still far superior to the increasingly-inept Saturday morning drivel that would follow, and hold up today as good-looking, well-written shows which, like their big-screen counterparts, are entertaining for both children and adults.

Such is the case with one of their most popular characters, Yogi Bear, who lives in Jellystone National Park with his pal Boo-Boo and drives Mr. Forest Ranger crazy by constantly stealing picnic baskets from unwary campers.  With the DVD release of YOGI BEAR'S ALL-STAR COMEDY CHRISTMAS CAPER, we get to see examples of Yogi both in his glorious 60s heyday and in a lackluster 80s adventure that pales in comparison.

(Little kids, of course, will probably enjoy each of them equally, so feel free to pop in this DVD and let the tykes go nuts.  With that out of the way, let's look at the two stories on this disc from the nostalgic old geezer perspective.)

 

 

First up is the titular tale, "Yogi Bear's All-Star Comedy Christmas Caper."  This originally aired in 1982, when most made-for-TV cartoons had regressed in quality to a point well beyond "limited", coming off as cheap, slapdash drivel whose stories were written solely for the purpose of keeping undiscerning kids occupied.  Design and rendering of characters is sketchy and sloppy, direction is uninspired, and the "comedy" is on roughly the same level as pulling funny faces at babies to make them laugh.

The best thing about it is that it reunites some of the best vocal talent in the business--Mel Blanc, Allan Melvin, Hal Smith, Janet Waldo, Don Messick, and the great Daws Butler, among others--as a group of Hanna-Barbera's most memorable characters help Yogi and Boo Boo celebrate the Christmas spirit by bringing a poor little rich girl and her neglectful father closer together during a sojourn to the big city.

An interesting side note to this episode is the fact that the word "Chanukah" was edited from the soundtrack when the show first aired.  According to tvseriesfinale.com, someone at CBS was leery of Snagglepuss' line "Merry Christmas! Season’s Greetings! Happy Chanukah, even!", bleeping the reference to the Jewish holiday for reasons unknown.  Even on this DVD, it's simply replaced by the word "happy."  Weird, even!

After being distinctly unimpressed by Yogi's yuletide antics, I was relatively ecstatic to find that the second offering was a special 1962 episode of the original TV series, entitled "Yogi's Birthday Party."  The difference is immediately apparent--there's exquisite artwork and character design done with style and flair, snappy direction by Hanna and Barbera themselves, and, best of all, genuinely funny gags that adults (especially us nostalgic cartoon geeks) can appreciate right along with the kids.  Maybe even more so.

It's a week before Yogi's birthday and the show's sponsor is planning a gala surprise celebration for their star, with a nervous Mr. Forest Ranger charged with keeping the secret from him.  "Trying to keep a secret from Yogi is like trying to hide Lake Michigan from a duck," he moans.  Yogi overhears just enough of the phone conversation to get the idea that he's being given his own entertainment special, and will be expected to perform.


 

Worried that his singing and dancing skills aren't up to par, Yogi takes a series of lessons in a montage that pokes fun at some popular personalities of the era.  He gets dancing lessons from Fred Upstairs, singing tips from Boppy Darin, and even some piano-playing pointers from one "Lee B. Rocky." 

When the big night comes and Yogi discovers the birthday surprise, his reactions are priceless.  Mr. Forest Ranger turns the event into a spoof of Ralph Edwards' "This Is Your Life" with a succession of all-star guests from Yogi's past appearing one after another.  First, Huckleberry Hound's voice is heard from offstage:  "A hound-dog howdy to y'all, Yogi."  Mr. Forest Ranger asks, "Who's that, Yogi?"  Yogi's guess: "The president?"

As familiar characters such as Snagglepuss, Hokey Wolf, Pixie and Dixie and Mr. Jinks, Quick-Draw McGraw, Yakky Doodle, Augie Doggie and Doggie Daddy, and Snooper and Blabber accumulate onstage (with all the top voice actors on hand again, this time including June Foray and Duke Mitchell), the gags give way to a cheery birthday song written especially for the occasion.  For me, this breezy and utterly charming classic episode is a delightful treat all the way.

The Warner Brothers DVD is in standard format with English and Spanish soundtracks.  Subtitles are in English, Spanish, and French.  Bonus features consist of some DVD and video game trailers.

I keep saying that "the kids" will like both features on YOGI BEAR'S ALL-STAR COMEDY CHRISTMAS CAPER, but to tell you the truth I'm never really sure what the hell little kids like or don't like these days.  As for me, I had a ball watching the older one because it's really good and it brought back fond memories.  The later one, on the other hand, is one of the main reasons I quit bothering to get out of bed on Saturday mornings.

YOGI BEAR'S ALL-STAR COMEDY CHRISTMAS CAPER -- DVD Review by Porfle

CHARLIE BROWN'S CHRISTMAS TALES -- DVD Review by Porfle

Originally posted on 12/16/10

 

Most fans of Charles Schulz' "Peanuts" no doubt have a special place in their hearts for those animated specials that have been popping up on TV off and on for over forty years.  If it's been awhile since you watched one, you can relive old memories with CHARLIE BROWN'S CHRISTMAS TALES, a good example of the best and worst of the lot. 

First up on this DVD is the title piece from 2002, which is a series of Christmas vignettes loosely linked by the seasonal theme, each showcasing a particular character.  There's no main plot linking them all together, but each mini-story is charming and engaging on its own. 

The episodes play like those "Peanuts" comics that followed a single story thread for several strips, and watching it is like reading an animated version of one of Schulz' paperback compilations.  In fact, I have a feeling these were actually taken right from the comics.  The setups and punchlines come one after another just as though we're paging through one of those comics collections, and they're deftly delivered like a stand-up comedian on a roll.

Our favorite characters get the spotlight in turn, beginning with Snoopy, who's taken up being an accordion-playing street corner Santa.  An example of the classic set-up and punchline style on display here: Lucy and Linus walk by Snoopy-Santa as he squeezes out a tune, there's a pause, and then Lucy remarks, "I don't know, Linus...to me, 'Oh Susanna' just doesn't sound very Christmassy."  (In a nod to past glories, Snoopy then switches to the theme song from "A Charlie Brown Christmas.")

Obsessive-compulsive Linus spends his segment agonizing over how to address Santa in his letter and dealing with his romantic feelings for a mysterious girl in his class who changes her name every day.  Charlie Brown's little sister Sally, one of my favorite characters, is concerned with trying to get her "sweet Baboo" Linus to notice her.  She also must deal with her embarrassment over mistakenly thinking "Santa" Claus is "Samantha" Claus and her quest to obtain a Christmas tree by willing one to fall down rather than having to chop it down.

Lucy resolves to be nicer than ever, which naturally makes her more crabby than before.  We see her wooing the reluctant Schroeder and trying to convince Linus that the Bible dictates he give her a Christmas present.  Charlie Brown, as always, simply reacts to the various indignities and absurdities that are thrust upon him daily.

Vince Guaraldi's irresistible and instantly-recognizable music is nicely arranged and performed by David Benoit, and the voice work is good.  "Charlie Brown's Christmas Tales" is a briskly-paced series of brightly funny gags that are smartly drawn and animated, breathing new life into these long-running characters.

The second feature on the disc, "Is This Goodbye, Charlie Brown?", came out around the tail end of the vintage Charlie Brown specials and isn't nearly as memorable as the earlier ones.  It seems as though writer Charles Schulz' heart wasn't really in this one, which had the potential to be one of the series most heartfelt stories.

This time Linus and Lucy are moving away due to their father's job relocation, and Charlie Brown faces the loss of his two best friends.  Such an event is important in a kid's life, and we expect something more substantial than this episodic, disjointed narrative.  With Linus and Lucy gone, the story veers into a lengthy and rather unspecial subplot about Peppermint Pattie's dogged attempts to get Charlie Brown to ask her for a date.  An abrupt wrap-up follows this uninteresting detour from the main story, which isn't developed very well at all.

Besides an awful musical score (not by Vince Guaraldi), subpar vocal talent, and some iffy character design, "Goodbye" commits a cardinal sin--showing adult characters onscreen.  Watching this when it first aired back in 1983, I remember thinking how jarring it was when the moving men were shown loading the Van Pelts' belongings into a van.  "Peanuts" has always been a kids-only world, where the closest thing to a grownup was the comically distorted "voice" of Charlie Brown's nagging teacher.  So, to casually introduce some anonymous adult characters from out of the blue is, to me, a bothersome misstep.


The Warner Brothers DVD is in standard TV format and Dolby Digital sound with English and French subtitles.  Also included are trailers for other Peanuts DVDs. 

Now that I think of it, the disappointing "Is This Goodbye, Charlie Brown?" is probably the reason I finally quit watching these "Peanuts" specials altogether.  So it's nice to see that, with "Charlie Brown's Christmas Tales", the old magic was restored.  Of course, all of this nitpicking comes from the point of view of a grownup, and, despite my comically distorted gripes, kids will probably manage to enjoy both of these stories just fine.

CHARLIE BROWN'S CHRISTMAS TALES -- DVD Review by Porfle

A CINDERELLA STORY: CHRISTMAS WISH -- Blu-ray/DVD Review by Porfle

(Warner Bros. Home Entertainment provided me with a free copy of the Blu-ray I reviewed in this blog post. The opinions I share are my own.)


Originally posted on 10/25/19

 

Much of the success of a "Cinderella" story depends on how much we hate her wicked stepmother and two wicked stepsisters, while at the same time finding them perversely funny. We also have to like the title character enough to root for her to win out over those three harpies and find true love with her Prince Charming.

In that, 2019's A CINDERELLA STORY: CHRISTMAS WISH (Warner Bros. Home Entertainment) fills in the blanks quite nicely, with Johannah Newmarch (POLARIS, "Stargate: SG-1") as stepmother Deirdre Decker, along with Lillian Doucet-Roche and Chanelle Peloso as the jarringly misnamed stepsisters Joy and Grace, horrify us with their selfishness, vanity, and deviousness yet still delight with their comically overdrawn characters and addlebrained bungling.

As Kat Decker, Laura Marano ("Austin & Ally", SAVING ZOE) fills the "Cinderella" role likably enough, going about the thankless task of waiting hand and foot on her step-monsters while holding down a job as a performing elf at Santa Land, all the while keeping as cheerful and upbeat as possible as she dreams of someday becoming a famous singer and performing her own songs for an adoring public.

Romance is another concern, one which is hampered by her becoming an object of internet ridicule when Joy posts a video in her vlog of Kat making a clumsy fool of herself in front of the town's most eligible bachelor, the handsome and charming Dominic Wintergarden (Gregg Sulkin, "Runaways").

As fate would have it, Dominic plays Santa at the store where Kat works, but she doesn't know it's him because he never takes off his beard at work. 

Naturally, they fall in love for all the right reasons, and as we can all guess by now Kat will get invited to a big gala thrown by Dominic's billionaire dad. But as we can also surmise, wicked stepmother finds a way to steal Kat's invitation and crash the party along with Joy and Grace, who all have designs on snaring one of the Wintergarden men as their own. 

All of this is about as lightweight and breezy as can be, and just as easy to take if one's expectations are no higher than your average teen or tween looking for something fun and vaguely identifiable to watch.

The movie looks bright and colorful, the leads are attractive and chipper, and the baddies are cartoonishly evil. (In my case, it helps that one of the wicked stepsisters resembles Miley Cyrus.)

With the help of Kat's devoted best friend Isla (Isabella Gomez, "One Day At a Time"), who assumes the "Fairy Godmother" role by making a beautiful gown for the gala and encouraging Kat every step of the way, our "Cinderella" gets her big chance for happiness when she ends up singing one of her own compositions for the high-tone audience.

Music plays a major role throughout the rest of the story as well, with Laura Marano and fellow castmembers performing a series of heavily-autotuned pop songs which, while totally forgettable, at least keep things bouncing along pleasantly enough.

Director and co-writer Michelle Johnston, an actress and dancer in such films as A CHORUS LINE and CHICAGO, ably follows up her 2016 effort entitled "A Cinderella Story: If the Shoe Fits."

The 2-disc set from Warner Bros. Home Entertainment contains both the Blu-ray and DVD versions of the movie plus a code for digital download. Extras consist of two featurettes, "The Look and Costumes of 'A Christmas Wish'" and "The Mic and The Stage", as well as trailers for other releases.

As teen-oriented musical rom-coms go, this one is about as wispy as cotton candy but equally sweet and easy to swallow.  A CINDERELLA STORY: CHRISTMAS WISH does what it aims to do: make us root for "Cinderella", hate her wicked step-harpies (while laughing at them), and feel good when "Prince Charming" sweeps her off her feet.



#CinderellaChristmas

Region: Region A/1 (Read more about DVD/Blu-ray formats.)
Number of discs: 2
Rated:PG/Parental Guidance Suggested
Studio: Warner Brothers
DVD Release Date: October 29, 2019
Run Time: 93 minutes


TRAILER:





MUSIC VIDEO:

A CINDERELLA STORY: CHRISTMAS WISH -- Blu-ray/DVD Review by Porfle

DOOM PATROL: THE COMPLETE FIRST SEASON -- Blu-ray/Digital Review by Porfle

(Warner Bros. Home Entertainment provided me with a free copy of the Blu-ray I reviewed in this blog post. The opinions I share are my own.)

Originally posted on 9.30.2019

 

It's binge-watching time again with another entertaining superhero-centric season set, Warner Bros. Home Entertainment's 3-disc Blu-ray DOOM PATROL: THE COMPLETE FIRST SEASON. 

I never read the classic DC comic book (which inspired Marvel's "The X-Men") as a kid, but these 15 episodes proved, for the most part anyway, to be some of the most fun, engaging, and utterly surreal superhero stuff I've seen on any screen.

The pilot/origin story tells how the seemingly benign but unfathomably eccentric wheelchair-bound scientist Dr. Niles Caulder (Timothy Dalton) rescues various people from horrific physical injuries, mental and/or biological catastrophes (such as suddenly turning into a monster, etc.), rehabilitates them in some way, and assembles them into a motley gang of super-powered misfits who are expected to save the earth from all manner of extreme evil and paranormal calamity.



Thus, much of the action is as mental as it is physical, leading to some real "Twilight Zone"/"X-Files" type plots with the same dark, mind-expanding "sense of wonder" as a good Clive Barker novel but with a rich vein of often lowbrow humor running through all the deeply weird, sometimes downright bizarre character drama.

It's good to see Brendan Fraser (BLAST FROM THE PAST, THE MUMMY) with such a meaty role again even if he does resemble a robot version of Ron Perlman as former race car star Cliff Steele, whose horrific auto accident turns him--with Dr. Caulder's help--into the group's version of the Tin Man. Cliff's tragic loss of his wife and daughter add to the complexity of his character even though he provides most of the show's comic relief.

Joivan Wade plays Cyborg, the closest thing to a real "superhero" on the team (I couldn't figure out where I'd seen the character before until it finally hit me that he'd been one of the Teen Titans) but subject to his own problems due to technical malfunctions in his semi-robotic body in addition to doubts as to the motives of his own father (Phil Morris), a brilliant scientist who saved his life by making him less than human.

April Bowlby plays the former movie star who, through a weird on-set mishap, frequently turns into a pulsating blob against her will. Matt Bomer is Larry "Negative Man" Trainor, an aspiring Mercury astronaut who, during a high altitude test flight, picked up a strange alien hitchhiker now residing in his body and giving him unpredictable powers.

But most unpredictable of all is the volatile Crazy Jane (Diane Guerrero), an incredibly disturbed young woman with 64 different personalities, each with its own unbridled superpower. 

The result is a fascinating and mostly likable bunch of anti-heroes (with special emphasis on the "anti") who spend much of their time getting into each other heads (in one episode Cliff literally gets into Crazy Jane's head and almost doesn't make it back out) or trying to fathom the deep, dense mysteries of Dr. Caulder himself.

What looks at first as though it's going to be mostly comedic eventually becomes deeply moody and introspective, subjecting the characters to episodes of heavy soul-searching that often result in their acting out in reckless superhero style. 

Still, some of the episodes are heavy on the action, such as when an evil government organization bent on wiping out anything or anyone who's too "abnormal" captures our heroes in their underground bunker, which becomes the site of a battle royale.  During it all the team members are still learning how to use and control their own powers, often resulting in chaos.

Direction and photography are endlessly kinetic and eye-pleasing (especially in this pristine Blu-ray edition) and performances are uniformly fine, with Fraser, Dalton, and the versatile Guerrero as the standouts. Alan Tudyk (A KNIGHT'S TALE) tries his best as the team's arch-enemy, Mr. Nobody, but despite the show's intention to make him a strongly engaging (and funny) villain I never really found the character all that effective.

This is especially true in the season finale, a poorly-conceived episode that I prefer to consider apocryphal in relation to the mostly excellent fourteen episodes which precede it. When the team's final adventure of the season ultimately features a giant kaiju cockroach and a giant kaiju rat locked in a passionate French kiss in the middle of town with various members of the Doom Patrol crawling around in their stomachs, I found myself hoping that the writers would calm down, go back to the drawing board, and get a fresh start for season two. 

Be that as it may, the majority of episodes in DOOM PATROL: THE COMPLETE FIRST SEASON are first-rate fantasy/sci-fi/superhero entertainment that's just brimming with fun. Rather than giving us one "origin story" episode followed by various adventures, the entire season is an ongoing origin tale where everything that happens is yet another step in the evolution of these reluctant heroes and their bumbling yet earnest efforts to save the universe.


DIGITAL FEATURES

    Gag Reel 

BLU-RAY & DVD FEATURES

    Gag Reel
    Deleted Scenes
    Featurette: "Come Visit Georgia"

15 ONE-HOUR EPISODES

    Pilot
    Donkey Patrol
    Puppet Patrol
    Cult Patrol
    Paw Patrol
    Doom Patrol Patrol
    Therapy Patrol
    Danny Patrol
    Jane Patrol
    Hair Patrol
    Frances Patrol
    Cyborg Patrol
    Flex Patrol
    Penultimate Patrol
    Ezekiel Patrol

Read our original coverage HERE

DOOM PATROL: THE COMPLETE FIRST SEASON -- Blu-ray/Digital Review by Porfle

FLCL: PROGRESSIVE & ALTERNATIVE COMBO PACK -- Blu-ray Review by Porfle

(Warner Bros. Home Entertainment provided me with a free copy of the Blu-ray I reviewed in this blog post. The opinions I share are my own.)  

Originally posted on 1/27/20

If you like frenetic science-fiction-based anime with an emphasis on quirky teen relationships amidst a visual cacophony of robotic, city-smashing chaos, then Warner Bros. Home Entertainment's 2-disc Blu-ray FLCL: PROGRESSIVE & ALTERNATIVE COMBO PACK (Blu-ray+Digital) should keep you happily occupied for more than a few hours.

It's a two-season sequel to the original 2000 series about a wild young minx named Haruko who rides a Vesper and wields an electric guitar that doubles as a chainsaw, sledgehammer, and various other weapons and devices. 

Young people in her vicinity tend to suddenly sprout raging robot monsters from their foreheads, which Haruko gleefully engages in battle with the fate of everything and everyone around her in the balance.

Season two, FLCL: PROGRESSIVE, gives us an appealing new cast of typical middle-school teens of the kind that will be familiar to anime fans, including pretty but pensive Hidomi, her eventual love interest Ide, and his pals Mori and Marco. 

Hidomi is never without her headphones, which help block out the world around her, although they also have another, more mysterious purpose.

Into their everyday world blazes Haruko in the guise of a teacher, seducing Ide and drawing Hidomi under her influence to be used in bringing out inter-dimensional robot monsters for her to battle.

This time she has an alter ego in the form of super-cool Jinju, and they share a secret desire to somehow facilitate the return of a powerful being named Atomsk.

Meanwhile, weird things are going on in Hidomi's hometown, particularly a giant flat iron that's parked on the edge of town which will eventually be put into motion by a giant hand from above, mowing down and flattening everything in its path.

This all has to do with a struggle between two forces known as Medical Mechanica and Fraternity, agents of which are at work trying to either cause or prevent various disasters from occurring.

But for all its sci-fi sound and fury, the likable teenage characters are what give FLCL its heart and maintain our interest.  Even as the story charges irrevocably toward its catastrophic finale, the emphasis is as much on Hidomi, Ide, and their friends, whose interpersonal relationships we follow even as they begin to play key roles in the impending battle, as on the freaky warrior chick Haruko and other combatants.

FLCL: ALTERNATIVE continues with the return of Haruko, still on her no-holds-barred quest for whatever (it ultimately doesn't really matter), and a timid, insecure young girl named Kana who continually seeks acceptance from her close circle of female friends, each of whom has her own problems. 

But even as Haruko somehow stumbles into the role of mentor for this young girl, she also uses her potential mind powers to kick-start Armageddon all over again, this time on a level more cataclysmic than before.

If all this sounds complicated, it's because it is.  In fact, I pretty much gave up trying to keep up with all the different plotlines and such, and just started holding on for dear life as this dizzying succession of eye-candy animation and swirling, surreal imagery went rushing by like a river of watercolors.

Most impressive are the intricate, exquisitely-rendered artwork and full animation, which looks just like traditional cel animation but with digital enhancements.  Character design is semi-realistic for the most part but full of cartoony manga-like silliness and exaggerated reactions, all of which adds to the fun.

As for the battle sequences, the artists and animators let their imaginations run wild with some of the most surreal and dazzling imagery you're likely to see in a series of this kind. The combination of such startling visuals with the sometimes childlike, sometimes mature story themes remains compelling throughout.

Both seasons offer satisfying final episodes, yet FLCL: PROGRESSIVE & ALTERNATIVE COMBO PACK ultimately leaves the door open for more adventures of guitar-slinging wild girl Haruko and another hapless group of youthful protagonists enduring the vagaries of adolescence while caught in a colorful clash of powerful opposing forces.



BLU-RAY COMBO PACK SPECIAL FEATURES

    The Making of FLCL: Progressive & Alternative: An in depth look behind the scenes featuring interviews with the cast and crew.
    Meet the Creators
    The Pillows
    English Voice Actors
    Production: Behind-the-Scenes

FLCL: ALTERNATIVE DVD SPECIAL FEATURES

    English Voice Actors
    Production: Behind-the-Scenes

COMBO PACK INCLUDES ALL 12 EPISODES

    RE: Start
    Freebie Honey
    Stone Skipping
    LooPQR
    Fool On the Planet
    Our Running
    Flying Memory
    Grown-Up Wannabe
    Freestyle Collection
    Pit-a-Pat
    Shake it Off
    Full Flat

DIGITAL
FLCL: Progressive & Alternative Combo Pack is available to own on Digital. Digital purchase allows consumers to instantly stream and download all episodes to watch anywhere and anytime on their favorite devices. Digital movies and TV shows are available from various digital retailers including Amazon Video, iTunes, Google Play, Vudu and others. A Digital Copy is also included with the purchase of specially marked Blu-ray discs for redemption and cloud storage.

BASICS
Blu-ray/DVD Release Dates: February 4, 2020
Blu-ray and DVD Presented in 16x9 widescreen format

BLU-RAY COMBO PACK
Price: $44.98 SRP ($52.99 in Canada)
Running Time: Feature: Approx. 264 min
Enhanced Content: Approx. 35 min
2 BD 50s
Audio – English (5.1)
Subtitles – English
UPC# 883929707584
Catalog#1000757643

FLCL: ALTERNATIVE DVD
Price: $19.99 SRP ($24.99 in Canada)
Running Time: Feature: Approx. 132 min
Enhanced Content: Approx. 10 min
2 DVD-9s
Audio – English (5.1)
Subtitles – English
UPC# 883929707577
Catalog# 1000757642

See our original coverage

FLCL: PROGRESSIVE & ALTERNATIVE COMBO PACK -- Blu-ray Review by Porfle

THE DARK KNIGHT -- DVD Review by Porfle

(First posted Dec. 17, 2008)

How dark should a "Batman" movie be? Some fans despise the Frank Miller-influenced take on the character that's become popular in recent years, especially after Tim Burton exorcised all of that jolly Adam West campiness once and for all back in '89. Others, like me, loved the Michael Keaton version of the caped crusader and were even happier to see director Christopher Nolan's BATMAN BEGINS take the subject to still greater heights of realism. Now, with Nolan's 2008 sequel THE DARK KNIGHT, Batman gets his darkest and most adult screen adventure yet, and--unless you prefer your Batman scurrying around on giant pennies with Robin and Bat-Mite--it's a complex and magnificent achievement.

The story opens with a Gotham City beseiged by a hornet's nest of gangland criminals stirred up by the Batman's tireless efforts to thwart their underworld enterprises. Desperate to stop him, they turn to the only person who seems crazy enough to take him on--The Joker, a mysterious, seemingly fearless psycho in clown makeup who lives to create as much chaos as possible. He also aims to prove that anyone is corruptible by taking on Gotham's dauntless new D.A., Harvey Dent, who rivals Batman as a crusader against crime. To do this, Joker plans to murder Dent's one true love, assistant D.A. Rachel Dawes, and place the blame on Batman and newly-appointed police commissioner James Gordon, thus twisting Dent himself into a vengeful agent of terror.

There's a lot of story packed into this film's 152-minute running time, perhaps even too much--it took me two or three viewings to get everything straight and fully appreciate all the twists and turns--but it's riveting. More than just a superhero flick, THE DARK KNIGHT is a top-notch crime drama that takes itself seriously in every respect, while also fully exploring the dimensions of each character. Mix all that with a series of breathtaking action sequences featuring Batman in some of his most dazzlingly audacious exploits ever, and the effect is nothing less than exhilarating.

The best thing about the action scenes in this movie is how much of it is done without CGI, using good old-fashioned stuntwork and practical effects instead of digital cartoon figures slugging it out. This is especially true of the film's central setpiece, in which Harvey Dent is being transferred to the county lock-up after publicly confessing that he is Batman. It's all a ruse, of course, to draw the Joker into the open, and it results in a no-holds-barred chase scene involving police and SWAT vans, a tractor-trailer rig, a garbage truck, and the Batmobile. At one point, Batman emerges from the wreckage of the Batmobile riding his new Batcycle (officially it's called the "Batpod", but I like Batcycle better), which you gotta see to believe. The Joker takes one look at this contraption careening out of an alleyway and remarks appreciatively, "Now THERE'S a Batman."

It's this admiration and respect for Batman that helps make the Joker character interesting. Heath Ledger doesn't act stereotypically evil as much as gleefully, insanely prankish, almost childlike at times, as though the Joker simply gets a thrill from messing things up and causing trouble, and rather than try to kill Batman, he finds him a delightfully fun playmate with whom to engage in deadly games. With little regard for self-preservation and a pronounced suicidal streak ("HIT ME!" he shrieks as the Batpod bears down upon him), he hurls himself into each harrowing situation with utter abandon. But he's incredibly dangerous, too, as evidenced by his explosive escape from police custody and his lethal dealings with Gotham's mob underworld.

Ledger's Oscar-worthy performance is amazing from start to finish, consistently fascinating and endlessly surprising. Some have said that the script gives him too many speeches explaining his behavior, as in his "I'm an agent of chaos" scene with a bedridden Harvey Dent, but I could listen to him all day. He's just plain fun to watch. People have mentioned detecting elements of Richard Dreyfuss or Jack Lemmon in his portrayal, while I thought I heard a little of Al Franken's "Stuart Smalley" in there as well. He's got that insane laugh down pat, too, but it isn't an affectation--he really comes off as a total loon.

The rest of the cast is awesome as well. There's Christian Bale, Michael Caine, Morgan Freeman, and Gary Oldman from the first film (that's a kickass lineup right there), with the addition of Aaron Eckhart (THE CORE) as Harvey Dent, who later morphs into the hideous Two-Face. Maggie Gyllenhaal takes over the role of Rachel Dawes and is effective in a non-glamorous, down-to-earth way. Cillian Murphy makes a brief return as the Scarecrow early on, and Anthony Michael Hall appears as Gotham's leading television newsman. A really pleasant surprise for me was the appearance of one of my all-time favorite actors, Eric Roberts, as the head of Gotham's criminal element, and it's great to see him in a high-profile role such as this. Likewise, I enjoyed seeing Tommy "Tiny" Lister, who appeared with Roberts in the classic RUNAWAY TRAIN, in a brief but pivotal role, as well as Melinda McGraw as Gordon's wife Barbara and William Fictner as a shotgun-wielding bank manager during the film's exciting opening sequence.

As you might expect, the movie looks and sounds great on DVD. The standard two-disc edition is a little light on extras, though. There are two brief featurettes, one covering the creation of the new Batsuit and Batpod, the other describing Hans Zimmer's musical themes for the Joker. Six sequences from the movie are presented in their IMAX aspect ratios. My favorite is the six-episode series of segments from a fictional news show, "Gotham Tonight", with Anthony Michael Hall's character interviewing various Gotham notables. Rounding out the selection are production stills, poster art, trailers, and a digital copy of the film.

In addition to these, the Blu-Ray edition includes the following:
Movie with Focus Points (picture in picture)
Batman Tech: The incredible gadgets and tools (in HD)
Batman Unmasked: The Psychology of The Dark Knight--Delve into the psyche of Bruce Wayne and the world of Batman through real-world psychotherapy (in HD)
Galleries: The Joker cards, concept art, poster art, production stills, trailers and TV spots.

THE DARK KNIGHT ends on a suitably dark note with the Batman on the run from the law, now a suspect in several murders and a pariah in Gotham City. Is this the traditionally downbeat middle chapter of a trilogy? In any case, the untimely death of Heath Ledger makes it a memorably unique cinematic experience that, regrettably, can never be reprised. But with just about everyone else on board for the following sequel--and not a trace of giant pennies or Robin in sight--I can't wait to see what Christopher Nolan has in store for us next.

THE DARK KNIGHT -- DVD Review by Porfle

The Spoken Words That Caused A Sensation In "The Jazz Singer" (1927)(video)

 

When Warner Brothers made "The Jazz Singer" in 1927, it was a silent film like the others of its era.

Except that the songs performed by star Al Jolson would be done using their new Vitaphone sound process.

But it wasn't hearing the songs that astounded audiences at the time.
It was the spoken patter ad-libbed by Jolson between the songs. 

Later in the film, when Jolson's character entertains his adoring mother...
...his off-the-cuff remarks during the songs charmed and delighted viewers, making them want more. 

The first all-spoken film was yet to come. But because of Jolson's chatty ad-libs...

..."The Jazz Singer" is still often regarded as the first "talkie."

I neither own nor claim any rights to this material.  Just having some fun with it.  Thanks for watching!

(Read our review of THE JAZZ SINGER)

The Spoken Words That Caused A Sensation In "The Jazz Singer" (1927)(video)

KING KONG (1933) -- DVD Review by Porfle

(NOTE: This review was written upon the DVD's initial release in 2005.)

Before CGI, before summer blockbuster films like JAWS, before "giant-monster-on-the-loose" movies of any kind, there was...KING KONG. Depression audiences who barely had two coins to scrape together jammed theaters in 1933 to witness this thrilling pinnacle of pure escapism and marvel at the sight of a giant gorilla battling dinosaurs, wrestling elevated trains, and swatting biplanes from his lofty perch atop the towering Empire State Building. Up to that time, KING KONG was the most spectacular, jaw-dropping adventure film ever made, and few films since, if any, have even come close to topping it.

The first forty minutes or so consist of careful, methodical build-up as flamboyant movie producer Carl Denham (Robert Armstrong) sets sail for Skull Island with the crew of a merchant ship called The Venture. He's heard stories of a giant monster called Kong who lives on the island, and plans to capture the beast on film. Along for the ride are the beautiful Ann Darrow (Fay Wray) to provide the "love interest" for his movie, and first mate Jack Driscoll (Bruce Cabot) to provide the love interest for Ann.

When they arrive, they witness a tribe of natives preparing to sacrifice a young girl to Kong. But one look at Ann, whom they call "the golden woman", convinces them that she would make a much more unique bride for the beast. ("Well, blondes are scarce around here," Denham notes.) They steal onto the ship that night and kidnap Ann, then open the massive doors of the huge protective wall that separates them from the rest of the island and bind her to an altar. As the crew of The Venture discover Ann's absence and race to the rescue, the natives wait atop the wall in awed silence for the arrival of the fearsome Kong. Suddenly there are loud, echoing footsteps...the trees are torn aside...and there stands King Kong, the greatest of all movie monsters.

 
All necessary exposition is laid out for us so that when Kong makes his appearance at this point, the rest of the film is a non-stop rollercoaster ride of action. Kong takes Ann in hand and disappears into the dense jungle, with Denham, Driscoll, and most of the Venture crew in hot pursuit. But it doesn't take long for these hunters to become the hunted, when they suddenly find themselves on the run from an array of ill-tempered prehistoric beasts ("from the dinosaur family!", Denham informs us). In one horrific scene, the sailors are trapped on a log over a deep chasm as the enraged Kong shakes them off into the pit below. Having dispatched his pursuers, Kong takes Ann to his lair at the top of Skull Mountain, engaging in awesome battles with various other giant creatures along the way.

But Driscoll, who managed to avoid plunging into the pit, rescues Ann and returns her to the native village. An angry Kong arrives moments later, pounds his way through the door of the great wall, and goes on a rampage in which he chews and stomps several unfortunate villagers. Denham, however, is prepared for such an eventuality, and hurls a gas bomb which knocks Kong unconscious. Realizing that the giant ape himself is worth more than any motion picture, Denham arranges to have a giant raft built to transport Kong back to New York, where he will be put on display for paying customers. "We're millionaires, boys!" he cries to the surviving sailors. "I'll share it with all of you!"

We all know, of course, that once Kong is taken to the Big Apple, he escapes and goes on a rampage of destruction that climaxes at the top of the Empire State Building, where he must fight off attacking biplanes amidst a hail of machine gun bullets -- one of the most enduring images in movie history and popular culture. 

KING KONG continues to astound all but the most jaded viewers even today, which is a tribute to the imagination and ingenuity of its makers. Special effects wizard Willis O'Brien laid the groundwork for all future effects-laden "event" movies as he created ways of bringing the most outrageous visions to the screen, many of which are still used today. His meticulous frame-by-frame stop-motion animation of Kong and the various dinosaurs never fails to impress, especially in the spectacular battle between Kong and the Tyrannosaurus Rex. 

Murray Spivack's sound design was an amazing feat considering that sound itself had only existed in movies for a few years before KING KONG. And the musical score by Max Steiner, with its beautiful descriptive passages and themes for various characters, is a masterpiece that showed all film composers to come how it should be done.

Upon its re-release in 1938, several of the more violent scenes were censored, including Kong popping various Skull Islanders and New Yorkers into his mouth and chewing on them, or stomping them underfoot. And the scene in which Kong curiously peels off bits of Fay Wray's clothing and sniffs them was deemed inappropriate as well, and out it went. The film was also darkened considerably to disguise much of the blood that flows during the battle scenes. For many years, this was the only version of the film available, until finally the excised scenes were rediscovered and restored in the early 70s.

 
Now, with Warner Brothers' current release of KING KONG on DVD, the film is restored, uncensored, and better-looking than ever before, with special features that will delight fans of the film. There is a commentary featuring stop-motion master Ray Harryhausen (SEVENTH VOYAGE OF SINBAD, JASON AND THE ARGONAUTS) and special-effects veteran Ken Ralston that is fun to listen to since the men are such devoted Kong fans. 

A documentary on the life of Kong producer Merian C. Cooper (upon whom the character of Carl Denham is based) is a fascinating look at a man whose exploits rival those of Indiana Jones. And the seven-part documentary "RKO Production 601:The Making Of Kong, Eighth Wonder Of The World" is packed with fascinating details about the film and comments from well-known filmmakers who have been influenced by it.

LORD OF THE RINGS director Peter Jackson, whose KONG remake hits theaters in December 2005, went to great lengths to help make this DVD a special event, including assembling his special-effects artists to recreate the legendary lost "Spider Pit Sequence" which was originally removed from the film due to its intensity ("It stopped the show!", as Merian C. Cooper put it). Jackson also created a new Kong scene using the same equipment and methods employed by Willis O'Brien, simply to give us an idea of how the effects for KONG were done since there is so little behind-the-scenes documentation of the original work. 

Also included are scenes from Willis O'Brien's aborted dinosaur project CREATION, which are so well-restored that they look as though they might have been filmed yesterday. And rounding out the special features on the disc are trailers from KING KONG, SON OF KONG, MIGHTY JOE YOUNG (Willis O'Brien's three great "Giant Ape" movies), and other Cooper productions.

If you're a fan of KING KONG, or you just want to see what all the fuss is about, there's never been a better time to watch this film in all its glory. The passage of time, and the advancement of special-effects technology, have not dimmed its power. It is still one of the greatest -- perhaps the greatest -- adventure films ever made.

Read our review of the 2005 Peter Jackson remake

Read our review of SON OF KONG

KING KONG (1933) -- DVD Review by Porfle