RIOT IN CELL BLOCK 11 - Review By Greg Klymkiw - The Criterion Collection Elevates Don Siegel's Prison Classic To Heavenly Heights on Blu-Ray

Don Siegel's name is synonymous with hard, brutal, manly action and his first great picture Riot in Cell Block 11 is restored to its original glory on the Criterion Collection Dual Format Blu-Ray/DVD package.

Neville Brand & Leo Gordon
are ready to take out some screws.
Are YOU ready?

Riot in Cell Block 11 (1954) *****
Dir. Don Siegel Prd. Walter Wanger
Writ. Richard Collins
Starring: Neville Brand,
Emile Meyer, Frank Faylen, Leo Gordon

Review By Greg Klymkiw

Some movies are charged with the blood, sweat and tears of brutal shocking truth, a sense of genuine life experience infused into every frame of celluloid. Riot in Cell Block 11 is one of those pictures. It spits hatred in your eyes like venom and it doesn't take long before you're on the side of mean, hardened men fighting back at loathsome conditions and abuse.

The team responsible for this, one of the greatest prison pictures of all time, surely begins with producer Walter Wanger (surname pronounced "DANGER"). Wanger fought in World War I where he flew dangerous reconnaissance missions in the signal corps. He eventually got his taste for film when he was transferred to the propaganda department. When the war ended, Wanger, a well educated and highly literate young man with a love for theatre was hired by Paramount Pictures, served as the President of the Academy for seven years, moved to Columbia and also served occasional stints as an independent producer. His two loves were theatre-based comedies and musicals and dramas with a high degree of social commentary. He also loved working with directors who had a strong personal voice and Wanger's producing credits included John Ford's Stagecoach, Alfred Hitchcock's Foreign Correspondent, Fritz Lang's Scarlet Street, Don Siegel's Invasion of the Body Snatchers and Robert Wise's I Want To Live.

The impetus for Wanger to produce Riot in Cell Block 11 came after he blasted two shots into the leg and groin of Hollywood agent Jennings Lang whom he suspected was carrying on with his second wife Joan Bennett. Luckily for Wanger, he had the good sense to secure the famous scumbag lawyer Jerry Giesler who was able to get the producer a reduced sentence in jail with a plea of "temporary insanity". Given Wanger's experiences in stir and the fact that prison conditions had become so abominable in post-war America, the first movie he knew he wanted to make would be a prison picture that took the side of the beleaguered and abused convicts, many of whom were instituting large-scale riots to fight for better conditions.

Wanger secured ace-screenwriter Richard Collins, a former creative affairs executive, story doctor and long-standing member of the Communist Party which resulted in his being blacklisted by the House of Un-American Activities. He returned to active duty in the movie business, like so many, he crawled back to HUAC and named names. To direct, Wanger selected Don Siegel who'd cut his teeth directing thousands of great montages for Warner Brothers, helmed a few decent gun-for-hire genre pictures and was now looking for a property he could put a personal stamp on.

The legendary Sam Peckinpah even got his first screen credit here. Hired as a gopher, he soon became invaluable to both Wanger and Siegel. In fact, it was Peckinpah who charmed the officials of Folsom Prison to allow the filmmakers to shoot the film on-location.

Siegel directed Collins' screenplay with all the ferocity he'd brought to the distinctive rat-a-tat-tat of the Warner montages and inspired by the real location of Folsom Prison, he fashioned a dark, brutal and breathlessly thrilling action film with his own take on the film noir approach to making movies. Siegel delivered big time. Riot in Cell Block 11 is a taut, searing open-pustule of a picture that never lets up.

We follow two perfectly matched cons played by Neville Brand and Leo Gordon who team up to lead a massive revolution within the prison. Brand is ferocious, but has great leadership abilities and Gordon's not only a psychopath, but a huge, powerful and merciless killer. Guards are taken as hostages and in no time, the entire prison is owned by the cons. The Warden is played by the great character actor Emile Meyer, whom noir fans will remember as the thuggish Lt. Kello in Sweet Smell of Success, but his character here, while tough as nails, is also sympathetic to the plight of the prisoners - he's been raising hell for years with the politicians and bureaucrats. Now he needs to negotiate with men whom he believes have a genuine concern, but he's shadowed by a horrendously persnickety by-the-book politician played to smarmy perfection by Frank Faylen.

Siegel handles the violence and tough talk like a master. As the film charges to a spectacular climax with all the panache you'd expect from a prison picture, you can't but occasionally realize that Riot in Cell Block 11 is from the director who eventually gave us a whole whack of great pictures, pictures we loved and admired. Interestingly we get a denouement which comes on the heels of fiery high tension and gives way to a conclusion which is tinged with melancholy, bitterness and maybe even just a bit of disgust - not unlike Siegel's bonafide masterpiece of 1971, Dirty Harry.

Riot in Cell Block 11 is available in a dual format box from the Criterion Collection. It comes with the usual bevy of goodies including a fresh 2K digital restoration, with uncompressed monaural soundtrack, an audio commentary by film scholar Matthew H. Bernstein, my favourite extras which are excerpts from the director’s 1993 autobiography, "A Siegel Film" and Stuart Kaminsky’s phenomenal 1974 book "Don Siegel: Director", both read beautifully by Siegel's son Kristoffer Tabori. Add to the mix a 1953 NBC radio documentary "The Challenge of Our Prisons" and a first-rate booklet that includes a Chris Fujiwara essay, a 1954 article by producer Walter Wanger and a 1974 tribute to Siegel by filmmaker Sam Peckinpah.

TEN FROM YOUR SHOW OF SHOWS - Review By Greg Klymkiw - TJFF 2014 - Toronto Jewish Film Festival 2014

Ten From Your Show of Shows (1973) *****
Dir. Max Liebman, Prod. Pat Weaver, Writers: Mel Brooks, Neil Simon, Carl Reiner
Starring: Sid Caesar, Imogene Coca, Carl Reiner, Howard Morris

Review By Greg Klymkiw

To coin a phrase from the title of Alan Zweig's recent documentary masterpiece, be prepared to experience - beyond all your wildest hopes and dreams - a time when Jews were funny. I mean funny!!! Really, really funny.

If there is anything on television today that's even a pubic hair as brilliant as Your Show of Shows, I'd like to know what it is. Watching this 1973 feature length compilation of ten classic sketches from the immortal variety series that aired on NBC from 1950-1954, I was delightfully transported to a time and place when comedians could have you in stitches just by appearing on-screen - completely in character and bearing the gait and posture that offered a mere taste of the hilarity to come. Each sketch is a perfectly crafted gem with a solid narrative coat hanger by which to display gags of the highest order and performed with the kind of chemistry and zeal that seems so lacking in contemporary comedy. These were giants, kings and gods of the universe of laughter.

Astonishingly, the show was performed in a real theatre, with a real audience and broadcast LIVE to the world and even more amazing is that the company of actors NEVER ad-libbed - they stuck completely to the brilliant scripts and meticulous choreography of both the basic blocking and the kind of slapstick that modern comedians can only dream of being able to pull off.

Much of this is attributable to the direction of Max Liebman, a pioneer of live television comedy who knew that the very best way to capture the material was to use the camera like a closeup proscenium and most of all, to place a great deal of emphasis on rehearsal to nail every dramatic and comic beat with perfection and to ensure that the performers hit their marks perfectly - after all, when the show is going out live to millions, there are NO second chances. Liebman is, in some ways, the real unsung genius of contemporary screen comedy. He not only directed the precursor to "Your Show of Shows" (a ninety-minute two part live broadcast with Jack Carter in Chicago and Caesar, Coca and Reiner in New York), but he spent eons producing live comedy and variety reviews in the Poconos where he cut his teeth on sketch comedy that demanded perfection.

Though the cast features an excellent array of many regular performers and guest stars, the quartet who led the Show of Shows charge were Sid Caesar, always taking the skewed leading man role, the leggy plasticine-faced Imogene Coca in the equally skewed leading lady roles, the deadpan, pole-up-the-butt Carl Reiner always an authority figure and last, but not least, the genius that was Howard Morris who could do just about anything (and did).

The collection of sketches provided here is no mixed bag of nuts in terms of quality - each and every one is a scrumptious morsel and these rich comic comestibles are beautifully assembled to provide a perfect arc of laughs from beginning to end, but also offer-up the sort of amazing scope of material that this team of artisans attacked.

I'll describe three sketches to give you a sense of what you're in for.

The first sketch in the compilation is a lovely sampling of a simple two-hander where we learn that wifey Coca has ploughed the family car through the front window of a liquor store. When hubby Caesar gets home from a hard day on Madison Avenue, Coca needs to do everything in her power to keep hubby from driving the car, but to also test the waters as to just how furious he's going to be when he hears the news. At one point, she goes so far as to recount the accident in a third person narrative to see how hubby reacts. Caesar hilariously laughs off the tale of woe, commiserating with the poor schmuck who is, no doubt, smarting over the knowledge that he let his dumb wife actually drive the car.

Uh-oh.

Hilarity ensues even more at this point, though the tale offers up an extremely satisfying and touching conclusion.

The centrepiece sketch is one of the earliest examples of a movie parody, a brilliant spoof of Fred Zinneman's adaptation of James Jones's From Here To Eternity with Carl Reiner hilariously pinning a row of medals into Sid Caesar's flesh, a magnificent USO dance-club scene that offers-up Caesar and Reiner's rivalry over dime-a-dance gal Coca and during the rendition of the famous beach scene, Caesar shows up in a rubber ducky tube around his waist and once he and Coca settle in for some amore, they're repeatedly interrupted by bucket loads of water splashed in their faces. (Oh, and I'm just guessing here, but chances are good that most of this sketch was written by head writer Mel Brooks, cinema's king of movie parodies like Blazing Saddles and Young Frankenstein.)

The concluding sketch is pure slapstick genius. It's a parody of the Ralph Edwards program "This is Your Life" which gives us a healthy glimpse at the huge theatre and audience assembled for the live broadcast by including a big scene offstage and on the orchestra floor, but also provides a marvellous all-you-can-eat offering of the magnificent Howard Morris and his unbelievably insane ability to render physical comedy. In this case, he's so monkey-like that he gives the overrated Planet of the Apes reboot star Andy Serkis a major run for his money. Morris doesn't need CGI - the guy simply transforms into a variety of simian poses in the unlikeliest of settings.

These then are but three of ten great sketches and I can't think of a single one that doesn't offer up huge laughs. One sketch is presented in silent movie pantomime style, another offers the quartet as clock pieces on a German clock that's just not working, another is a two hander with Caesar and Morris as the most rigid, pole-up-the-butt Germans imaginable, another involving Morris wagging a huge dill pickle in front of a very hungry Sid Caesar's face - the list goes on. Laughs galore.

I remember first seeing this compilation when it played first-run at a movie theatre in Winnipeg. I was maybe 13 or 14 years old and I still remember the great feeling of being in a cinema in the North End seeing this work for the first time, rolling on the floor with laughter and surrounded by mostly older people who seemed to be laughing so loud that in retrospect, (this was long before the advent of "Depends") I now wonder just how many of them were able to control their bladders. My recent helping of Ten From Your Show Of Shows certainly provided my own bladder with challenges, so anyone planning to catch the TJFF screening of this great 90 minutes of pure hilarity would be best advised to, shall we say, come prepared for any expulsions triggered by laughter.

As live television during the Golden Age proved time and time again, anything was possible.

Ten From Your Show Of Shows plays the Toronto Jewish Film Festival (TJFF) 2014. For fix and info visit their website HERE.

A STAR IS BORN (1954) - Review By Greg Klymkiw

JUDY GARLAND
Mrs. Norman Maine

A Star Is Born (1954) dir. George Cukor *****
Starring: Judy Garland, James Mason, Charles Bickford, Jack Carson, Tommy Noonan, Amanda Blake

Review By By Greg Klymkiw

The devastating effects of alcoholism have seldom been captured with the kind of force that permeates director George Cukor's 1954 rendering of this classic tale of a star rising, another star burning out and the bond of love between them.

A Star is Born as a much-beloved screen entity began with David O. Selznick's early attempt at R.K.O. Pictures to tell a true-to-life story about Hollywood. Securing Adela Rogers St. Johns to write the story and subsequently employing a myriad of screenwriters, Selznick teamed up with his good friend George Cukor to bring the world What Price Hollywood? in 1932. It's a solid film with an especially great performance from Lowell Sherman as the alcoholic who feels he is holding back the genius of the woman he loves and subsequently commits suicide to "free" her. Constance Bennett in the female role was good, but not great. In 1937, Selznick returned to the material and delivered what would be the first picture officially bearing the title A Star is Born. This fine version, sans Cukor and helmed by the stalwart William Wellman, starred Fredric March as the drunken star and also featured exquisite production value. Alas, Janet Gaynor as its leading lady was simply no match for Mr. March. The film, whilst good, fell short of the greatness it was clearly striving for.

The cinematic marriage made in Heaven for this material occurred when Judy Garland's husband, Sidney Luft, seeking a comeback project for his troubled wife, convinced Warner Brothers to bankroll a musical version of the tale with George Cukor directing and the inimitable Moss Hart writing the screenplay adaptation of Dorothy Parker's 1937 screenplay. The casting of James Mason as Judy Garland's husband was a stroke of genius and for once, the material had two great stars - evenly matched in talent and screen presence.

The simple, well-told tale involves singer Esther Blodgett (Garland) who meets-cute with Hollywood star Norman Maine (Mason) at a ritzy film business fundraiser wherein the completely sloshed actor ends up on stage with a chorus line of performers, one of whom is our heroine. Esther knows who Norman is, and also realizes how drunk he is, but she's both star-struck and charmed and engages him in a fun, silly dance that entertains the audience and, in so doing, allows Norman to retain the dignity of a stalwart performer letting loose (as opposed to being seen as a buffoon).

Eventually, the two becomes friends and lovers and most importantly, Norman becomes Esther's benign Svengali and he uses all his powers to turn her into a huge star. The paternal studio head Oliver Niles (Charles Bickford) gets Esther to change her name to Vicki Lester and further builds her into the studio's most valuable asset.

Alas, Norman's continued drunken antics have made him a huge liability to the studio and his contract is not renewed. People he thought were his friends ignore him, and the slimy studio publicity chief played by the inimitable Jack Carson, tell hims to his face how much he's always hated him and pretended to be his friend because it was his job. This latter blow comes after Norman is off the wagon and leads to him hitting the bottle even harder.

Esther/Vicki rises to the top, and Norman falls further than anyone could have imagined. Loving his wife desperately, but feeling he is holding her back, Norman makes what he thinks is the ultimate sacrifice so she can truly shine.

While there are plenty of musical numbers in the picture - including Garland's knockout rendition of Arlen and Gershwin's great song "The Man That Got Away" - the movie is at its absolute best when Garland and Mason share the screen together. Cukor and his two great actors brilliantly capture the initial attraction, their growing love, the mutual dependency upon each other (positive and negative) - all the ups and downs one expects from characters that are deeply wrought and ultimately, sympathetic because of the simple, delicate humanity with which they're handled.

An extremely interesting aspect to this story is that so many pictures from the Golden Age of Cinema were weepers of the highest order and often used female characters in the position of feeling like a millstone around either their lovers' or children's necks and making huge sacrifices to free those they love from their burdensome presence. "A Star is Born" - especially in this version - is a powerful reversal of this storytelling tradition.

One of the more astounding sequences in the movie is when Esther/Vicky is at the Academy Awards, desperately awaiting to see if she wins, but even more desperate as she wonders and waits where an absent Norman is. Garland's performance here is heartbreaking, but when Norman finally appears at the awards ceremony - completely plastered, Garland's performance reaches stratospheric heights when she deals with how Norman humiliates her.

Mason captures his character's pathetic inner helplessness while Garland displays pure love - not a stalwart attempt at maintaining dignity, but love! A love that means helping her husband at all costs and no matter how much he's made a fool of himself - Garland conveys that it is her love that is stronger than his illness and that sacrifice is perhaps the greatest force of love. In fact, her kind, resolute handling of the embarrassing situation plays as a sacrifice and yet, below the surface, there is the subtext - delivered mostly through Garland's performance - suggesting that for Esther/Vicki, helping someone you love maintain THEIR dignity might be SEEN as a sacrifice, but that she doesn't view it that way. It's what one does when one is in love.

One of the reasons Garland's Blodgett/Lester seems so evenly matched is the juxtaposition between one character's discovery and the other's loss - the latter clearly being the loss of one's way in the world to the point where the only way to move forward is to seek death. Garland discovers, not only her talent, but that she has the capacity for undying love and sensuality while Mason can only empower himself in making a star out of someone even as he has lost all of his lustre.

While there is a certain surface bravery to Mason's sacrifice, there is a cowardice to it as well - a cowardice that is only too human, and in so being, FEELS heroic. His sacrifice, however, pales in comparison to the endless sacrifices Garland makes.

It was my most recent viewing of this film, on the Warner Home Entertainment Blu-Ray Special Edition release where my eyes were drawn almost inextricably to the eyes of both performers. It was, perhaps the clarity of the format itself that allowed me access to the souls of the characters through these two pairs of eyes. Both Garland and Mason express a myriad of emotions and there's never a false note from either of them. And as truly great as Garland is in the film, we once again have a film version of the story where the actor playing Norman - in this case, Mason - is such a compelling tragic figure that it's impossible not to be deeply moved by him to the point where our heroine becomes somewhat muted in comparison.

Thankfully, though, Garland is only occasionally overshadowed by Mr. Mason and is certainly a match for him. At the conclusion of the film, when she proclaims that her name is "Mrs. Norman Maine" - suggesting, of course, how their souls are inextricably connected for an eternity - we realize just how utterly perfect Cukor's handling of this vital love is.

That said, Mason's last scenes in the magic hour of his final day on Earth, come close to ripping one's heart out of one's chest. The little looks and smiles of love and determination he delivers, wrench such pure emotion from an audience, that it's easy to see how Mason comes close to walking away with the picture. As well, anyone who has suffered from alcoholism either directly or indirectly will realize just how great Mason is in the picture.

It's truly a testament to Mason, Garland and Cukor that alcoholism is treated with all the sad truth the subject requires and most of all, that its viewed as it should be - a disease that can rip the lifeblood out of everyone, not just the individual afflicted with the disease.

A Star Is Born is a classic - end of story.

It might well be over fifty years old, but it feels as fresh and vital as if it had been made just yesterday.

"A Star Is Born" is available on Warner Home Entertainement on DVD and Blu-Ray with a restoration that brings the recut 177 minute version - as close to Cukor's original cut (over 180 mins.) before the studio truncated it to 154 minutes soon after its initial theatrical release. You'll also note I have made absolutely no mention of the execrable 1970s film version of the story. The less said about it, the better.

ROSE MARIE - Review By Greg Klymkiw - COUNTDOWN TO CANADA DAY 2013 - How America Taught Us Everything We Always Wanted to Know About Canada (but were afraid to ask)

Rose Marie (1954) ***
dir. Mervyn LeRoy
Starring: Ann Blyth, Howard Keel, Fernando Lamas, Joan Taylor, Bert Lahr, Marjorie Main, Ray Collins, Chief Yowlachie

Review By Greg Klymkiw

I recently learned, thanks to our American brothers, that all Canadian watering holes in Alberta's Rocky Mountains are exclusively populated with friendly mad trappers who quaff beer nightly and sing rousing a cappella renditions of "Alouette"? God help me, I love operettas. Glorious tenors and sopranos trilling and traipsing their way through insanely romantic melodramatic plots with dollops of broad comic relief have always been my idea of a good time.

Rose Marie, a delicious chestnut (oozing buckets o' cheese) was based on the Rudolph Friml, Oscar Hammerstein II and Otto A. Harbach operetta (light opera, for the uninitiated) and made into a movie three times - a 1928 silent version with Joan Crawford, Woody Van Dyke's astonishing 1936 version with Jeanette MacDonald and Nelson Eddy and the order of today's business, Mervyn LeRoy's ridiculous and stunningly creaky CinemaScope version (in glorious Technicolor no less) from 1954.

Though the 1936 version is a better movie in all respects, I'll always have a special place in my heart for the 1954 vintage. When I was a kid in the 1960s, MGM mounted several major retrospective play dates of their greatest (and even not-so-great) classics and played them in first-run theatres. This version was the first I saw in that series of major reissues - a gorgeous, newly minted print in the aforementioned CinemaScope, Technicolor and on a huge screen in an old picture palace (long since shuttered forever).

Seeing the blazing red uniforms of my country's illustrious Royal Canadian Mounted Police in this fashion has stayed with me well into my dotage.

Even though I eventually discovered and loved Woody Van Dyke's 30s trollop into backlot Canada, this version of Rose Marie is much closer to the original operetta - offering up plot machinations far more ludicrous and as such, deserving copious kudos for doing so.

Read this and weep:

Howard Keel plays square-jawed Captain Mike Malone, a happy horse riding, tune-belting Mountie who trots into the deep bush of Alberta in search of Rose Marie (Ann Blyth, sporting a weirdly delightful French Canadian accent by way of Hollywood voice coaches). Mountie Mike earlier promised an old friend that he'd raise the child as his own should said pal ever bite the bullet. Mountie Mike is the ultimate Canadian Scarlet Avenger - true to his word and always getting his man (or in this case, woman). His loyalty and resolve knowing no bounds, the Mike-ster collects this newly orphaned lass of the wilderness - a spunky wild child tomboy who has no desire or intention to ever leave the idyll of nature.


Rose Marie doth protest too much and does so in utter futility. One never says "no" to the Royal Canadian Mounted Police and especially not Mike, for he does what any man of the law would do.

He takes her by force.

Before you can say "maple syrup" la belle femme, soon dons the garb of the Mounties and is raised at the outpost as such.

Yes, a Mountie!

With a bevy of hunky red-suited and red-blooded Canucks providing surrogate parentage, our shapely little Missy becomes even more curvy and delicious - vaguely hiding those supple curves just beneath her form-fitting RCMP adornments. In addition to Capt. Mike, Rose Marie is doted on by a surrogate grandfather figure, the charming irascible Barney McCorkle (marvellously played by Mr. Cowardly Lion of The Wizard of Oz fame himself, Bert Lahr).

Can this possibly get any better? Read on, dear reader.

When Mike's C.O. Inspector Appleby (Ray Collins - he of Boss Jim Gettys fame in Citizen Kane and Lt. Tragg in Perry Mason) pops by to survey the troops, he displays considerable disdain over the lack of close shaves adorning the gorgeous faces of Capt. Mike's men, until he caresses the cheek of Rose Marie.

(To this day, cheek-caressing is the preferred method of inspecting closeness of shaves amongst the Royal Canadian Mounted Police. Canadians are indebted to Hollywood forever for revealing this fact to the world.)

At first, Appleby is mightily impressed with the smoothness of this slightly peach-fuzzed face, but one double take later, he realizes the delicate-skinned mountie is, in fact a woman. He orders Capt. Mike to take her into town so she may be trained in the ways of the weaker sex by Lady Jane Dunstock (Marjorie Main of "Ma and Pa Kettle" fame), a ballsy inn-and-brothel-keeper who adorns herself in bright purple-coloured satin dresses.

And presto! Rose Marie is tutored in the ways of woman and reveals looks so beguilingly gorgeous that Mike falls in love with her.

(To this day, whores and/or brothel-keepers are entrusted by Canadians to transform tomboys into ladies and again, Canadians are indebted to Hollywood forever for revealing yet another salient factoid of Canuck-hood to the world.)

Ah, but the plot (as it were) thickens when the dashing James Severn Duval (Fernando Lamas as a French Canadian trapper born in the Yukon and sporting a Spanish accent) is ordered by Chief Black Eagle (Chief Yowlachie, a Native American actor) to stop diddling his comely daughter Wanda (Joan Taylor).


Chief Black Eagle no want-um paleface to make-um daughter squaw. Bloodline must stay pure. Mixing white with red make-um heap mongrel papoose. This make-um Apple, eh? Red on outside, white on inside. Is heap extra bad if white is Quebecois of Spanish persuasion.

No matter, though. Once Duval gets a glimpse of Rose Marie, he's immediately smitten and our poor heroine is faced with having to choose between two hunky fellas. Holy Pemmican, Tonto! What ever is a girl to do?

From here, the plot (as it were) becomes an even stickier Acadian gumbo of romantic intrigue when Wanda jealously decides to get her studly fur-trapping Hispanic back at any and all cost. This turning point happens during one of the most outrageous musical numbers ever committed to celluloid - the Busby Berkeley choreographed "Totem Tom-Tom", a mouth-wateringly sexy depiction of an ancient aboriginal fertility dance where Wanda writhes frenziedly amongst a bevy of beauties and a passel of bronze bucks. During her sensual manipulations, that would, no doubt, put most pole dancers in gentleman's clubs to shame, Wanda becomes distracted enough to notice the love of her life smooching with our lily white heroine.

No give-um birth to Apple papoose if this dalliance continues in earnest.

Hell breaks loose and our tale dips its toe into the dark side with non-aboriginals tied to stakes, murder, mistaken identity and last second reprieves from the gallows.

I was riveted.

That said, my 10-year-old daughter repeatedly chided me with, "But Dad, how can you like this? It's so predictable."

Well, as I said earlier, I'm a sucker for operettas.

I love how the familiar plots are used primarily as a coat hanger for the lead characters to burst into song. The ditties in this one are plenty ripe.

This version of Rose Marie is blessed with a rendition of "Indian Love Call" that rivals any I've heard or seen.

And, lest I forget, allow me to cite a great comic warble assigned to Bert Lahr entitled "I'm A Mountie Who Never Got His Man". This number, newly created by George Stoll and Herbert Baker is a genuine laugh riot, though you will need to seriously forget anything you've ever learned about cultural sensitivity to even sit through it, much less thoroughly enjoy it.

In fact, the movie is replete with all manner of stereotypes. Some might call them racist, but there's nothing especially hateful about the attitudes, but rather more ignorant - especially given the time period in which the film is set and when it was made. Though one shouldn't outright excuse the propagation of outmoded cultural representation from another age, it's still probably a good idea to try and appreciate the supremely oddball imaginations it took to come up with them, and in turn, allow yourself a fascinating window into a bygone perspective.

Another interesting aspect of the film is the bizarre portrait it paints of Canada. If you ever get a chance, please read Pierre Berton's magnificent book "Hollywood's Canada". It's an amazing catalogue and history of this strange period when Hollywood decided to prevent an indigenous film industry from blossoming in Canada with government support. Canada, as per much of its history, strapped on the kneepads before Uncle Sam and agreed only to allow taxpayer support of documentaries, and in return, the American government (through the Motion Picture Association of America) agreed to make as many movies as possible promoting Canada - its culture, history and natural beauty. This included shooting in Canada, but in the case of Rose Marie much of the stunning technicolor footage is of the second-unit variety. Of course, this policy of cultural "reciprocity" resulted in the stereotyping of Canada to such an extent I can still fool most anyone from America who has never ventured above the 49th parallel (including Rhodes Scholars) that we all wear fur hats and lumberjack shirts, live in igloos or teepees and bottle-feed the newly-born with Molson Canadian beer. My road trips through the Deep South (Mississippi in particular) are always a blast when I encounter gas jockeys, convenience store clerks and academicians who ask in their tell-tale drawl of white-trashery, "Y'all frumm Kenuh-duh?"

As to the portrayal of Canada's Aboriginal peoples, I must wholeheartedly reiterate that Rose Marie is best enjoyed if you gird your loins of cultural sensitivity and doff your caps of Political Correctness.

In essence, go Republican. Or go home.

"Rose Marie" is one of hundreds of movies from the Warner Brothers catalogue that will not receive an official release on DVD. In Toronto, Canada the only places that carry a wide selection of these titles are the flagship store of Sunrise Records at Yonge and Dundas, the newly resurrected Starstruck Video (oddly re-named as My Movie Store) at Dundas and Tomken and the slightly overpriced, but ridiculously, overwhelmingly and wonderfully overstocked Vintage Video in Mirvish Village on Markham). They're simply colour balanced transfers from the best existing materials and available only in specialty shops or online - for a premium price, of course. Also, the transfers do vary in quality. So far, many are good, but I have to sadly admit that the "Rose Marie" transfer is not all it could be. Frankly, it's begging for proper clean-up and meticulous transfer to Blu-ray - not just DVD. That all said, I'm happy many of these pictures are finally available for home consumption, but it would be a lot better if the price point was, at the very least, lowered.

Greg Klymkiw's 10 Best Blu-Ray and DVD Releases of 2012 - There will be one new ALPHABETICAL posting everyday until we hit the magic number. Today's Klymkiw Blu-Ray/DVD Accolade for 2012 is: Alfred Hitchcock - The Masterpiece Collection from Universal Studios Home Entertainment

The Best Blu-Ray and DVD Releases
of 2012 as decreed by Greg Klymkiw

This was a stellar year for Blu-Ray and DVD collectors that it's been difficult to whittle my personal favourites down to a mere 10 releases. So hang on to your hats as I'll be presenting a personal favourite release from 2012 EACH and EVERY single day that will comprise my Top 10. At the end of all the daily postings, I'll combine the whole kit and kaboodle into one mega-post.

My criteria for inclusion is/was thus:

1. The movie (or movies). How much do I love it/them?
2. How much do I love owning this product?
3. How many times will I re-watch it?
4. Is the overall physical packaging to my liking?
5. Do I like the picture and sound?

There was one more item I used to assess the material. For me it was the last and LEAST area of consideration - one that probably surprise most, but frankly, has seldom been something I care that much about. For me, unless supplements really knock me on my butt, their inclusion is not that big of a deal. That said, I always go though supplements with a fine tooth comb and beyond any personal pleasure they deliver (or lack thereof), I do consider the educational value of such supplements for those studying film and/or those who might benefit from them in some fashion (film students or not).

So, without further ado, here goes.

Greg Klymkiw's 10 Best Blu-Ray & DVD Releases of 2012 (in alphabetical order) Today's Title (more to follow on subsequent days) is none other than: 

Alfred Hitchcock - The Masterpiece Collection (Limited Edition) Universal Studios Home Entertainment
15 (!!!!!) BLU-RAY Discs

This is the Blu-Ray release we've all been waiting for and it pretty much lives up to all the anticipatory slobber from movie geeks the world over. The 15 films that comprise this mega-box-set, presented on 15 individual Blu-Ray discs in the order of their original theatrical release dates are, for the most part, a stellar assortment. Here are brief capsule reviews of all the movies within this absolute must-own set.

SABOTEUR

"Totalitarian nations . . . get things done." 

Saboteur
(1942) ****
A solid hero in the dependable form of Robert Cummings, the delectable Priscilla Lane and vile villains of the juiciest order in this exciting espionage-tinged chase thriller inspired by Hitch's own 1934 The Man Who Knew Too Much. Noted for its bizarre expressionistic climax atop the Statue of Liberty. As the following clip from Saboteur demonstrates, the film was, politically ahead of its time, only now, in contemporary terms, the tables have turned and the totalitarian regime Hitch's hero might be fighting would be America itself:

SHADOW OF A DOUBT

"Horrible, faded, fat, greedy women."

Shadow of a Doubt 
(1946) ***** 
Utter perfection. One of the most chilling, disturbing & harrowing thrillers of all time with dollops of mordant wit plus an indelible sense of time & place - a seemingly pure, sun-dappled mid-western America. Best of all is Joseph Cotten as "The Merry Widow Killer", one of the creepiest serial killers in movie history - he's truly, utterly horrendous (and, for a time, quite charming). Written by Thornton (Our Town) Wilder, Sally Benson & Alma Reville (Mrs. Hitchcock herself as ludicrously rendered in the recent theatrical film Hitchcock & brilliantly played by Imelda Staunton in the HBO feature The Girl). It has, however, been said that Hitch himself wrote Joseph Cotten's famous dinner table speech. Take a gander at it here and . . . ENJOY!

ROPE

"I never strangled a chicken in my life!"

Rope ***** (1948)
Shot to approximate real time with no cuts (save for reel breaks). Based on the notorious Leopold/Loeb killings with Hume Cronyn's treatment, a script by Arthur Laurents (writer of, I kid you not, the Redford-Streisand weeper from the 70s: The Way We Were), memorably sickening John Dall & Farley Granger performances, first-rate thesping from James Stewart, expert Hitchcock blocking & his trademark expressionism in extremis. Here's a delectable taste of Rope's foul killers:

REAR WINDOW

"He likes the way his wife welcomes him home."

Rear Window
(1954) ****
For my first three decades on Earth, THIS was my all-time favourite Hitchcock movie. Eventually overtaken by Vertigo, it still delivers big time in the suspense department with fetishistic peeping tom qualities running rampant as invalided James Stewart spies on his neighbours and witnesses a murder. Raymond Burr plays one of Hitchcock's scariest villains.

THE TROUBLE WITH HARRY

"Mom! Wally's picking on me."

The Trouble with Harry (1955) ***
A mildly entertaining trifle of a black comedy that's not quite as dark as it wants to be. Buoyed by a tremendously sexy, funny, engaging and very young Shirley MacLaine, Jerry Mathers (Leave it to Beaver) and some stalwart character actors to make the whole affair a pleasure.

THE MAN WHO KNEW TOO MUCH

Que Sera, Sera 
WHATEVER
WILL BE
WILL BE

The Man Who Knew Too Much
(1956) ***1/2

Odd remake of Hitch's 1934 original with great suspense set pieces, a weirdly brilliant James Stewart and, in spite of occasional longeurs, can one ever go wrong with Doris Day a singin' ever-so sweetly? In a Hitchcock picture, no less.

VERTIGO

"I don't care anymore about me."

Vertigo (1958) *****
These days when people ask me what my favourite movie of all time is, I have no problem citing this one - but always with the added history of how it is a film I have grown with over the years. The more years, the more life experience, the more I related to the psychological intricacies, layers of character, its obsessive romanticism and the fetishistic qualities of moulding someone into precisely what you want. As creepy, chilling and suspenseful as Vertigo is, it's also deeply and profoundly moving. No surprise it's moved up in so many polls as the best movie of all time. It might well be. What I know for sure is this: Kim Novak's entrance in Vertigo is without a doubt the greatest entrance of any star, of any character, in any movie known to man - now and forever.

NORTH BY NORTHWEST

"That wasn't very sporting. . ."

North by Northwest
(1959) *****
The greatest mistaken identity espionage thriller of them all. Classy Cary Grant, suavely sinister James Mason and that ever-so deadly crop duster diving and aiming on a flat, bald prairie with no cover of escape.

PSYCHO

"I'll lick the stamps."

Psycho (1960) *****
Foul, vile and still astounding psycho-thriller that jangles the nerves with all manner of perversities and horror. The isolated motel. The blonde. The nervous young man. The screeching harridan mother. The taxidermy. The sandwich. The peep hole. The bathroom. The psycho. The blood. It seldom gets scarier than this. And the shower? The jets of refreshing water. The shower curtain. The malevolent shadow on the other side of the curtain. Scared the crap out of me the first time I saw the picture as a kid and still creeps me out.

THE BIRDS

The Birds (1963) *****
Gorgeous blonde.
Stalwart hunk.
Yummy Brunette.
Schoolhouse.
Children.
Thousands of birds that kill.
'Nuff said.

MARNIE

Marnie (1964) ***** Hitchcock's final genuine masterpiece of obsessive love with a great Tippi Hedren performance and a gloriously expressionistic mise-en-scene. Oh God, and that score, that score that sticks to one's brain forever.

TORN CURTAIN

Torn Curtain (1966) **** This espionage thriller is a mess and full of longeurs of the worst kind, but its flaws are overshadowed by several set pieces of suspense and violence that are up there with Hitchcock's best. There's a "kitchen" scene that seems to be a strange reversal, yet extension of the "shower" scene from Psycho that still shocks and horrifies even the most jaded contemporary viewers.

TOPAZ

"Flores para los muertos."

Topaz (1969) ** Bloated, dull spy thriller that's almost uwatchable save for a handful of decent set pieces.

FRENZY

A SACK O' POTATOES

Frenzy (1972) **** I love this sick, hilarious, shocking, brutal and terrifying thriller to death. There's a killer loose in London and he's into rape and necktie strangulation. The detective in charge is more sickened by his wife's grotesque gourmet cooking than the crime scenes he must pore over with a fine tooth comb. Even more perverse is the hero of the film who is so reprehensible that we almost find the necktie killer charming. And then, we have the potato truck scene.

FAMILY PLOT

Family Plot (1976) **1/2 Slight, mildly amusing thriller with a clutch of decent performances - especially from Karen Black and William Devane. It's not quite the last film one would have hoped for Hitch, but it's not without some merit.

Alfred Hitchcock - The Masterpiece Collection on Blu-Ray is ESSENTIAL to own. This gorgeously produced box set is not without some mild flaws, but overall it's a winner and a keeper. The sound and picture transfers range from okay at worst to mind bogglingly spectacular at best, The packaging is attractively designed, though a tad cumbersome in terms of the basic practicality of removing discs for play. And the extra features - the thing I usually care least about - are rendered here with such magnificent detail and considerable educational value that it's an element of the package worth touting.

PLEASE FEEL FREE TO ORDER THIS GREAT BOX SET DIRECTLY FROM THE LINKS BELOW (& GENEROUSLY SUPPORTING THE MAINTENANCE OF THIS SITE):

THE SAMURAI TRILOGY Samurai I: Musashi Miyamoto Reviewed By Greg Klymkiw Criterion Collection Blu-Ray Box

Samurai I: Musashi Miyamoto is an Oscar-winning Samurai action epic by Hiroshi Inagaki that spawned two more films and such international success that it's oft been referred to as the Japanese Gone With The Wind.  

Samurai I: Musashi Miyamoto (1954) *****
dir. Hiroshi Inagaki
Starring: Toshiro Mifune, Rentaro Mikuni, Kaoru Yachigusa, Mariko Okada, Mitsuko Mito, Kuroemon Onoe

Review By Greg Klymkiw

Young men dream of going to war. I know I did. Then I read Stephen Crane's "The Red Badge of Courage" and Erich Maria Remarque's "All Quiet on the Western Front" and put that thought to rest mighty quick (in spite of my Sands of Iwo Jima John Wayne fetish).

Alas, the same cannot be said for young men living deep in the sleepy provinces of seventeenth-century Japan - especially not the devil-may-care orphan Takezo (Toshiro Mifune) who is perched up in a tree with his equally restless, though somewhat more rooted pal Matahachi (Rentaro Mikuni). They both gaze with equal dreams of glory upon their village and the picturesque countryside as a huge army assembles to go into battle.

Nothing is ultimately stopping the brash, Takezo, but Matahachi has ties that indeed bind him with his betrothal to the most desirable catch in their village - the kind, sexy and radiantly beautiful Otsu (Kaoru Yachigusa). Though he admits a ready willingness to join his lusty pal on the battlefield, it's Takezo who reminds his chum, with a mixture of benevolence and braggadocious bravado, that some men have commitments that must keep them behind. This, of course, inspires Matahachi to do the unthinkable and abandon all that is sacred. Takezo does what he was born to do, but Matahachi let's macho pride rule his decisions and a terrible price will eventually be paid for this.

So then begins Musashi Miyamoto, a tale of two friends who begin together on the same path, but eventually take separate forks in the road of life which results in a series of surprises in their respective love lives - none which either of them would have ever seen coming.

Mostly, though, the bulk of this stirring adventure charts the growth of the young, headstrong Takezo who bravely venerates himself on the fields of battle and develops into an extremely proficient, fame-hungry killer. Changing his identity to that of the title moniker Musashi Miyamoto, his modus operandi is to live as a masterless ronin warrior and indeed, to become respected as a full and true Samurai.

The road to the latter will prove more difficult - genuine Samurai must be imbued with the more noble qualities of honour and compassion - something our hero is decidedly bereft of.

Between battle scenes, duels, chases, narrow escapes and general derring-do, the picture is entertainingly peppered with several affairs of the heart involving three different babes - one virtuous, one not-so virtuous and another just plain villainous.

Musashi Miyato won an Oscar for Best Foreign Language Film and like its two sequels, the movie stands alone as great motion picture entertainment. When watched one after the other, these three classically structured and beautifully directed films comprise a genuinely sprawling epic. Musashi Miyato is bursting at the seams with first-rate melodrama, action scenes of unparalleled excitement and a deeply-felt rendering of a time, place and tradition now gone with the wind.


The proceedings are so passionately recreated by the elegant Inagaki that it's no surprise that this film and the entire Samurai Trilogy is oft-referred to as a Japanese Gone With The Wind. In terms of its scope, popularity, narrative drive and stratospheric levels of production value, the description is definitely on the mark.

"Musashi Miyamoto" is the first part of the glorious Criterion Collection set of Blu-rays and DVDs. The pictures have been digitally restored in eye-popping hi-def and happily, the sound is presented in wonderful uncompressed mono. In addition to the array of essays there's an especially interesting newly produced segment on the real Musashi Miyamoto."