mandzirm

The old Technicolor home movies are nice to watch, but this shallow biography of Warner Brothers chief Jack Warner offers scant insight into what made him tick, and disappointingly little history of the Warner Brothers studio. Written, directed, and produced by Warner's grandson, the overall message of the documentary seems to be that Warner (who was widely hated in Hollywood) may have had a few faults, but was mostly a great old guy.

After reading a previous glowing comment, I was hoping for something "unique...enchanted...marvelous...fresh...delightful...". But only my strong interest in film history kept me watching. Others may want to pass on this one.

You can add my name to the list of viewers who, like Ms. Dunigan, could not make it all the way through this. The location shots of Istanbul were this film's only redeeming attribute. (Rent a travelogue instead.) The sound might as well have been recorded with underwater microphones, and the plot (?) is totally incomprehensible. Don't waste your time on this turkey.

If you are a W. C. Fields fan as I am, this compilation contains many of the parts we wait for when we watch his feature films. If you are new to his work, this will surely inspire you to see more of him by renting The Bank Dick, It's a Gift, or other classics excerpted here.

Even if you are familiar with Field's features, this documentary contains material you may not have seen, including clips from his silent films and from his early talkie shorts for Mack Sennett.

The interviews, including critic Leonard Maltin and Field's grandson/biographer, are informative without being intrusive. They add to the appreciation of what we are watching for - Fields in action.

For anyone with a strong interest in film history, this is very worthwhile; there is much footage here you probably haven't seen and won't see anywhere else. It's interesting to see Porter's contributions to early cinema. It's also a curious puzzle why the inventor of many early film techniques would be content to let his craft to stagnate, allowing the film industry to pass him by.

The presentation is pretty dry, however - like something designed for the classroom.

This cartoon has some pretty weird, spooky stuff - a dark side you would never see in later Mickey Mouse cartoons. Unless your four-year-old can handle a mad doctor threatening to cut Mickey's head off, steer him clear of this one. For adults, though, it's quite original.

Paramount Pictures and Famous Studios came up with a tried-and-true way to make a cheap "new" cartoon - they made it almost entirely from clips of old cartoons, held together by a lame excuse of a plot. The result is a mediocre but passable cartoon.

This cartoon is vintage Tex Avery, including his classic barroom scene with the wolf's eyeballs bulging across the room toward the voluptuous dance hall girl. The cartoon is a clever takeoff on Robert Service's poem, "The Shooting of Dan McGrew".

Nothing But Trouble, like most of the films Laurel and Hardy made for MGM and Fox at the end of their career, is really sad to watch. For fans familiar with their earlier work, it is depressing to see them half-heartedly reworking their earlier material. It is unfortunate that these weak films from the end of their career are among their most frequently found video titles. Younger people picking up Nothing But Trouble off the video rack may never realize what they are missing.

This is one of Laurel and Hardy's funniest two-reelers, thanks in particular to two memorable scenes. First is the delightful drunken party scene with Mae Busch, as the three are unaware that their well water has been spiked with moonshine. Finally, there is the outrageous "tit-for-tat" slapstick finale with Charlie Hall, as each character stands there allowing another character to commit some indignity upon them, calmly awaiting their chance to retaliate. The sequel, titled Tit For Tat, featured the same cast and formula, and is nearly as good.