Sixty-six years ago, Creature from the Black Lagoon director Jack Arnold teamed up with author Richard Matheson to bring Matheson’s sci-fi novel The Shrinking Man to the screen as The Incredible Shrinking Man (watch it Here). Now Deadline reports that Picture Perfect Federation Chairman Patrick Wachsberger, who was formerly the Co-Chairman of Lionsgate, is working with La Vie En Rose producer Alain Goldman on a French remake of The Incredible Shrinking Man that is set to star Jean Dujardin, who won an Oscar for his performance in the lead role of the 2012 silent film The Artist – which also happened to be the Best Picture winner that year.
The Wachsberger-produced Coda just won Best Picture last year and La Vie En Rose earned an Oscar for star Marion Cotillard, so this remake has multiple prestigious names attached to it.
Universal Pictures released The Incredible Shrinking Man in ’57 and still holds the rights to the property,...
The Wachsberger-produced Coda just won Best Picture last year and La Vie En Rose earned an Oscar for star Marion Cotillard, so this remake has multiple prestigious names attached to it.
Universal Pictures released The Incredible Shrinking Man in ’57 and still holds the rights to the property,...
- 10/4/2023
- by Cody Hamman
- JoBlo.com
Criterion gives this classic its first exposure on Region A Blu-ray! A new 4K remaster puts the story of a guy too tiny to escape from his own cellar in its very best light — Scott Carey’s combat with the spider is still a scary delight, with a newly-fixed imperfection. Criterion’s extras lean toward fan-oriented fare: Tom Weaver tops the stack with a fine commentary and we get good input from Ben Burtt, Craig Barron, Richard Christian Matheson, Joe Dante and Dana Gould — plus thoughtful liner notes by Geoffrey O’Brien. And don’t forget those excellent movie trailers narrated by a breathless Orson Welles. Robert Scott Carey should have his own statue in Los Angeles, like Rocky Balboa in Philadelphia.
The Incredible Shrinking Man
Blu-ray
The Criterion Collection 1100
1957 / B&w / 1:85 widescreen / 81 min. / available through The Criterion Collection / Street Date October 19, 2021 / 39.95
Starring: Grant Williams, Randy Stuart, April Kent, Paul Langton,...
The Incredible Shrinking Man
Blu-ray
The Criterion Collection 1100
1957 / B&w / 1:85 widescreen / 81 min. / available through The Criterion Collection / Street Date October 19, 2021 / 39.95
Starring: Grant Williams, Randy Stuart, April Kent, Paul Langton,...
- 10/5/2021
- by Glenn Erickson
- Trailers from Hell
1965: Peyton Place's Allison met Elliot.
1974: Days of our Lives' Addie gave birth to Hope.
1983: Gh's Bobbie was shocked to learn of Luke's death.
1994: Brookside's Beth and Margaret shared an historic kiss."History speaks to artists. It changes the artist's thinking and is constantly reshaping it into different and unexpected images."
― Anselm Kiefer
"Today in Soap Opera History" is a collection of the most memorable, interesting and influential events in the history of scripted, serialized programs. From birthdays and anniversaries to scandals and controversies, every day this column celebrates the soap opera in American culture.
On this date in...
1958: On The Edge of Night, Mike Karr (John Larkin) and Peter Dalton (Stephen Elliot) discussed the Nicholson-McGinnis case and determined they would have to be tried separately. Peter would prosecute Commissioner Wheeler Nicholson, while Mike took on newspaperman Mac McGinnis.
1965: On Peyton Place, the newly...
1974: Days of our Lives' Addie gave birth to Hope.
1983: Gh's Bobbie was shocked to learn of Luke's death.
1994: Brookside's Beth and Margaret shared an historic kiss."History speaks to artists. It changes the artist's thinking and is constantly reshaping it into different and unexpected images."
― Anselm Kiefer
"Today in Soap Opera History" is a collection of the most memorable, interesting and influential events in the history of scripted, serialized programs. From birthdays and anniversaries to scandals and controversies, every day this column celebrates the soap opera in American culture.
On this date in...
1958: On The Edge of Night, Mike Karr (John Larkin) and Peter Dalton (Stephen Elliot) discussed the Nicholson-McGinnis case and determined they would have to be tried separately. Peter would prosecute Commissioner Wheeler Nicholson, while Mike took on newspaperman Mac McGinnis.
1965: On Peyton Place, the newly...
- 1/15/2019
- by Roger Newcomb
- We Love Soaps
1963: Search for Tomorrow's Marian faced troubled times.
1974: How to Survive a Marriage premiered on NBC.
1980: As the World Turns' Mary was shocked to see Joyce.
2005: Young and the Restless' Drucilla and Phyllis faced off."History speaks to artists. It changes the artist's thinking and is constantly reshaping it into different and unexpected images."
― Anselm Kiefer
"Today in Soap Opera History" is a collection of the most memorable, interesting and influential events in the history of scripted, serialized programs. From birthdays and anniversaries to scandals and controversies, every day this column celebrates the soap opera in American culture.
On this date in...
1957: On The Edge of Night, Sara (Teal Ames) had a drink at the bar with the man she recognized from the photo, Roy Benson. When Mike (John Larkin) arrived, Sara pretended he was her boyfriend which caused the man to leave. Mike had Willy (Edward Holmes) follow him.
1974: How to Survive a Marriage premiered on NBC.
1980: As the World Turns' Mary was shocked to see Joyce.
2005: Young and the Restless' Drucilla and Phyllis faced off."History speaks to artists. It changes the artist's thinking and is constantly reshaping it into different and unexpected images."
― Anselm Kiefer
"Today in Soap Opera History" is a collection of the most memorable, interesting and influential events in the history of scripted, serialized programs. From birthdays and anniversaries to scandals and controversies, every day this column celebrates the soap opera in American culture.
On this date in...
1957: On The Edge of Night, Sara (Teal Ames) had a drink at the bar with the man she recognized from the photo, Roy Benson. When Mike (John Larkin) arrived, Sara pretended he was her boyfriend which caused the man to leave. Mike had Willy (Edward Holmes) follow him.
- 1/9/2019
- by Roger Newcomb
- We Love Soaps
1967: The Doctors' Althea turned in her resignation.
1997: General Hospital's Helena returned to Port Charles.
2008: All My Children celebrated the life of Myrtle Fargate.
2011: One Life to Live's Roxy dreamed about Fraternity Row."History speaks to artists. It changes the artist's thinking and is constantly reshaping it into different and unexpected images."
― Anselm Kiefer
"Today in Soap Opera History" is a collection of the most memorable, interesting and influential events in the history of scripted, serialized programs. From birthdays and anniversaries to scandals and controversies, every day this column celebrates the soap opera in American culture.
On this date in...
1966: On Peyton Place, Martin Peyton (George Macready) told a drunken Leslie Harrington (Paul Langton) that he had always been inferior.
1967: On The Doctors, Dr. Althea Davis (Elizabeth Hubbard) stopped by the home of Dr. Matt Powers (James Pritchett) to give him her official resignation from Hope Memorial Hospital.
1997: General Hospital's Helena returned to Port Charles.
2008: All My Children celebrated the life of Myrtle Fargate.
2011: One Life to Live's Roxy dreamed about Fraternity Row."History speaks to artists. It changes the artist's thinking and is constantly reshaping it into different and unexpected images."
― Anselm Kiefer
"Today in Soap Opera History" is a collection of the most memorable, interesting and influential events in the history of scripted, serialized programs. From birthdays and anniversaries to scandals and controversies, every day this column celebrates the soap opera in American culture.
On this date in...
1966: On Peyton Place, Martin Peyton (George Macready) told a drunken Leslie Harrington (Paul Langton) that he had always been inferior.
1967: On The Doctors, Dr. Althea Davis (Elizabeth Hubbard) stopped by the home of Dr. Matt Powers (James Pritchett) to give him her official resignation from Hope Memorial Hospital.
- 12/19/2018
- by Roger Newcomb
- We Love Soaps
1984: Days of our Lives' Carrie decided where to live.
1985: The freedom flag was raised in Gh's Asian Quarter.
1998: Guiding Light's Danny and Michelle shared their first kiss.
2001: Atwt's Barbara & James plotted against Carly, Emily & Rose."History speaks to artists. It changes the artist's thinking and is constantly reshaping it into different and unexpected images."
― Anselm Kiefer
"Today in Soap Opera History" is a collection of the most memorable, interesting and influential events in the history of scripted, serialized programs. From birthdays and anniversaries to scandals and controversies, every day this column celebrates the soap opera in American culture.
On this date in...
1946: On Life Can Be Beautiful, Stanley (Ralph Locke) tried to take charge of Chichi's (Alice Reinheart) affairs, but Chichi refused. She had her own ideas.
1964: On Peyton Place, Leslie Harrington (Paul Langton) became incensed when Betty Anderson (Barbara Parkins...
1985: The freedom flag was raised in Gh's Asian Quarter.
1998: Guiding Light's Danny and Michelle shared their first kiss.
2001: Atwt's Barbara & James plotted against Carly, Emily & Rose."History speaks to artists. It changes the artist's thinking and is constantly reshaping it into different and unexpected images."
― Anselm Kiefer
"Today in Soap Opera History" is a collection of the most memorable, interesting and influential events in the history of scripted, serialized programs. From birthdays and anniversaries to scandals and controversies, every day this column celebrates the soap opera in American culture.
On this date in...
1946: On Life Can Be Beautiful, Stanley (Ralph Locke) tried to take charge of Chichi's (Alice Reinheart) affairs, but Chichi refused. She had her own ideas.
1964: On Peyton Place, Leslie Harrington (Paul Langton) became incensed when Betty Anderson (Barbara Parkins...
- 12/4/2018
- by Roger Newcomb
- We Love Soaps
1966: Dark Shadows' Barnabas was aged into an old man.
1982: Gh's Blackie jammed with Eddie (Sammy Davis Jr.).
1990: Another World's Vicky covered for Marley.
1992: As the World Turns' Holden didn't recognize Lily."The best prophet of the future is the past."
― Lord Byron
"Today in Soap Opera History" is a collection of the most memorable, interesting and influential events in the history of scripted, serialized programs. From birthdays and anniversaries to scandals and controversies, every day this column celebrates the soap opera in American culture.
On this date in...
1965: On Peyton Place, Leslie Harrington (Paul Langton) traveled to Boston to ask Martin Peyton (George Macready) for help in getting Rodney out of jail.
1967: On Dark Shadows, Dr. Julia Hoffman's (Grayson Hall) experiments with Barnabas Collins' (Jonathan Frid) blood went terribly awry and his youthful appearance reverted to that of a 175-year-old vampire.
1982: Gh's Blackie jammed with Eddie (Sammy Davis Jr.).
1990: Another World's Vicky covered for Marley.
1992: As the World Turns' Holden didn't recognize Lily."The best prophet of the future is the past."
― Lord Byron
"Today in Soap Opera History" is a collection of the most memorable, interesting and influential events in the history of scripted, serialized programs. From birthdays and anniversaries to scandals and controversies, every day this column celebrates the soap opera in American culture.
On this date in...
1965: On Peyton Place, Leslie Harrington (Paul Langton) traveled to Boston to ask Martin Peyton (George Macready) for help in getting Rodney out of jail.
1967: On Dark Shadows, Dr. Julia Hoffman's (Grayson Hall) experiments with Barnabas Collins' (Jonathan Frid) blood went terribly awry and his youthful appearance reverted to that of a 175-year-old vampire.
- 10/27/2018
- by Roger Newcomb
- We Love Soaps
1963: Search for Tomorrow's Marian faced troubled times.
1974: How to Survive a Marriage premiered on NBC.
1980: As the World Turns' Mary was shocked to see Joyce.
2005: Young and the Restless' Drucilla and Phyllis faced off."History is a vast early warning system."
― Norman Cousins
"Today in Soap Opera History" is a collection of the most memorable, interesting and influential events in the history of scripted, serialized programs. From birthdays and anniversaries to scandals and controversies, every day this column celebrates the soap opera in American culture.
On this date in...
1957: On The Edge of Night, Sara (Teal Ames) had a drink at the bar with the man she recognized from the photo, Roy Benson. When Mike (John Larkin) arrived, Sara pretended he was her boyfriend which caused the man to leave. Mike had Willy (Edward Holmes) follow him.
1963: On Search for Tomorrow, Marian Rand (Jane...
1974: How to Survive a Marriage premiered on NBC.
1980: As the World Turns' Mary was shocked to see Joyce.
2005: Young and the Restless' Drucilla and Phyllis faced off."History is a vast early warning system."
― Norman Cousins
"Today in Soap Opera History" is a collection of the most memorable, interesting and influential events in the history of scripted, serialized programs. From birthdays and anniversaries to scandals and controversies, every day this column celebrates the soap opera in American culture.
On this date in...
1957: On The Edge of Night, Sara (Teal Ames) had a drink at the bar with the man she recognized from the photo, Roy Benson. When Mike (John Larkin) arrived, Sara pretended he was her boyfriend which caused the man to leave. Mike had Willy (Edward Holmes) follow him.
1963: On Search for Tomorrow, Marian Rand (Jane...
- 1/14/2018
- by Roger Newcomb
- We Love Soaps
1965: Peyton Place's Allison met Elliot.
1974: Days of our Lives' Addie gave birth to Hope.
1983: Gh's Bobbie was shocked to learn of Luke's death.
1994: Brookside's Beth and Margaret shared an historic kiss."History is a vast early warning system."
― Norman Cousins
"Today in Soap Opera History" is a collection of the most memorable, interesting and influential events in the history of scripted, serialized programs. From birthdays and anniversaries to scandals and controversies, every day this column celebrates the soap opera in American culture.
On this date in...
1958: On The Edge of Night, Mike Karr (John Larkin) and Peter Dalton (Stephen Elliot) discussed the Nicholson-McGinnis case and determined they would have to be tried separately. Peter would prosecute Commissioner Wheeler Nicholson, while Mike took on newspaperman Mac McGinnis.
1965: On Peyton Place, the newly paroled Elliot Carson (Tim O'Connor) met Allison Mackenzie (Mia Farrow) at the Book Gallery,...
1974: Days of our Lives' Addie gave birth to Hope.
1983: Gh's Bobbie was shocked to learn of Luke's death.
1994: Brookside's Beth and Margaret shared an historic kiss."History is a vast early warning system."
― Norman Cousins
"Today in Soap Opera History" is a collection of the most memorable, interesting and influential events in the history of scripted, serialized programs. From birthdays and anniversaries to scandals and controversies, every day this column celebrates the soap opera in American culture.
On this date in...
1958: On The Edge of Night, Mike Karr (John Larkin) and Peter Dalton (Stephen Elliot) discussed the Nicholson-McGinnis case and determined they would have to be tried separately. Peter would prosecute Commissioner Wheeler Nicholson, while Mike took on newspaperman Mac McGinnis.
1965: On Peyton Place, the newly paroled Elliot Carson (Tim O'Connor) met Allison Mackenzie (Mia Farrow) at the Book Gallery,...
- 1/14/2018
- by Roger Newcomb
- We Love Soaps
1967: The Doctors' Althea turned in her resignation.
1997: General Hospital's Helena returned to Port Charles.
2008: All My Children celebrated the life of Myrtle Fargate.
2011: One Life to Live's Roxy dreamed about Fraternity Row."History is a vast early warning system."
― Norman Cousins
"Today in Soap Opera History" is a collection of the most memorable, interesting and influential events in the history of scripted, serialized programs. From birthdays and anniversaries to scandals and controversies, every day this column celebrates the soap opera in American culture.
On this date in...
1966: On Peyton Place, Martin Peyton (George Macready) told a drunken Leslie Harrington (Paul Langton) that he had always been inferior.
1967: On The Doctors, Dr. Althea Davis (Elizabeth Hubbard) stopped by the home of Dr. Matt Powers (James Pritchett) to give him her official resignation from Hope Memorial Hospital. Althea was pregnant and unmarried at the time,...
1997: General Hospital's Helena returned to Port Charles.
2008: All My Children celebrated the life of Myrtle Fargate.
2011: One Life to Live's Roxy dreamed about Fraternity Row."History is a vast early warning system."
― Norman Cousins
"Today in Soap Opera History" is a collection of the most memorable, interesting and influential events in the history of scripted, serialized programs. From birthdays and anniversaries to scandals and controversies, every day this column celebrates the soap opera in American culture.
On this date in...
1966: On Peyton Place, Martin Peyton (George Macready) told a drunken Leslie Harrington (Paul Langton) that he had always been inferior.
1967: On The Doctors, Dr. Althea Davis (Elizabeth Hubbard) stopped by the home of Dr. Matt Powers (James Pritchett) to give him her official resignation from Hope Memorial Hospital. Althea was pregnant and unmarried at the time,...
- 12/19/2017
- by Roger Newcomb
- We Love Soaps
To celebrate the Blu-ray release of The Incredible Shrinking Man, available on Blu-ray from 13th November, we have a copy of the film on Blu-ray up for grabs, courtesy of Arrow Video!
Based on the novel by the massively influential sci-fi and horror writer Richard Matheson (I Am Legend, The Martian Chronicles), with a script adapted by Matheson himself, and directed by Fifties sci-fi king Jack Arnold (Creature From The Black Lagoon), this is rightly regarded as being one of the finest science-fiction films of all time, a critically-acclaimed smash hit that currently has a 90 per cent score on Rotten Tomatoes. Genuinely thrilling, and, as Scott’s plight becomes more desperate, tense and gruelling, the film features superbly realised special effects that bely the era, and the setting Scott finds himself in – filled with oversized household objects that suddenly become threatening and dangerous – takes on a wonderfully surreal atmosphere.
This...
Based on the novel by the massively influential sci-fi and horror writer Richard Matheson (I Am Legend, The Martian Chronicles), with a script adapted by Matheson himself, and directed by Fifties sci-fi king Jack Arnold (Creature From The Black Lagoon), this is rightly regarded as being one of the finest science-fiction films of all time, a critically-acclaimed smash hit that currently has a 90 per cent score on Rotten Tomatoes. Genuinely thrilling, and, as Scott’s plight becomes more desperate, tense and gruelling, the film features superbly realised special effects that bely the era, and the setting Scott finds himself in – filled with oversized household objects that suddenly become threatening and dangerous – takes on a wonderfully surreal atmosphere.
This...
- 11/16/2017
- by Phil Wheat
- Nerdly
What seemed too raw for 1955 still packs a punch, as Robert Aldrich takes a meat cleaver to the power politics of the old studio system. Monstrous studio head Rod Steiger has just the leverage he needs to blackmail frazzled star Jack Palance into signing the big contract. But will Hollywood corruption destroy them all?
The Big Knife
Blu-ray
Arrow Academy
1955 / B&W / 1:85 widescreen / 111 min. / Street Date September 5, 2017 / 39.95
Starring: Jack Palance, Ida Lupino, Wendell Corey, Jean Hagen,
Rod Steiger, Shelley Winters, Ilka Chase, Everett Sloane, Wesley Addy, Paul Langton, Nick Dennis.
Cinematography: Ernest Laszlo
Art Direction: William Glasgow
Film Editor: Michael Luciano
Original Music: Frank De Vol
Adapted by James Poe from the play by Clifford Odets
Produced and Directed by Robert Aldrich
Robert Aldrich’s 1940s film apprenticeship was largely spent as an assistant director for strong, creative filmmakers that wanted to do good personal work free of the constraints of the big studios.
The Big Knife
Blu-ray
Arrow Academy
1955 / B&W / 1:85 widescreen / 111 min. / Street Date September 5, 2017 / 39.95
Starring: Jack Palance, Ida Lupino, Wendell Corey, Jean Hagen,
Rod Steiger, Shelley Winters, Ilka Chase, Everett Sloane, Wesley Addy, Paul Langton, Nick Dennis.
Cinematography: Ernest Laszlo
Art Direction: William Glasgow
Film Editor: Michael Luciano
Original Music: Frank De Vol
Adapted by James Poe from the play by Clifford Odets
Produced and Directed by Robert Aldrich
Robert Aldrich’s 1940s film apprenticeship was largely spent as an assistant director for strong, creative filmmakers that wanted to do good personal work free of the constraints of the big studios.
- 9/26/2017
- by Glenn Erickson
- Trailers from Hell
"Earth Given 24 Hours to Surrender!" Invisible murderous moon maniacs invade, with invisible troops and invisible flying saucers! John Agar, Jean Byron and John Carradine do their best to keep this underfed sci-fi turnip on its feet --- and we diehard monster fans love it. Invisible Invaders Blu-ray Kl Studio Classics 1959 / B&W /1:66 widescreen / 67 min. / Street Date July 12, 2016 / available through Kino Lorber / 29.95 Starring John Agar, Jean Byron, Philip Tonge, Robert Hutton, John Carradine, Paul Langton. Cinematography Maury Gertsman Film Editor Grant Whytock Original Music Paul Dunlap Written by Samuel Newman Produced by Robert E. Kent Directed by Edward L. Cahn
Reviewed by Glenn Erickson
At the tail end of the '50s monster boom the pickings became lean indeed. For every killer matinee filler like The Blob or The Fly, cheap double bills encouraged by American-International's example became even cheaper. Producers at Columbia, Allied Artists and United Artists turned out...
Reviewed by Glenn Erickson
At the tail end of the '50s monster boom the pickings became lean indeed. For every killer matinee filler like The Blob or The Fly, cheap double bills encouraged by American-International's example became even cheaper. Producers at Columbia, Allied Artists and United Artists turned out...
- 7/8/2016
- by Glenn Erickson
- Trailers from Hell
John Ford's best war movie does a flip-flop on the propaganda norm. It's about men that must hold the line in defeat and retreat, that are ordered to lay down a sacrifice play while someone else gets to hit the home runs. Robert Montgomery, John Wayne and Donna Reed are excellent, as is the recreation of the Navy's daring sideshow tactic in the Pacific Theater, the 'speeding coffin' Patrol Torpedo boats. They Were Expendable Blu-ray Warner Archive Collection 1945 / B&W / 1:37 flat Academy / 135 min. / Street Date June 7, 2016 / available through the WBshop / 21.99 Starring Robert Montgomery, John Wayne, Donna Reed, Jack Holt, Ward Bond, Marshall Thompson, Cameron Mitchell, Paul Langton, Leon Ames, Donald Curtis, Murray Alper, Harry Tenbrook, Jack Pennick, Charles Trowbridge, Louis Jean Heydt, Russell Simpson, Blake Edwards, Tom Tyler. Cinematography Joseph H. August Production Designer Film Editor Douglass Biggs, Frank E. Hull Original Music Earl K. Brent, Herbert Stothart, Eric Zeisl Writing credits Frank Wead, Comdr. U.S.N. (Ret.), Based on the book by William L. White Produced and Directed by John Ford, Captain U.S.N.R.
Reviewed by Glenn Erickson
They Were Expendable has always been appreciated, but hasn't been given a high roost in John Ford's filmography. Yet it's one of his most personal movies, and for a story set in the military service, his most serious. We're given plenty of service humor and even more sentimentality -- with a sing-along scene like those that would figure in the director's later cavalry pictures, no less. Yet the tone is heavier, more resolutely downbeat. The war had not yet ended as this show went before the cameras, yet Ford's aim is to commemorate the sacrifices, not wave a victory flag. By 1945 Hollywood was already rushing its last 'We're at War!' morale boosters out the gate and gearing up for production in a postwar world. Practically a pet project of legendary director John Ford, They Were Expendable is his personal tribute to the Navy. Typical for Ford, he chose for his subject not some glorious victory or idealized combat, but instead a thankless and losing struggle against an invader whose strength seemed at the time to be almost un-opposable. They Were Expendable starts at Pearl Harbor and traces the true story of an experimental Patrol Torpedo Boat unit run by Lt. John Brickley (Robert Montgomery), his ambitious second in command Lt. Ryan (John Wayne) and their five boat crews. The ambience is pure Ford family casting: the ever-present Ward Bond and Jack Pennick are there, along with youthful MGM newcomers Marshall Thompson (It! The Terror from Beyond Space and Cameron Mitchell (Garden of Evil, Blood and Black Lace) being treated as new members of the Ford acting family. Along the way Ryan meets nurse Sandy Davyss (Donna Reed). Despite their battle successes, the Pt unit suffers casualties and loses boats as the Philippine campaign rapidly collapses around them. Indicative of the unusual level of realism is the Wayne/Reed romance, which falls victim to events in a very un-glamorous way. There's nothing second-rate about this Ford picture. It is by far his best war film and is as deeply felt as his strongest Westerns. His emotional attachment to American History is applied to events only four years past. The pace is fast but Expendable takes its time to linger on telling character details. The entertainer that responds to the war announcement by singing "My Country 'tis of Thee" is Asian, perhaps even Japanese; she's given an unusually sensitive close-up at a time when all Hollywood references to the Japanese were negative, or worse. MGM gives Ford's shoot excellent production values, with filming in Florida more than adequate to represent the Philippines. Even when filming in the studio, Ford's show is free of the MGM gloss that makes movies like its Bataan look so phony. We see six real Pt boats in action. The basic battle effect to show them speeding through exploding shells appears to be accomplished by pyrotechnic devices - fireworks -- launched from the boat deck. Excellent miniatures represent the large Japanese ships they attack. MGM's experts make the exploding models look spectacular. Ford's sentimentality for Navy tradition and the camaraderie of the service is as strong as ever. Although we see a couple of battles, the film is really a series of encounters and farewells, with boats not coming back and images of sailors that gaze out to sea while waxing nostalgic about the Arizona lost at Pearl Harbor. The image of civilian boat builder Russell Simpson awaiting invasion alone with only a rifle and a jug of moonshine purposely references Ford's earlier The Grapes of Wrath. Simpson played an Okie in that film and Ford stresses the association by playing "Red River Valley" on the soundtrack; it's as if the invading Japanese were bankers come to boot Simpson off his land. Equally moving is the face of Jack Holt's jut-jawed Army officer. He'd been playing basically the same crusty serviceman character for twenty years; because audiences had never seen Holt in a 'losing' role the actor makes the defeat seem all the more serious. The irony of this is that in real life, immediately after Pearl Harbor, Holt was so panicked by invasion fears that he sold his Malibu beach home at a fraction of its value. Who bought it? According to Joel Siegel in his book The Reality of Terror, it was Rko producer Val Lewton. John Wayne is particularly good in this film by virtue of not being its star. His character turn as an impatient but tough Lieutenant stuck in a career dead-end is one of his best. The real star of the film is Robert Montgomery, who before the war was known mostly for light comedies like the delightful Here Comes Mr. Jordan. Montgomery's Brickley is a man of dignity and dedication trying to do a decent job no matter how hopeless or frustrating his situation gets. Whereas Wayne was a Hollywood soldier, Montgomery actually fought in Pt boats in the Pacific. When he stands exhausted in tropic shorts, keeping up appearances when everything is going wrong, he looks like the genuine article. Third-billed Donna Reed turns what might have been 'the girl in the picture' into something special. An Army nurse who takes care of Wayne's Ryan in a deep-tunnel dispensary while bombs burst overhead, Reed's Lt. Davyss is one of Ford's adored women living in danger, like Anne Bancroft's China doctor in 7 Women. A little earlier in the war, the films So Proudly We Hail and Cry 'Havoc' saluted the 'Angels of Bataan' that stayed on the job, were captured and interned by the Japanese. Expendable has none of the sensational subtext of the earlier films, where the nurses worry about being raped, etc.. We instead see a perfect girl next door (George Bailey thought so) bravely soldiering on, saying a rushed goodbye to Wayne's Lt. Ryan over a field telephone. Exactly what happens to her is not known. Even more than Clarence Brown's The Human Comedy this film fully established Ms. Reed's acting credentials. The quality that separates They Were Expendable from all but a few war films made during the fighting, is its championing of a kind of glory that doesn't come from gaudy victories. Hopelessly outnumbered and outgunned, the Navy, Army and Air Corps units in the Northern Philippines that weren't wiped out in the first attacks, had to be abandoned. The key scene sees Lt. Brickley asking his commanding officer for positive orders to attack the enemy. He's instead 'given the score' in baseball terms. In a ball club, some players don't get to hit home runs. The manager instead tells them to sacrifice, to lay down a bunt. Brickley's Pt squadron will be supporting the retreat as best it can and for long as it can, without relief or rescue. Half a year later, the U.S. was able to field an Army and a Navy that could take the offensive. Brickley's unit is a quiet study of honorable men at war, doing their best in the face of disaster. According to John Ford, Expendable could have been better, and I agree. He reportedly didn't hang around to help with the final cut and the audio mix, and the MGM departments finished the film without him. Although Ford's many thoughtful close-ups and beautifully drawn-out dramatic moments are allowed to play out, a couple of the battle scenes go on too long, making the constant peppering of flak bursts over the Pt boats look far too artificial. Real shell bursts aren't just a flash and smoke; if they were that close the wooden boats would be shattered by shrapnel. The overused effect reminds me of the 'Pigpen' character in older Peanuts cartoons, if he walked around accompanied by explosions instead of a cloud of dust. The music score is also unsubtle, reaching for upbeat glory too often and too loudly. The main march theme says 'Hooray Navy' even in scenes playing for other moods. Would Ford have asked for it to be dialed back a bit, or perhaps removed from some scenes altogether? That's hard to say. The director liked his movie scores to reflect obvious sentiments. But a few of his more powerful moments play without music. We're told that one of the un-credited writers on the film was Norman Corwin, and that Robert Montgomery directed some scenes after John Ford broke his leg on the set. They Were Expendable is one of the finest of war films and a solid introduction to classic John Ford. The Warner Archive Collection Blu-ray of They Were Expendable looks as good as the excellent 35mm copies we saw back at UCLA. This movie has always looked fine, but the previous DVDs were unsteady in the first reel, perhaps because of film shrinkage. The Blu-ray corrects the problem entirely. The B&W cinematography has some of the most stylized visuals in a war film. Emphasizing gloom and expressing the lack of security, many scenes are played in silhouette or with very low-key illumination, especially a pair of party scenes. Donna Reed appears to wear almost no makeup but only seems more naturally beautiful in the un-glamorous but ennobling lighting schemes. These the disc captures perfectly. Just as on the old MGM and Warners DVDs, the trailer is the only extra. We're told that MGM shoved the film out the door because victory-happy moviegoers were sick of war movies and wanted to see bright musicals instead. The trailer reflects the lack of enthusiasm -- it's basically two actor name runs and a few action shots. The feature has a choice of subtitles, in English, French and Spanish. On a scale of Excellent, Good, Fair, and Poor, They Were Expendable Blu-ray rates: Movie: Excellent Video: Excellent Sound: Excellent Supplements: DTS-hd Master Audio Deaf and Hearing Impaired Friendly? Yes; Subtitles: English, French, Spanish Packaging: Keep case Reviewed: June 6, 2016 (5135expe)
Visit DVD Savant's Main Column Page Glenn Erickson answers most reader mail: dvdsavant@mindspring.com
Text © Copyright 2016 Glenn Erickson...
Reviewed by Glenn Erickson
They Were Expendable has always been appreciated, but hasn't been given a high roost in John Ford's filmography. Yet it's one of his most personal movies, and for a story set in the military service, his most serious. We're given plenty of service humor and even more sentimentality -- with a sing-along scene like those that would figure in the director's later cavalry pictures, no less. Yet the tone is heavier, more resolutely downbeat. The war had not yet ended as this show went before the cameras, yet Ford's aim is to commemorate the sacrifices, not wave a victory flag. By 1945 Hollywood was already rushing its last 'We're at War!' morale boosters out the gate and gearing up for production in a postwar world. Practically a pet project of legendary director John Ford, They Were Expendable is his personal tribute to the Navy. Typical for Ford, he chose for his subject not some glorious victory or idealized combat, but instead a thankless and losing struggle against an invader whose strength seemed at the time to be almost un-opposable. They Were Expendable starts at Pearl Harbor and traces the true story of an experimental Patrol Torpedo Boat unit run by Lt. John Brickley (Robert Montgomery), his ambitious second in command Lt. Ryan (John Wayne) and their five boat crews. The ambience is pure Ford family casting: the ever-present Ward Bond and Jack Pennick are there, along with youthful MGM newcomers Marshall Thompson (It! The Terror from Beyond Space and Cameron Mitchell (Garden of Evil, Blood and Black Lace) being treated as new members of the Ford acting family. Along the way Ryan meets nurse Sandy Davyss (Donna Reed). Despite their battle successes, the Pt unit suffers casualties and loses boats as the Philippine campaign rapidly collapses around them. Indicative of the unusual level of realism is the Wayne/Reed romance, which falls victim to events in a very un-glamorous way. There's nothing second-rate about this Ford picture. It is by far his best war film and is as deeply felt as his strongest Westerns. His emotional attachment to American History is applied to events only four years past. The pace is fast but Expendable takes its time to linger on telling character details. The entertainer that responds to the war announcement by singing "My Country 'tis of Thee" is Asian, perhaps even Japanese; she's given an unusually sensitive close-up at a time when all Hollywood references to the Japanese were negative, or worse. MGM gives Ford's shoot excellent production values, with filming in Florida more than adequate to represent the Philippines. Even when filming in the studio, Ford's show is free of the MGM gloss that makes movies like its Bataan look so phony. We see six real Pt boats in action. The basic battle effect to show them speeding through exploding shells appears to be accomplished by pyrotechnic devices - fireworks -- launched from the boat deck. Excellent miniatures represent the large Japanese ships they attack. MGM's experts make the exploding models look spectacular. Ford's sentimentality for Navy tradition and the camaraderie of the service is as strong as ever. Although we see a couple of battles, the film is really a series of encounters and farewells, with boats not coming back and images of sailors that gaze out to sea while waxing nostalgic about the Arizona lost at Pearl Harbor. The image of civilian boat builder Russell Simpson awaiting invasion alone with only a rifle and a jug of moonshine purposely references Ford's earlier The Grapes of Wrath. Simpson played an Okie in that film and Ford stresses the association by playing "Red River Valley" on the soundtrack; it's as if the invading Japanese were bankers come to boot Simpson off his land. Equally moving is the face of Jack Holt's jut-jawed Army officer. He'd been playing basically the same crusty serviceman character for twenty years; because audiences had never seen Holt in a 'losing' role the actor makes the defeat seem all the more serious. The irony of this is that in real life, immediately after Pearl Harbor, Holt was so panicked by invasion fears that he sold his Malibu beach home at a fraction of its value. Who bought it? According to Joel Siegel in his book The Reality of Terror, it was Rko producer Val Lewton. John Wayne is particularly good in this film by virtue of not being its star. His character turn as an impatient but tough Lieutenant stuck in a career dead-end is one of his best. The real star of the film is Robert Montgomery, who before the war was known mostly for light comedies like the delightful Here Comes Mr. Jordan. Montgomery's Brickley is a man of dignity and dedication trying to do a decent job no matter how hopeless or frustrating his situation gets. Whereas Wayne was a Hollywood soldier, Montgomery actually fought in Pt boats in the Pacific. When he stands exhausted in tropic shorts, keeping up appearances when everything is going wrong, he looks like the genuine article. Third-billed Donna Reed turns what might have been 'the girl in the picture' into something special. An Army nurse who takes care of Wayne's Ryan in a deep-tunnel dispensary while bombs burst overhead, Reed's Lt. Davyss is one of Ford's adored women living in danger, like Anne Bancroft's China doctor in 7 Women. A little earlier in the war, the films So Proudly We Hail and Cry 'Havoc' saluted the 'Angels of Bataan' that stayed on the job, were captured and interned by the Japanese. Expendable has none of the sensational subtext of the earlier films, where the nurses worry about being raped, etc.. We instead see a perfect girl next door (George Bailey thought so) bravely soldiering on, saying a rushed goodbye to Wayne's Lt. Ryan over a field telephone. Exactly what happens to her is not known. Even more than Clarence Brown's The Human Comedy this film fully established Ms. Reed's acting credentials. The quality that separates They Were Expendable from all but a few war films made during the fighting, is its championing of a kind of glory that doesn't come from gaudy victories. Hopelessly outnumbered and outgunned, the Navy, Army and Air Corps units in the Northern Philippines that weren't wiped out in the first attacks, had to be abandoned. The key scene sees Lt. Brickley asking his commanding officer for positive orders to attack the enemy. He's instead 'given the score' in baseball terms. In a ball club, some players don't get to hit home runs. The manager instead tells them to sacrifice, to lay down a bunt. Brickley's Pt squadron will be supporting the retreat as best it can and for long as it can, without relief or rescue. Half a year later, the U.S. was able to field an Army and a Navy that could take the offensive. Brickley's unit is a quiet study of honorable men at war, doing their best in the face of disaster. According to John Ford, Expendable could have been better, and I agree. He reportedly didn't hang around to help with the final cut and the audio mix, and the MGM departments finished the film without him. Although Ford's many thoughtful close-ups and beautifully drawn-out dramatic moments are allowed to play out, a couple of the battle scenes go on too long, making the constant peppering of flak bursts over the Pt boats look far too artificial. Real shell bursts aren't just a flash and smoke; if they were that close the wooden boats would be shattered by shrapnel. The overused effect reminds me of the 'Pigpen' character in older Peanuts cartoons, if he walked around accompanied by explosions instead of a cloud of dust. The music score is also unsubtle, reaching for upbeat glory too often and too loudly. The main march theme says 'Hooray Navy' even in scenes playing for other moods. Would Ford have asked for it to be dialed back a bit, or perhaps removed from some scenes altogether? That's hard to say. The director liked his movie scores to reflect obvious sentiments. But a few of his more powerful moments play without music. We're told that one of the un-credited writers on the film was Norman Corwin, and that Robert Montgomery directed some scenes after John Ford broke his leg on the set. They Were Expendable is one of the finest of war films and a solid introduction to classic John Ford. The Warner Archive Collection Blu-ray of They Were Expendable looks as good as the excellent 35mm copies we saw back at UCLA. This movie has always looked fine, but the previous DVDs were unsteady in the first reel, perhaps because of film shrinkage. The Blu-ray corrects the problem entirely. The B&W cinematography has some of the most stylized visuals in a war film. Emphasizing gloom and expressing the lack of security, many scenes are played in silhouette or with very low-key illumination, especially a pair of party scenes. Donna Reed appears to wear almost no makeup but only seems more naturally beautiful in the un-glamorous but ennobling lighting schemes. These the disc captures perfectly. Just as on the old MGM and Warners DVDs, the trailer is the only extra. We're told that MGM shoved the film out the door because victory-happy moviegoers were sick of war movies and wanted to see bright musicals instead. The trailer reflects the lack of enthusiasm -- it's basically two actor name runs and a few action shots. The feature has a choice of subtitles, in English, French and Spanish. On a scale of Excellent, Good, Fair, and Poor, They Were Expendable Blu-ray rates: Movie: Excellent Video: Excellent Sound: Excellent Supplements: DTS-hd Master Audio Deaf and Hearing Impaired Friendly? Yes; Subtitles: English, French, Spanish Packaging: Keep case Reviewed: June 6, 2016 (5135expe)
Visit DVD Savant's Main Column Page Glenn Erickson answers most reader mail: dvdsavant@mindspring.com
Text © Copyright 2016 Glenn Erickson...
- 6/11/2016
- by Glenn Erickson
- Trailers from Hell
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