The Daughter of Rosie O'Grady

Tomorrow is St. Patrick's Day, and as always, TCM is running a bunch of movies with Irish, or at least Irish-American themes. One that I hadn't seen before is The Daughter of Rosie O'Grady, which shows up at 9:30 AM. But I happened to have it on my DVR, so seeing it on the schedule, I watched it to be able to do a post on it here.

The movie opens in 1898, just as the Spanish-American War has ended and the victorious soldiers are returning home to victory parades for a heroes' welcome. The three O'Grady sisters: Katie (Marcia Mae Jones), Patricia (June Haver), and adolescent Maureen (Debbie Reynolds), are watching the parade. The reason is that just before the soldiers went off to war, Katie had married one soldier, James. The only thing is, she never told her father Dennis (James Barton) about the marriage. Not only that, but Katie and James consummated their marriage before he went down to Cuba, and that one act of sex knocked her up with twins!

Dad is very protective of the daughters, being a widower. In his younger days, he and his wife Rosie worked vaudeville, retiring after she started having kids, with dad taking a job driving horse-drawn trolley cars together with his friend Miklos (S.Z. Sakall, credited here as Cuddles without the initials). Dad thinks having to do all that work in vaudeville drove Rosie to an early grave, and because of that he put away all of the couple's vaudeville stuff, not wanting the kids to look at it or even entertain any thoughts of going on the stage.

After the parade, Patricia and Maureen go to take Dad his lunch at the depot, but take a detour to go by the vaudeville theater run by producer Tony Pastor (Gordon MacRae). Tony is sitting in the alley outside the stage entrance dressed as a tramp since that's one of the outfits he wears in the show. He tricks the two girls into giving him the lunch that's supposed to be for their father. At least the sisters have the plausible lie that they couldn't get past the parade lines.

When Patricia learns that the "tramp" was really Tony Pastor, she goes back to the theater to give him a piece of her mind. He learns that she's Pat O'Gradie, daughter of Rosie, and of course he recognizes the O'Grady surname and the significance that this has for vaudeville. So he'd love to see Dennis and talk shop, not realizing how much Dennis wants to keep his daughters away from vaudeville. As you can guess, things are going to get more complicated when Pat goes on stage with Tony and the two fall in love. And of course, there's still the issue of Katie and James. It's going to cause a lot of heartache before the predictable happy ending.

The problem with The Daughter of Rosie O'Grady is how predictable and formulaic the plot is. I wouldn't be surprised if Warner Bros. knew this, which is why they loaded the film up with what feels like even more musical numbers than normal for a movie like this. It makes the movie one that people who like musicals in general, and the nostalgia musicals from the post-World War II period that were set about a half century earlier than that in particular.

The Mission

One of those movies that I had heard about when it was first released but was too young to see in the theater was The Mission. Eventually, it showed up on TCM last year, and so I made a point of watching it in order to be able to do a review on it.

The movie starts off in 1758, as a Cardinal Altamirano is writing from Asunción to Rome informing the Vatican of the status of the Guaraní, which had been the subject of some controversy over the preceding several years. The Guaraní are the native people who lived in the region of what is now roughly where Paraguay, Brazil, and Argentina meet. The Jesuits, by the time the movie is set becoming a political problem themselves in Europe, had been sent to try to convert the native peoples of South America to Christianity, and set up several rural missions.

Flash back some years, to about 1750. Father Gabriel (Jeremy Irons) is sent from the metropolitan diocese of Asunción out to the jungle after the martyrdom of the previous priest. Irons plays the oboe on his way to the jungle, and that appears to be his saving grace, as the locals seem to be interested in the music. That's what makes Gabriel able to start a bit of a frienship with the locals, as well as set up those missions.

Meanwhile, in the city, Capt. Rodrigo Mendoza (Robert De Niro) has some problems of his own. He's been hunting for slaves, something the Portuguese don't have a problem with, in the area where Fr. Gabriel is planning on building the mission. That mission would be a haven for the Guaraní, especially since the Spanish don't have slaves the way the Portuguese do. (Indeed, Brazil didn't abolish slavery until 1888.) But more pressing is Mendoza's personal life. He's got a wife, but she doesn't love him. Instead, she loves his brother Felipe (Aidan Quinn in a small role), and that causes Rodgrio to challenge Felipe to a duel in which Rodrigo kills Felipe. Rather than have Rodrigo face the death penalty, Fr. Gabriel is able to get the colonial governor to release Rodrigo to Gabriel's custody as part of Rodrigo's penance; he'll spend his life out at the missions working with the Guaraní, even though they'll be certain to recognize him from his attempts to capture them and sell them into slavery.

Fr. Gabriel and Mendoza work together to try to convert the Guaraní as well as to build for them about as prosperous a life as you could hope for in that part of the world at that time. And indeed, when Altamirano comes to visit, he finds that the missions are doing an exceptionally good job. But there's a catch. Back in Europe, Spain and Portugal have signed a treaty which will result in awarding the section of land on which the missions have been built to Portugal's colony of Brazil. They would be perfectly happy destroying the missions and enslaving the Guaraní. The Spanish don't want this, but they also know that if they try to prevent Portugal from doing this, it's going to set off some serious problems with the Jesuit order, which is already being perceived in Europe as having too much power.

It's clearly going to come to war, although not between Spain and Portugal, but with them ganging up on the Guaraní. Fr. Gabriel and Mendoza don't want to lose the missions, but disagree on how to deal with the colonial powers' plans for the missions.

I have to admit to not knowing all that much about the period of history covered in The Mission before seeing the movie, and apparently there is some fair degree of liberty taken with the history, both conflating events and more starkly delineating between good guys and bad guys. Some of that is always going to be a requirement for a movie, and what results in The Mission is a pretty darn good movie. I'm glad that I finally got the chance to watch it.

Murder on the Blackboard

TCM is going through the Hildegarde Withers mysteries as part of the Saturday matinee programming block. There were six of them and Edna May Oliver played Withers in three of them. I know I hadn't recommended Murder on the Blackboard before, as I had never actually sat down to watch it despite the fact that the Withers mysteries show up on TCM often enough and I enjoy the acting of Edna May Oliver. So the last time it aired I recorded it, and now it's getting the Saturday matinee airing, tomorrow (March 15) at 10:15 AM.

As you can guess from the title, the movie is set at a school. Before we get into the mystery aspect of the film, however, we're introduced to the school's janitor, Otto, who seems to live in the basement of the school, probably because he's an alcoholic. We also meet the school's secretary, Miss Davis (Gertrude Michael), who for some reason brings a gun to school. Principal MacFarland (Tully Marshall) tries to put the moves on Miss Davis before seeing the gun; Miss Davis tells him that it belongs to one of the teachers, Louise Halloran, who is also sharing an apartment with Miss Davis. Louise is scared of something.

Miss Davis is in a relationship with one of the teachers, Addison Stevens (Bruce Cabot), who had a failed relationshp with Louise previously. MacFarland has also been trying to put the moves on Louise. And, Lousie and Otto the janitor get into a dispute over her owing him money and having given him a check that bounced. So it doesn't take much to figure out who is going to get bumped off, as well as the fact that we've got a handful of suspects who all had the motive and opportunity to kill the eventual murder victim.

It's only here that we finally meet Hildegarde Withers. She's at school late because she keeping one of the students for being a gossip. That turns out to be fortuitous in a way, in that she's able to find the body of Louise Halloran, who has obviously been murdered. Since she's already solved one murder case in The Penguin Pool Murder, she sends the student to call police detective Oscar Piper (James Gleason), since the two of them worked together on that previous murder case.

The method of killing is kind of nonsensical, and the reveal is particularly silly, but the point of watching the Hildegarde Withers movies isn't so much for the mystery as it is for the comic banter between Withers and Piper, who could each dish it out and who both have their strengths and weaknesses in trying to solve mysteries. Edna May Oliver is in pretty good form here, as is Gleason, and together they much more than the story make the movie something worth watching. These were only B movies, too, so it's not like you're going to be investing too much time in them.

Bez końca

Another of the selections on TCM Imports that was about to expire from my DVR was one of director Krzysztof Kieślowski's films from his native Poland before he want to France and did the Three Colors trilogy, a mid-1980s film called No End. So, I watched it before it expired and wrote of this post, although the post itself probably isn't going up until after the movie expires since I'm several weeks ahead in writing posts.

The movie was released in 1985, but is set at the beginning of 1983. Antek Zyro is a Polish lawyer who has just died, and he shows up at the beginning of the film to tell us how he died of a heart attack while driving his car, and how his spirit was able to see his late wife Urszula (nicknamed Ula which is how she's referred to in the movie) and young son Jacek, as well as witness his own funeral. In fact, one of the themes of the movie is how Ula thinks she caa n sense Antek's presence and that he may be there as a ghost.

Antek was a lawyer, and one at a particularly difficult point in Polish history (and indeed, I'm surprised the movie was even able to be made in mid-1980s Poland). Poland was of course part of the communist bloc at this time, but there were rumblings against the regime. The workers' protests at the Gdańsk shipyards that led to the Solidarity trade union happened in 1980, and the government eventually responded in late 1981 by putting the country under martial law and a curfew among other repressive measures. In the movie, Darek Stach is a blue-collar worker who bristled under these restrictions and, with the rest of his co-workers, wanted to organize a strike. He was arrested, and it's Darek's case that Antek was working on at the time of his death.

One day not long after Antek's death, Ula gets a call from Joanna, who is the wife of Darek. She knows that Antek had files on Darek's case, and perhaps Darek was able to secret away some material that the communist authorities have been searching for in the apartments of Darek and other people around him. She's also looking for help from Ula, perhaps to find a good attorney who can take the case. That latter obligation eventually falls to Labrador, under whom Darek had clerked back in the 1970s after finishing law school. However, some people question whether Labrador is the right man for the job. One of those people might even be Antek himself: in going through Antek's files, Ula sees there's now suddenly a red question mark next to Labrador's name that she's convinced wasn't there the last time she looked at the file.

Ula goes to a hypnotherapist to try to get Antek's ghost out of her mind, but it doesn't really work. Meanwhile, she and everybody else involved in Darek's case is putting herself into more danger because of the political situation in the country.

There's a lot going on in No End, and to be honest, I'm not certain that all of it works, such as the character who had met Antek before he married Ula, and the nude pictures of Ula. But I think that on the whole, a lot more works here than goes wrong. Despite the opening, the movie develops a bit slowly, but more in a way that intelligent dramas did. The material here is to me definitely more accessible than arthouse. No End is, despite some flaws, a film that's absolutely worth watching.

Don't call me Byron Barr

Tonight into tomorrow brings the second night of Barbara Stanwyck's turn as TCM's Star of the Month. One of her movies that I hadn't seen before and recorded the last time TCM ran it is The Gay Sisters. It comes on as part of the Star of the Month salute tomorrow (March 13) at 1:00 PM, so I made a point of watching the movie to be able to do a post on it here.

The movie opens with a brief establishing scene set about 25 years before the main action. As the movie was released in 1942 and set more or less at that time (possibly just before Pearl Harbor although World War II doesn't play into the action), that means the opening is set in the mid-1910s, which is the run-up to World War I. The Gaylords are one of the richest families in America, and the current patriarch, Penn Gaylord (Donald Woods), has a wife and three young daughters. Or should I say had a wife. She was somehow traveling alone on the Lusitania, which as we all know was torpedoed and sunk in the Atlantic. Eventually the Americans entered the war, and Daddy Gaylord for some weird reason went off to fight despite having those three young daughters and presumably being the same sort of captain of industry as Jerry Lewis in Which Way to the Front. Dad gets it in France, leaving the thre girls orphans.

Two dozen years pass, and probating the will has been a nightmare. Apparently, somebody over in France claims that Papa Gaylord wrote a codicil before getting killed in action in which he gave ten percent of the family fortune to a French children's charity. The remaining Gaylords back home naturally contested this, and somehow international legal delays have dragged the case out for all these years, while the Gaylord sisters grew up and slowly lost the estate's cash. They have, however, held on to the land, because family tradition has it that land is more important than money.

The three sisters are Fiona (Barbara Stanwyck), the eldest, who is foster mom to an orphan child Austin; Evelyn (Geraldine Fitzgerald), who married an English nobleman and has come back to America in the only sop to the fact that there's now another war going on in Europe; and Susie (Nancy Coleman), who got married except that it's one of those loveless marriages she'd like annulled. Her unseen husband is willing to do it for a price, but since the money has been spent on contesting the will, Susie doesn't have the money. So although she's in a relationship with painter Gig Young (the print TCM ran has the character being played by the Gig Young who became a prominent supporting actor; he was born Byron Barr and took his stage name from this character although I don't know if he did that before the movie was first released or TCM only has a re-release print). Complicating matters is that when Evelyn returns to America, she sees Gig and starts pursuing him.

But since Barbara Stanwyck is the star here, she gets the biggest complication. That comes in the form of Charles Barclay (George Brent), who is contesting the will on behalf of that French charity. Of course, he really wants the land the Gaylord house is built on because he's a land developer who has bought all the surrounding land in order to be able to build a skyscraper. He also seems to know quite a bit about Fiona's past. More, even, than Fiona's first lawyer Gibbon (Gene Lockhart) who gets replaced with Ralph Pedloch (Donald Crisp). Even the poor foster kid gets dragged into all of this.

The Gay Sisters was based on a novel that I'm guessing was popular at the time to the extent that you can see why a studio would want to turn it into a movie. However, something goes wrong in the adaptation, which I think is the screenplay since it seems to go all over the place, with the reveal of Fiona's past being a bit bizarre. And if the Gaylords were supposed to value land over money, couldn't they have just given up that ten percent right at the beginning?

Still, The Gay Sisters isn't a terrible movie. It's just not what you'd want to show as the first movie for any of the main players involved.

TCM's Quincy Jones memorial

Record producer and sometime composer Quincy Jones died back in November at the age of 91. With Christmas and then 31 Days of Oscar, it took a little time for TCM to get the movies together to do a memorial tribute, but that tribute is coming up tonight in prime time, with five films of scores by Jones:

8:00 PM In the Heat of the Night
10:00 PM In Cold Blood
12:30 AM The Getaway
2:45 AM The Anderson Tapes
4:45 AM The Split

Looking through Jones' filmography, there are some other films I wouldn't have minded seeing show up, but then they would have had to pre-empt some other schedule ideas. I actually have The Out-of-Towners on my DVR and recently watched it, but the review is going to come up some time later, since I already had something else on the TCM schedule to blog about today and have a bunch of stuff coming up that I've already written posts for.

Ooh, another Hitchcock day

I like the films of director Alfred Hitchcock, and to be honest he might be my favorite director if you think about movies in terms of directors -- the whole auteur theory and whatnot. At the same time, however, I have to admit that it can feel a bit lazy to me to fill a day of programming by just throwing up a bunch of Hitchcock's films. Perhaps it's the case that Hitchcock programming blocks come up more regularly than other those for other directors since Hitchock probably has more movies that are closer to tentpoles than almost anybody else from the studio era. TCM ran two nights of Hitchcock's earlier work back in January, wrapped around a documentary called Becoming Hitchcock: The Legacy of Blackmail. They're running another morning and afternoon of Hitchcock tomorrow, and that includes another showing of the documentary, at 6:30 AM.

Blackmail was Alfred Hitchcock's first talking picture, although it wasn't intended to be. Indeed, the first section especially has some lengthy scenes where there's pretty much only ambient sound if you will, or sound effects put in in post-production that are supposed to be what ambient sound would sound like. However, with sound films coming over from Hollywood, the studio realized they needed to start making sound films in the UK as well, and Blackmail got the honor of being made as the first all-talking feature-length British movie, at least according to the promotional material of the era.

In fact, however, both a silent version of Blackmail, with traditional silent film intertitles, and a talking version, were produced. Quite a few of the scenes could be used in both versions, but not all. Part of what the documentary does is explore how Hitchcock handled the new medium by comparing the two versions of Blackmail and showing where sound made a difference. But that's not all of what the documentary does.

Blackmail wasn't Hitchcock's first thriller/suspense picture; that honor would probably go to The Lodger. But Blackmail has a whole bunch of themes that would be reused in later of Hitchcock's films in varying combinations, and a good portion of the documentary looks at how Hitchcock kept putting the same themes into his movies while keeping them looking fresh.

Becoming Hitchcock isn't a bad documentary, although I have to admit to that me it feels sometime like the sort of thing I'd come up with if I were doing one of my old list posts when I had a day where I couldn't think of a movie to blog about so just mentioned several films that had something thematic in common. Having said that, there is some stuff I didn't necessarily think of when grouping Hitchcock's films together. And for people who haven't seen many of his movies, this documentary is definitely not a bad way to bring up some of the titles that aren't quite so well known. Most of Hitchcock's sound films get a shout out at least once; I think Under Capricorn was the one Hollywood film not to be mentioned.

So definitely worth one watch, although not particularly groundbreaking by any means.

84, Charing Cross Road

Back in 1987, one of the movies that I hear about getting a release, but never got the chance to watch because I wasn't really in a place to go to the local mall sixtyplex by myself was 84 Charing Cross Road. Over the years, I'd heard other people say some really good things about it, and it was one of those films I'd wanted to see. So when TCM ran it last August when Anne Bancroft was honored in Summer Under the Stars, I finally got the chance to record it and watch it.

I had known that the movie was based on an epistolary novel, but what I didn't realize is that it's actually based on a true story. Helene Hanff (played by Bancroft) is a woman who, as the movie opens, is getting on a plane to London. A big part of her visit is to get to the titular 84, Charing Cross Road (no comma in the title of the movie but apparently there is in the title of the book), which was the home of used book store Marks & Co. She gets there to find that the store is closed and workmen are renovating it into something else. But as with the opening of Twelve O'Clock High, this is a chance for all those old memories to come back....

Flash back to 1949. Helene Hanff is a research writer/script editor working in New York and living in the sort of apartment filled with books. She needs more books for her work, and is having a dickens of a time finding them in New York. In the Saturday Review of Literature, she sees an ad for Marks & Co., and decides to write to them to see if they have the books she needs. That letter is answered by Frank Doel (Anthony Hopkins), who fills the order and starts both a tab for Hanff and a long running correspondence between the two.

Helene responds, in some ways coming across as the character Bancroft played in Garbo Talks: the quintessential New York stereotype of a person who won't back down and do things her own way. The two also talk about their personal lives. Hanff is single, while Frank has a wife Nora (Judi Dench) and two daughters. Eventually, one of Frank's co-workers writes to Helene as well, and everybody in the store is interested in Helene, with the interest being mutual as the movie in part becomes a sort of retrospective of life for a certain class of British person over the course of 20 years.

Frank and the rest of the people in the store hope that perhaps Helene can make it to London some day, although this is the early 1950s when transatlantic travel is very expensive. Helene does make plans to get over to the UK, but financial issues keep coming up to prevent it. She has a friend who does stage acting and gets a part in a touring company that will be going to London. But when she goes to Marks & Co., she doesn't recognize Frank. The correspondence goes on, until.... Well, we know that Helene does make it to London but only after the store went out of business.

84 Charing Cross Road is the sort of movie that you'd think would have a tough time working, from the idea of adapting letters into a good movie to the fact that the two main characters never meet. And yet the movie is something very charming, thanks in part to Bancroft's very American performance and Hopkins' very British performance. Perhaps for people who are more used to current-day movies from the 2020s, 84 Charing Cross Road may seem a bit old-fashioned and tough to get into. But for anyone who likes classic film, I think they'll very much enjoy it.

The Sun above evil

Another of the subgenres of films of which I've got multiple sitting on my DVR is adaptations of Agatha Christie movies. Murder on the Orient Express, which I think I blogged about ages ago, changed the nature of such adaptations, turning them into all-star movies filmed in semi-exotic locations the way Airport ushered in the all-star disaster movie, in a stark contrast from MGM's Miss Marple films of the early 1960s with Margaret Rutherford. One of those later all-star adaptions is Evil Under the Sun, which gets an airing on TCM this evening at 10:15 PM.

The movie starts off with what seem like two unrelated scenes, although the second one is more in line with the main action of the story. First, somewhere in northern England, a dead body is found. The police are notified and a determination is made as to the time of death of the female victim, who was clearly strangled to death. We then move to London, where we meet Hercule Poirot (Peter Ustinov) when he shows up at an insurance company. He just did one job for them, and is asked to appraise a diamond which its owner, Sir Horace (Colin Blakeley) wants insured for £50,000. Poirot immediately identifies it as paste, but it's not Sir Horace who's trying to fleece the company. He had given a valuable diamond to his old girlfriend Arlena Marshall; when she broke up with him she gave him a replica.

Arlena (played by Diana Rigg) is a retired actress who is going to be staying at a resort in the Balkan seaside nation of Tyrania; the resort is located on an island gifted to the former Queen of Tyrania, Daphne (Maggie Smith). Hercule should go there to meet up with Arlena and hopefully find the diamond.

Somehow, everybody else who shows up at the resort seems to have a connection to Arelna, who is there with her husband and perpetually ticked-off step-daughter, the step-daughter being ticked off because New Mom treats her badly. There's Rex Brewster (Roddy McDowall), who has been writing an unapproved biography of Arlena that he hopes she'll change her mind and let be published. Odell Gardener (James Mason) is a Broadway producer who was burned when Arlena faked illness to get out of a show. He'd like to get her back on stage, and is there with his long-suffering wife Myra (Sylvia Miles). Rounding up the crowd is Patrick Redfern (Nicholas Clay). He's married to Christine (Jane Birkin), but having an affair with Arlena.

So of course everyone bickers, but it takes a surprisingly long time to figure out which one of them is going to wind up dead so that we can have a murder for Hercule Poirot to solve. (At least we can rule out Poirot himself as the victim.) Eventually, the victim is revealed to be Arlena, and when she's found dead, Poirot is asked to investigate since it's the sort of thing Daphne, and Tyrania in general, would like to handle quietly. Poirot investigates, and everybody seems to have a motive for killing Arlena, but an alibi, or at least a series of interlocking alibis, with the exception of Odell, who is proud not to have an alibi. But then things start to fall apart, and Poirot thinks he can solve the case....

Evil Under the Sun is a movie that fits in well with the cycle of Agatha Christie movies that started with Murder on the Orient Express. Like the disaster movie genre, earlier entries are often the best, with later entries decreasing in quality as producers tried to repeat the formula that caught lightning in a bottle; to do so seemed to require more stars and more exotic locations. Evil Under the Sun is certainly not as good as Murder on the Orient Express, but it's entertaining enough, and the sort of thing that's suitable for those times when you want to sit back and watch something that's not overly challenging.

A Romance of Happy Valley

I've got enough silent films on my DVR that I really should be going through them more quickly. I've got at least one more John Gilbert movie to do, and all the movies I recorded during Silent Movie Day last September. In addition, I recently sat down to watch one that was totally new to me: A Romance of Happy Valley.

This one opened up with what looked like surprisingly modern intertitles, and it turns out that the movie was considered lost for many years until a copy was found in a Soviet archive, naturally without English intertitles. The movie is set in rural Kentucky, where almost everybody seems to be surprisingly OK with their lot in life, despite it not being a very prosperous life. The one person who isn't is Joshua Logan, Jr. (Robert Harron, who died tragically a year after the movie was released). He's apparently read about New York, and the possibility of making big money there. This would allow him to return home and buy his parents' farm and, I'm guessing, offer the family some financial security.

But Dad especially, and to a lesser extent Mom, think the big city is sinful and the rural life is virtuous. Dad, and pretty much everyone else, tries to get Joshua Jr. not to leave, and to become a good Christian and vow that he'll stay in rural Kentucky. The one person who at least has a halfway decent reason for wanting Joshua Jr. to stay is Jenny Timberlake (Lillian Gish). She's the stock character of the girl who grew up with the boy and fell in love with him, with the thought that they'd always get married when they grew up. She's also helping take care of her widower father.

Eventually, Joshua Jr. has had enough of it and runs away in the middle of the night, tellng Jennie that he's going to New York for one year which should be enough time for him to earn the money he needs to return home a success. He gets a job with a toy manufacturer, being given the assignment of making a novelty toy frog that will float in water. (I don't think the sort of clear plastic that would float had been invented yet.) So Joshua Jr. doesn't become a success in year one; instead, it takes him seven years or so to get the money to come home.

Additionally, he's stopped writing, so he doesn't know what's going on back in Kentucky. Dad is in danger of losing the farm, which has a mortgage on it. So the elder Logans have to take in boarders. Joshua does come back, but nobody recognizes him. At about the same time, somebody robs one of the local banks and stops at the Logan place for a room. So all of the plot strands come together for the climax....

A Romance of Happy Valley was made by D.W. Griffith, and I can see why it remained unknown to me until know. I've seen several of the other titles that Griffith made and are the ones that people might think of when they think of Griffith. To be honest, all of those are better. It's not that Romance of Happy Valley is a bad movie; it's more that it feels like there's nothing terribly original or distinctive about it the way there was with the better-known Griffith movies. But it's still worth one watch at least.