Miyazaki’s Forgotten Gem:Sherlock Hound

Miyazaki’s Forgotten Gem:Sherlock Hound

Sherlock Hound, as it’s known in the West (in Japan it’s simply “Meitantei Holmes,” or Famous Detective Holmes) doesn’t have all that much to do with Arthur Conan Doyle’s stories. The whole setting is really just a framework to create a fast-paced adventure show, with slapstick comedy bits piled onto spectacular car chases. In other words, it’s a terrific piece of animation that was end of an era for  Miyazaki’s before his film work began fully.

Sherlock Hound was started in 1981 at animation studio Telecom, with Miyazaki at the helm, and an amazing amount of talent; chief among these include Yoshifumi Kondo (animation director), Kazuhide Tomonaga, Tsukasa Tannai, Nobuo Tomizawa, Masako Shinohara, Koichi Maruyama, and Atsuko Tanaka. The great Yasuo Otsuka even makes an uncredited cameo for one episode. This series was clearly homage to Animal Treasure Island, the 1971 Toei film that largely cements the “Miyazaki Style.” The Telecom staff was thrilled at the opportunity to create something with the same boyant energy, and it shows in nearly every frame. This is the perfect example of just how effective animation, hand-drawn animation, can be in the right hands as simply they are such joyful little stories each one that is a case of its own.

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I would say Sherlock Hound is a show that you can instantly watch anytime and get into its story any one of its episodes and enjoy it without being lost at all. Its very light weighted that marks it as the end of an era.

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Miyazaki’s worldview was becoming more clouded, more complicated, as middle age approached. Future Boy Conan carried serious, somber undertones just under the surface; by the time Nausicaa made its way to the big screen in 1984, that darker side was taking over. His inner conflict is something that defines the Ghibli era, that battle between youthful idealism and adult cynicism; note for example the third acts of Castle in the Sky and My Neighbor Totoro, and the crises of identity in Kiki’s Delivery Service and Porco Rosso as see she how htis man grew form such charming simple tales to such deep and interesting stories that are able break trough barriers and tell us a classic story.

Now on to the history lesson. Six episodes were created at Telecom before the series was put on hiatus. As far as I understand, this was due to conflicts with the Conan Doyle estate, who apparently weren’t too pleased with this unorthodox treatment of the Sherlock Holmes characters. The series was shelved, until Miyazaki refashioned two of the episodes as the opening short film for Nausicaa in 1984. The public was enthralled, so the series was revived, with 20 new episodes set in production. However, these new episodes were not created by Telecom nor any of the principle players (apart from the actors), but at another Japanese studio, and the difference shows. The original six episodes were integrated into the TV series as follows:
Episode 3 – A Small Client
Episode 4 – Mrs. Hudson is Taken Hostage
Episode 5 – The Adventure of the Blue Carbuncle
Episode 9 – Treasure Under the Sea
Episode 10 – The White Cliffs of Dover
Episode 11 – The Sovereign Gold Coins

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In 1984, Tomonaga, along with Kondo (director), Tomizawa, Tanaka and Nizu created the famous Nemo pilot, which is one of the greatest pieces of Japanese animation ever devised. This was Tomonaga’s baby, and he masterfully packs all the excitement of Sherlock Hound into a four-minute action classic. It’s just another example of the amazing talent at that time. If only their version of Nemo was the one that finally made it to the screen it would been such a marvelous classic that may have been such a gem that people would say that nemo flim was simply amazing.  If only they made more Sherlock hound i think we would had such tales able to really charm us better then shows like ducktales.  Sherlock Hound is simply a must see classic that you should see today.

Remembering Carole Lombard

Remembering Carole Lombard


Today marks 77 years since Carole Lombard perished in a plane crash at the young age of 33. I would love say that each year i honor her death in some way.Every year I mark this anniversary, and every year I marvel at the fact that she has been dead for such a long time. There is just something timeless about Carole that makes her always with us forever as today i pay tribute the great Carole Lombard that passed away too soon for our world. (I would love to credit https://cometoverhollywood.com/2012/01/16/a-vigil-for-carole/ for the images of this tribute as also to credit as source of what i wrote for this tribute too.)

Remembering Carole Lombard

It’s no secret that Carole Lombard and Clark Gable is one of my favorite Hollywood couples all time. They were married in March 1939 until her death in 1942. Most people, including myself, think that the couple were soul mates as they were very much in love you could tell their love was real love not fake love at all. They were in love and very much planning for a long future together.  Gable was devastated after her death and began drinking heavily. He enlisted in the Army and told friends that he didn’t care if he came back or not. Carole had a dachshund named Commissioner that followed Clark Gable around after she died. Its quite sad we lost this couple that day as the loss of Carole Lombard also greatly impacted the world of film forever.

Selling war bonds (LIFE)

Singing the “Star Spangled Banner” during a war bond sale. (LIFE)

one of m favorite photos of Carole and husband, Clark Gable.

Beautiful in color on their ranch in San Fernando Valley.

Clark taught Carole about farming, and she was eager to learn.

Gable bought prize winning $20,000 chickens. Unknowingly, Lombard gave these chickens to needy families. Gable joked they had an expensive chicken dinner!

Another all time favorite photo of mine-Clark and Carole quail hunting.

Carole in pigtails, quail hunting.

This is the cutest photo of Carole Lombard

Carole and her dachshund Commissioner.

Carole the movie star:  Carole is one of the most beautiful and versatile of the classic Hollywood stars as she could do she could be sexy, hilarious and dramatic with such ease as she was able power out such range of her acting that made her able do so many different types of roles. She was also one of the guys on set, cussing like a sailor and making jokes. She showcases her talent in many movies as she shows her powerful range as an actress in  In Name Only with Cary Grant; Made for Each Other with Jimmy Stewart; Vigil in the Night with Brian Aherne as those three are examples of her power as an actress. I could cite her greatest role to me was her role in To Be or Not to Be which was her best role ever as she became finally mixed both worlds of comedic and dramatic to give us something so powerful as an actress. I am so fond of her role in Twentieth Century which was one truly great comedy classic for all time. True Confession is another favorite of mine as it’s such a wonderful comedy classic. Made for Each Other is truly one of my favorites as she truly is such a gem in that movie. Carole Lombard starred in 56 flims as she truly was a marvelous legend that could act with anyone and give it her best performance each role to give her forever a mark on Hollywood as one of the finest legends ever to grace our screen.

Carole the glamorous film star.

Carole on the radio. I love her hat and fur. Very glamorous.

Perfect example of Carole Lombard: sexy and hilarious.

Carole truly looks amazing in this picture

I think this is from “Lady By Choice.” Feel free to correct me

She was one of America’s most beautiful, funny and sincere actresses that will be forever remembered by everyone forever. I enjoyed paying tribute to her today. I hope you enjoyed this tribute to a legend.

Neil Gaiman’s Sandman: What Dreams Cost

Neil Gaiman’s Sandman: What Dreams Cost

When Sandman began in 1989, Neil Gaiman was just another British writer following in the footsteps of the likes of Alan Moore. When it ended, Gaiman had created one of the most enduring long form pieces of fiction of the twentieth century and carved out a niche for himself as an industry giant. Sandman broke barriers and expectations taking comics into a new dawn of possibilities. Sandman was a unique project in that it explored myths and legends from every angle and iteration as it examines the mythological hypotex  as sandman can be called  integrative diegesis, that is, a diegesis engulfing other diegeses. Indeed, apart from Gaiman’s characters, it features mythological and sacred characters from various religious traditions, characters from the DC Universe, characters who are both at the same time, fairy characters from Shakespeare’s Midsummer Night’s Dream (c. 1594-1596), and fictionalized versions of historical personalities as it all that forms a giant mixture which is shot through with meta-fictional passages that make it, in many ways, and in Stephen Rauch’s words, ‘a story about stories. , it is metaphysical examination on the nature of fiction that is by very nature one of a kind in comics as its story-telling that tells of the nature of how wonderful comics can be for literary story-telling.

Neil Gaiman’s Sandman: What Dreams Cost

Sandman was not collected into volumes until May 1990. These volumes, and the annotated collected editions (which I love and have talked about before), collected story arcs of Sandman as well as could be done in context of Sandman non-linear, anti-plot structure. There are ten volumes of Sandman, which collect all 75 issues and one special issue. They include Preludes & Nocturnes (#1-8); The Doll’s House (#8-16); Dream Country (#17-20); Seasons of Mists (#21-28); A Game of You (#32-37); Fables and Reflections (#29-31, #38-40, #50, The Sandman Special); Brief Lives (#41-49); World’s End (#51-56); The Kindly Ones (#57-69); The Wake (#70-75) as sandman is one of the first comics to be taught with any regularity in literature classes; stupendously awarded, Sandman has won a World Fantasy Award for Best Short Fiction unheard of in comics—26 Eisner’s, and has been nominated for a Hugo Award; and universally praised, Sandman should be shelved next to Shakespeare, Keats, and Tolkien as first among equals as its truly something special in the world of comics. 

Preludes & Nocturnes

Preludes & Nocturnes is the eight-issue arc that vaulted Sandman to fame, helped Neil Gaiman find his voice for Dream, and is perhaps one of the greatest beginnings to any comic-book series as this series opening arc setups the ideas of dreaming and the ideas of the dream and collective being connected together. Preludes & Nocturnes follows dream in while he attempts to recover his powers and return to the Dreaming, after having been imprisoned for 72 years. For us though, it is important to notice that Preludes & Nocturnes while linear in nature does not follow a typical heroes journey. Sandman is not about apotheosis. Sandman is not about an ordinary person, who experiences something supernatural, is sent to the underworld to do battle with unimaginable forces, and ultimately return to the ordinary world empowered. Sandman, rather, is about a god among gods who is dragged to the ordinary world, stripped of his powers, and ultimately tested against himself before he can return to his own dimension,This issue closes the arc of Preludes & Nocturnes in a fantastically un-comicbook way. Rather than through redemptive violence, it is through quite contemplation and through witnessing his sister’s charms that Dream is reinvigorated with a new wisdom and a new purpose. Rather than defeating a villain, Dream defeats his own sense of self-doubt and self-loathing. The nature of sandman frist arc really defines about what defines the traits of this series as whole. In issue four we see the Gaiman describes the impossible Hell in this way: “Now in Hell, wherever possible I want any structures to be built either of rock or of people that shows hell as a dark and twisted landscape made of mankind or rocks. Gaiman’s Hell, pulled from several mythologies that defined this darker idea of what the hell is like upon it. Gaiman explores, with just a page, the depths of Dream’s incalculable inhumanity after humanizing him for several issues.The nature of the frist arc breaks apart how distanced he is from humanity even if Neil does humanize him at times. Preludes & Nocturnes really setups many traits to come but also shows you the power of how self-doubt can change things.

The Doll’s House

The groundwork has been set for the series as whole now. it’s time for Sandman to flesh out relationships and start developing a long-term narrative. This second volume features the introduction of some of the title’s major players, including Dream’s younger sibling Desire, Rose Walker, and Lyta Hall. Its a creepy with depressing child abuse disguised as a cheerful superhero adventure, and a serial-killer convention with a nightmare guest of honor that shows shows the darkness of the horror comic elements of this series to come out at times.  the prologue “Tales In The Sand,” which details the romance between Morpheus and Nada shows you the love of Morpheus whom he lost ages ago. Every genration a young boy is taking into the desert for a journey. The heart-shaped piece of glass recovered by the boy as to find ways to adult-hood.

Tales In The Sand” would be a drastic shift to someone reading Sandman issue by issue, month to month, especially following “The Sound Of Her Wings.” But in The Doll’s House, it’s very much positioned as a prologue, which allows for its sidestep away from the main story-line, and signals that its thematic significance is going to be more important than its narrative significance later to the plot.

Gaiman knows how to work the contrast between classic comic-book brightness and contemporary grittiness, whether it’s in the juxtaposition of Jed’s fantasies with reality, or the depiction of two different incarnations of the Sandman. Hector Hall is an idealized version of the Sandman, clad in bright primary colors with a smile permanently plastered to his face, while Morpheus is the dark, emotionless reality of the Dream King. that shows the contrast of the two versions of the character.

The  reappearance of Desire, the very embodiment of sexuality. Every single one of the individual dreams in “Into The Night” is related somehow to sexuality, power, and/or sexual and gender identity that defines the dreaming there is a strong undercurrent of sexuality in these concluding issues. The entire idea of a serial-killer convention is brilliant, and I can’t help but notice the similarities between the men who gather at Rose’s hotel and the collectors that frequent comic-book conventions as both groups as whole can be basically the same in some ways. When dealing with something like dreams.. well, there’s a lot you can do with it. A lot of places you can go. Gaiman is essentially only limited to his imagination that defines the whole of the doll-house its truly a wonderful arc.

 Dream Country

These four independent short stories take place largely, though not completely, outside the main narrative that all are four one shot tales that tell of the nature of dreaming.

The story of Calliope’s captivity by Madoc doesn’t have any direct correlation to events in The Dreaming, but her liberation by Morpheus which is delayed somewhat by his own imprisonment in The Sandman’s opening issues is very much tied to his status as master of stories: Gaiman recreates a myth. Madoc’s imprisonment of Calliope is similar to Bellerophon’s attempt to fly to the top of Mount Olympus, or Ravana misusing Shiva’s power in the Ramayana that re-tells a myth in this story. All three men come into contact with the supernatural, and their abuse of a power that is beyond them leads to ruin. Calliope is an old archetype, and Gaiman’s use of a muse is  an ancient narrative concept that he is aware of that. We’ve already seen the idea that stories are endlessly retold in The Doll’s House, in his depiction of The Corinthian and Fiddler’s Green. Gaiman is clear that both of them have lived in many people’s dreams and nightmares, just as stories find new contexts and voices to be retold by him.

Dream Of A Thousand Cats,” it fits one of the central conceits of The Sandman, the idea that the dream and corporeal realms are connected together. arable about one of the oldest and most resilient creative ideals, the belief that ideas and imagination have the power to effect change. The history of humanity, everything from religion to politics to art, comes down to stories, to narratives that shape how people think and act which can also be a simple tale about cats if you read it that way. “A Dream Of A Thousand Cats” could also be about the significance of the oral storytelling tradition, or a metaphor about organized religion, or even just a love letter to cats, if you’re inclined to read it that way. The best stories work on several levels that connect to you.

Midsummer” can be a somewhat confusing in the way it bounds between perspectives, from the action backstage to the onstage performance of the titular play, from the real fairies in the front row and peanut gallery to the characters they inspired. It’s a lot to keep track of, especially if the reader isn’t well-versed in the text of A Midsummer Night’s Dream.  Myths don’t really die, at least not easily; there’s always something left of them that remain in the end. The story of the start of this play and the muse of Shakespeare is dream is another element that connects to the idea that dream is a muse and story-teller of this series. 

Season Of Mists

This book as a whole is about old mythologies, and their attempts to re-create or rescue themselves. Everyone here is in a state of profound identity shift. Morpheus is recovering from his captivity, facing up to the challenges of his newly empathetic state, and learning to let go of his overwhelming pride. Lucifer abandons his eons-old rulership of hell to try something new that defines the whole of this series to re-tell the tales of old but to give us something new as the Norse gods and the Japanese gods all in this volume of the series as whole show the powers of world myths that define the series.

The Norse gods want to cheat Ragnarok and escape their paradigm; the Japanese gods are incorporating new idols and reshaping themselves; the demons want the independence they’ve never had. Even the minor players here are caught in a state of flux that shows that myths are ever changing and expanding that cycle never ends. Consider the first issue of Season of Mists, which gives us a much closer look at the Endless which defines their traits as whole. Gaiman shows for stories and storytelling throughout Sandman, it’s apt that he paid so much attention to the single comic-book issue as a storytelling vehicle, even within a larger arc as each issue in this volume of series shows the powers of myths and legends the idea that the cycle of myths connects to our world now and the nature of it is he is a muse as the lead dream is muse of the story to tell us the myths of old again is basically a rebirth of the legends of old as the muses say stories don’t die they just continue in new form as gaiman’s unique Endless mythology, rather than the rabbit-trail byways of Dream Country that all makes this volume such fun. It’s about the stories we tell, about our world and about ourselves. Again, we have characters summarizing who they are, and letting those definitions define them that makes this volume so powerful as we can take these stories to define them in many ways but you can find something new in this volume that shows the power of sandman and its story-telling.

 A Game Of You

A Game Of You, but it’s an internal conflict within Barbie, a perfect character to explore identity through. And Gaiman isn’t being subtle about it either; our initial look at the new Barbie shows her with a black-and-white checkerboard pattern drawn on her face. A chessboard on her face, a game of you.

After revealing the flaws underneath the surface perfection of Barbie and Ken in The Doll’s House, Gaiman returns to Barbie and all the cultural baggage that is such that you see him define whom this person is. The whole arc is about finding yourself.

 Fables & Reflections

Fables & Reflections collects and re-orders scattered stories released between the Season Of MistsA Game Of You, and Brief Lives story-lines that collects collective tales that are tales that are vastly diffrent form each other.

My favorite of the Distant Mirrors stories is “Three Septembers And A January,” not just because it’s one of the rare “sweet” stories in the Sandman universe that is collectively rare for the unverse. Emperor Norton imagines his own reality, and many of his San Francisco neighbors decide to honor it because he thinks its so is the way as proclaimed himself emperor of the united states. It a myth that was a legend based on a real man that was such a crazy story of one man’s life that many think its a myth and legend of that era.

Fables & Reflections, since it’s the least cohesive and most uneven of the Sandman short-story collections yet many of the stories are collectively interesting little tales that show the power of a great muse and story-teller to tell a story.

This  Sandman’s story-line is truly one of the best arcs of the sand-man as it thoroughly it fleshes out the world and personalities of these characters, but because Jill Thompson’s artwork is so perfectly suited to Gaiman’s script. Her balance of realistic detail and fantastic whimsy is an ideal fit for a story centered on Delirium and Dream in which it defines them.

As much as I enjoy Gaiman’s short stories in this title, I’m definitely a bigger fan of the longer arcs in Sandman, which showcase Gaiman’s ability to build tension and flesh out character over an extended narrative. Both of those qualities are exemplified in Brief Lives, which gives us a thrilling story full of twists while presenting the most complete portraits of the Endless in this series as he defines the series in such ways her in a larger arc. En Desire, the closest thing this book has to a consistent villain, shows some sympathy for Dream after he kills his son. I feel that Gaiman does his best work when he has room to breathe, and the side stories he tells in Brief Lives all help strengthen the idea that life is precious and fleeting, even for immortals. And that Death line you’ve now mentioned twice is one of my favorites of the series as i said before the power of the muse is what makes this arc stand out as such an amazing arc it’s the power of choice plays out into the arc. It’s truly one amazing story-line of book.

Worlds’ End

Worlds’ End is my favorite of the Sandman short-story collections, in part because it’s the most cohesive, with a framing device that puts the stories in a larger, more powerful context that is defined in a framing device known as the dream city.

Hob’s Leviathan” is my favorite because I think it’s the most interesting interpretation of some of the reoccurring themes in Worlds’ End, of journeying between realms or states of being, and of leaving a former life behind that does define as many times in life we feel same way as this moment to leave beyond our life. As the innkeeper puts it, “When a world ends, there’s always something left over. A story, perhaps, or a vision, or a hope that larger trait of the collective arc as whole tells stories that is such fables that connect to the end of the collective whole. It’s the power of myths to tell us about our humanity and connect to us that feels like a powerful trait of mankind as fables of old are never forgotten but always return to their forms in the end as the dream city shows us the collective powers of short fables to tell us about our humanity.

The Kindly Ones

The Kindly Ones is the ninth of the Sandman graphic novels and is also the largest. It is a sustained story-line, originally published across thirteen issues of the title’s original comics run. It was also deliberately written by Neil Gaiman to be read as a single graphic novel, a decision that provoked the ire of some readers of the comic who felt that many of the individual issues failed to satisfy when taken on their own merits. However, read as a single story it becomes clear that The Kindly Ones may be the strongest of The Sandman‘s long story lines with rich story-telling that does tell the end of line of dream. As well being a feast for continuity lovers, the collection also delivers its own thematic arc: this is a Greek tragedy, pure and simple. Events build slowly and with growing intensity towards an ending that is the tragic of all myths have an ending. The last act of dream is something that will move you form its start to its end.  The Kindly Ones shows how far he has changed…and how far he has to go. As a result, The Kindly Ones offers the most insight into the character of Dream himself as its fate of dream and the whole of this collective comes to an interesting end Sandman relies on symbols, archetypes, and fables, and as much of that kind of dichotomy exists in mythology as richly it does make sense its ending is tried back to the cycle of the muse and story that ends but it really never ends.

The Wake

The Wake is the tenth and concluding graphic novel in the Sandman sequence. It is an extended coda to the main narrative of the series, which climaxed in the preceding book, The Kindly Ones. As such the story is about wrapping up the story as its ending is coming to full cycle of the nature of the series.  A wake is held for Morpheus (who died at the end of The Kindly Ones) and beings from across the universe arrive to take part. There are numerous cameos from familiar characters that all are at the wake of dream. In the final part, we suddenly reverse back to the early 17th Century. William Shakespeare has decided to end his writing career, but has to fulfill a promise: the second of two plays commissioned by Dream. As he labours on the work – a play called The Tempest Shakespeare reviews his life. , considers his legacy and muses on the choices he did not make. He wonders if a person can every truly change, and of course this entire series was about: Dream coming back from his captivity a changed being, but in the end not able to change enough, resulting in his destruction. The choices made in life can always come full cycle. The Wake is not a blood-and-thunder grand finale, but instead it’s an effective analysis and wrapping-up of the cycle of myths and legends that setup the series. It’s an ending that can also act as a setup for a new start to. The power of myths that stories never die they just return back to their original forms. Today i talked about in an epic blog post about the sandman as whole this series is such a wonderful nod to myths and legends that one should read today. The Sandman, Neil Gaiman’s exemplary modern fantasy that began in 1988 and went on to become one of the most acclaimed comics of the 1990s that he series helped establish Vertigo as an imprint for sophisticated and cutting-edge comics while cementing Neil Gaiman as one of the greatest authors of the modern age as you should read it anytime. 



Today I talk about  The Curse of the Cat People. In the early 1940’s rko was suffering a big failure following citizen Kane and other movies leaving the studio in ruins. it turned to its low budget b pictures . Val Lewton was the man put in charge of producing these flims with titles given to him by the studio so came up with movies ideas as he found ways to make these movies into horror classics as he started with Cat People as today I review The Curse of the Cat People which is a perfect holiday horror classic which i review today. The Curse of the Cat People review 

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The Curse of the Cat People remains among the strangest Hollywood sequels ever made. Following Cat People, RKO’s 1942 horror masterwork of shadow and atmosphere that also helped delay the studio’s financial ruin, the sequel resolves to occupy another genre entirely. I would call it one of my favorite movies all time as its story is quite lovely. Director Robert Wise, winner of Oscars for the musicals West Side Story and The Sound of Music among several other classic films directs this classic gem that is so strange and different form other horror classics.

The Curse of the Cat People certainly is full of terror and Lewton’s signature dark, foreboding atmosphere and noirish cinematography. Instead, the film evokes the dark fairy tales of Guillermo Del Toro and the deep understanding of childhood fears as it feels like a fairy-tale.  

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The film is set in Tarrytown, also known as Sleepy Hollow, and while it was shot in California, the realistic sets, cinematography, and atmosphere perfectly evoke the dreamy, haunted mood of small-town upstate New York. The authentic feel of the film is no doubt due to the fact that Lewton based much of the details of Amy’s world on his own childhood, growing up near Tarrytown. Like Amy, he was fascinated and terrified of the legend of the Headless Horseman. The classic folktale of Sleepy Hollow is discovered by Amy during the film.

Ann Carter is astounding in the role of Amy, taking another otherworldly turn after playing Veronica Lake’s enchantress daughter in I Married a Witch as she gives out such a wonderful performance in her role. Simone Simon who literally plays the role of a good fairy/fairy princess as Irena She’s an angelic presence that, again, could be perceived as evil because she is so ethereal. It also has wonderful acting by its entire cast.

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By the nature of the movie’s story you are really in a fairy-tale that feels dreamlike and echoes many other childhood fairy-tale classics with its even Gothic touches that feel right out of a fairy-tale. I used adore to read old fairy-tales as a boy as had book collecting them this movie really captures that feeling of those classic tales form grim tales to the legends of folk tales that evoke such a dreamlike fairy-tale feeling. 
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The film tracks a period of time from late autumn through Christmas and ends on a snowy Twelfth Night. Each sequence is steeped in rich seasonal atmosphere, and the hauntingly beautiful Christmas sequences make The Curse of the Cat People a perfect pick for any spooky flavored holiday season. In one of the film’s most famous scenes, Amy’s family has invited carolers into their home on Christmas Eve. While the merry group gathers around the piano to sing “Shepherds Shake off Your Drowsy Sleep,” Amy remains separated from the group. She hears another soft, distant singing. Gazing out the window, she sees Irena standing in the snowy garden, under a tree frosted with ice. She is singing a different carol — “Il Est Né, Le Divin Enfant” — just for Amy. It’s one of the most gorgeous, magical scenes ever put to film.

The Curse of the Cat People is rather a fairy tale in a way it’s very much a movie that feels more dreamlike like the classic fairy-tale classics form The magical tone of the movie is reminiscent of Rene Clair or similar fantastic directors of the era that feels so much more fun to watch unfold on the screen as it captures the childhood feel so great. The Curse of the Cat People is hardly a horror story at all as its more a Gothic fairy-tale which really makes it one of a kind for movies of its time. This is a lovely, haunting film that you will simply enjoy to watch anytime.


 7 FACES OF DR. LAO (1964) review

In the late 19th century, a mysterious Chinese man and circus owner, Dr. Lao (Tony Randall, Pillow Talk), arrives in a small Arizona town and proceeds to teach townies a few important life lessons.

7 Faces of Dr. Lao is a marvelous tale of magical realism. It is an amazing tale of classic story-telling that is a wondrous pastiche of western motifs, comedy, and fantasy movie with simply a wonderful outlook on what makes you feel human. The film also works as a fairy tale for adults and children alike that can teach you many wonderful lessons on life.

7 Faces of Dr. Lao is a marvelous performance for  Tony Randall who plays eight roles seven plus a cameo by him. He is just marvelous. Randall’s Lao is a particularly cunning characterization that is simply one amazing role that you will adore to watch him play form start to finish. Randall’s great performance couldn’t have been accomplished without the then state-of-the-art make-up effects created by William Tuttle that creates some of the best make-up effects in any movie. He received an honorary Oscar for his groundbreaking work (the first Oscar ever to a make-up artist). The special effects, which consist mostly of stop-motion model animation that is simply marvelous stop-motion animation that may be some of best ever done for flim which may remind you of the work of Ray Harryhausen (20 Million Miles to EarthThe 7th Voyage of Sinbad, etc) which is tons of fun to watch on-screen anytime.

Randall’s performance and Tuttle’s make-up work is reason enough to watch this classic gem of a movie that is a fairy tale.  The rest of cast is pretty great too. Barbara Eden (TV’s I Dream of Jeannie) plays Angela Benedict, the Widowed Librarian, and John Ericson (Bad Day at Black Rock) is Ed Cunningham, the Crusading Publisher. Arthur O’Connell (Pocketful of Miracles), Noah Beery Jr. (TV’s The Rockford Files), John Qualen (A Patch of Blue), and Lee Patrick (Now, Voyager) also appear in key supporting roles as all of their performances are simply marvelous performances for each of them.

I have seen this weird western fantasy many times and I have always enjoyed it. It won a special Oscar for makeup, but it could have also been honored for its production design and costumes. It has the feeling of a children’s film, yet there’s a lot of stuff that’s not really intended for kids as simply this movie is for anyone young at heart. 7 faces of dr lao is simply a marvelous movie with marvelous effects and a wonderful cast that you should simply see anytime as this marvelous movie form start to finish. The film doesn’t necessarily push the envelope of fantasy, but its satirical tone and irreverent attitude have an ageless quality. All in all, it’s a helluva fun ride form that you wont reget watching at all.

Beauty and the Beast

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Out of the extravagant variety of Jean Cocteau’s work the paintings and drawings, the poems, the plays and novels and memoirs, the opera librettos and ballet scenarios—it is likely his films that will have the most enduring influence, and among those, Beauty and the Beast (1946) will have the most pervasive effect. Few films brim with the kind of cinematic magic as Cocteau’s La Belle et la Bête. For its entire 93 minutes, Cocteau implores us to view the proceedings with childlike wonder and suspension of disbelief. His call to order in the prologue asks us to indeed suspend our disbelief form the start of the movie.

a debt-ridden man (Marcel Andre) accidentally stumbles into the lair of the Beast (Jean Marais), a fearsome-looking and seemingly ill-tempered nobleman. The man then steals a rose from the Beast’s garden as a gift for his beloved daughter Belle (Josette Day). At first, the incensed Beast threatens to kill him for those actions. But he relents, saying that he will spare the man if one of his children will take his place as none them but belle stays with him.

The film’s costumes and set designs were inspired by the illustrations and engravings of Gustave Doré (shown above), and the farmhouse scenes are an obvious nod to the paintings of Jan Vermeer. This sumptuous artwork is the perfect muse for Cocteau’s re-imagined fairy tale.

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Cocteau and his cinematographer Henri Alekan (who later shot Wings of Desire and Roman Holiday) use reverse and slow-motion shots, mirrors, and other camera tricks to striking effects to capture many of the scenes of the movie. Cocteau’s decision to keep the camera as still as possible was against the prevailing fashion of the time, and according to Cocteau’s diary, the source of some friction with Alekan. Cocteau had this to say in the press booklet that accompanied the film when it was released in America.

French actress Josette Day is perfectly cast as one of literature’s great heroines that really feels like the book’s belle come to life on screen. Belle’s character, played with sweetness and light by Josette Day, is aided immeasurably by the costumes of Christian Bérard. The costumes are somehow of their time and outside of it, both practical and fantastical that makes belle come to life upon the screen.

Like many films made during the early days of cinema, there is a charming quality considering the innovative efforts used to bring this fantasy tale to life upon the screen. . Actress Josette Day stars as Belle, and beloved French actor Jean Marais portrays the Beast. Marias spent five hours in make-up every morning to transform into the tragic character, and special fangs were made and adhered to his teeth transformed him into the Beast each day on set. 

Jean Marais who plays three characters  the foolishly obnoxious rapscallion Avenant whom Beauty loves, the self-pitying but elegant-looking Beast as the three characters he plays are all wonderfully acted by him. Cocteau’s conception of the Beast is a little more canine in appearance and behavior than subsequent versions like the animated film as he simply is quite more like the original version in the book. He is simply a book to screen perfect version of the beast.


Bête slightly differs in comparison to Disney’s adaptations. Most notable is the inclusion of Belle’s sisters and brother, which closely resembles de Villeneuve’s original tale in contrast to Disney’s version which does not feel closer to the book. The metaphoric story is full of visually magical moments, which was new territory in film at the time of its release. Overall it was the cast and crew’s labor of love to create something unique that brought this tale to life. Cocteau’s focus on creating a visual poem gave the film a classical presentation. This is where the advance storytelling of early French cinema is best represented. There is a more romanticized element to Bête compared to its later adapted counterparts that told the tale. Beauty and the Beast (1946) will have the most pervasive effect. Few films brim with the kind of cinematic magic as Cocteau’s La Belle et la Bête shows upon the screen.

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The ending was more ambiguous than I had remembered.The Beast’s curse is lifted yes, and he turns into a beautiful Prince.  Belle hesitates to go away with him – she was looking for an escape but might be going in circles. But, with no other options, she flies into his arms and up into the sky to live as husband and wife, future king and queen  but perhaps not happily ever after as we would love to think about in the Disney classic film. Cocteau’s Beauty and the Beast is more than just a fairy tale but a beautiful enchanting story on how beauty can be in the eye of the beholder. He wanted to make a poem, wanted to express what he felt through images rather than words, and even though the story takes the form of the familiar fable to translate to screen a magical tale that has such wonderful charm and magic to watch upon the screen any time.

King Kong

Today I talk about king Kong, Escape is the most crucial function of Hollywood cinema. An audience supplied with hearty diversion forgets their daily troubles and returns for more, in turn supporting the entire industry; the relationship is one of mutual symbiosis of movies that was pure escapism started in the 1930’s as its the era that began the trend we see today of movies being escape from their troubles as at time of it was the great depression. I am happy to talk about one of my favorite movies all time which is King Kong.

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Cooper and Schoedsack sought to combine the awe of discovery with full-fledged drama, and then elevate their concept with irresistible Hollywood spectacle. Few forerunners to their eventual film King Kong exist, which further underlines their pioneering of filmic adventures. King Kong was the filmmaker’s challenge is to unite universal entertainment value with artistic vision, engaging both the audience’s emotions and intellect to make Hollywood spectacle that was unlike anything done before on the big screen before it

Cooper and Schoedsack’s King Kong was born. Conceived by Cooper and Edgar Wallace, and written by James Creelman and Ruth Rose, their yarn was about the very nature of escapism that was something diffrent form many movies of its age as its roots was to give viewers something they never seen before in a movie. It would take viewers to  an impossible world filled with wondrous things. In the end, their film would return to familiar territory, unleashing the unknown onto the everyday, smashing the illusion of escapism and confronting the audience head-on with this new idea of movies being an escape.

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Designing the Kong puppet was Marcel Delgado but it required more than than simple puppetry by way of stop-motion animation to create King Kong.  Employing every trick in the book to assemble a believable environment form back projection, matte and glass paintings, miniatures, and models, each disappearing into one another to create an incomparable magic show where the impossible lives and breathes. Pieced together with a metal skeleton frame, foam, and animal fur, the Kong puppet was made into an unlikely source of audience sympathy through O’Brien’s animation that was such a slow process like many works of this stop motion to bring to life king Kong‘s world.

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Modern day viewers might balk at the stop-motion effects having seen more convincing, photorealistic, computer-generated sensations in Jackson’s remake. From the perspective of today’s cinema but if you look upon the marvel of this work you would see how magical it is simply watch this movie upon the screen.I would say its acting is very good for everyone in its cast.Kong was one of the first movie monsters to receive credit as a main character. For the time, this speaks to the marvel of the film’s effects working in harmony with the power of the narrative, as the filmmakers relied on pure invention to render Skull Island, Kong, and the beast’s distinct personality onscreen.

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King Kong’s love for Ann Darrow fully described, his death painfully sad. There are moments where Kong’s behavior is best defined as idiosyncratic but strikingly true, such as when he verifies his Tyrannosaurus Rex kill by flapping its lifeless jaw, or when he smells his fingers after touching Ann. These moments grow throughout the film until the creature is no longer just a beast, but the story’s protagonist, elevating the B-grade monster movie into a moving tragedy when Kong falls to his death.

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Depression-era moviegoers found King Kong delivered them from their poverty and financial distress into the hands of a beast, but it was important to return them to the safety of the world when the adventure was over. ing Kong provides the underlying ambition of all Hollywood cinema. The film brings the movies to a colossal idea to the big screen which changed the face of Hollywood forever as the creators led the bold way to other flim-makers make groundbreaking changes that led to today’s Hollywood box office movie.