The Young Lovers

Another of the movies that I got the chance to see thanks to its being available on demand on Tubi (granted with a few ad breaks) is an early directorial effort for Ida Lupino, Never Fear. Lupino also co-wrote the screenplay with her then husband Collier Young, and the two also produced it with their production company The Filmakers.

After an opening title card informing us that as much of the movie as possible was filmed at the real locations, we get into the action, such as it is. Guy Richards (Keefe Brasselle) is a dancer who is probably better as a choreographer, but in any case is supposed to be someone who can go a good ways in that field. As the movie opens, he's trying to break in to the big time together with his dance partner Carol Williams (Sally Forrest), who is also his girlfriend and soon to become fiancée, at least when Guy can finally bring in a little more money.

The two get some successful reviews at the nightclub where they're performing, but as Guy is devising the next routine, Carol starts to feel a fever coming on that's ultimately enough for her to collapse. Guy takes Carol to the best doctor he can afford, and the diagnosis isn't a pleasant one: polio, which of course was still a thing when the movie was made in late 1949. Guy wants to do the best he can for Carol, and fortunately, Carol has a father who seems to have a bit of money too, so they can afford to put her in the private Kabat-Kaiser Institute (a real place that ultimately became part of what is now Kaiser Permanente) and get her a single room.

Carol thankfully has the use of her arms but sadly not her legs, and worries she'll never walk again. Her days are filled with physical therapy and socializing with the other patients, especially Len Randall (Hugh O'Brian), who you wonder whether he's trying to put the moves on her because he consistently seems a little too friendly, even though he certainly must know about Guy's presence in her life. Then again, Carol seems more than willing to dump Guy now that she can't walk any more, and doesn't want anyone else in her life either, choosing instead to feel sorry for herself and a miserable person to be around.

Guy, on the other hand, is a saint, and is even willing to put dancing aside to take on a job selling new tract housing to make ends meet, not that he's any good at that. He wants to stand by Carol -- even though they're not married, he's already taking the "in sickness and in health" part of the marriage vows seriously. But at the same time, he gets to the point where he just wants to shake some sense into his girlfriend.

Lupino would go on to better things behind the camera, but Never Fear is decidedly uneven. Now, part of that is down to the screenplay, which makes Sally Forrest have to play an unsympathetic character for much of the running time. The screenplay is also strictly by-the-numbers. There's also the presence of Keefe Brasselle, who was never much of an actor. On the other hand, Lupino already shows some good camera work, notably when she directs a wheelchair square dance (apparently the polio victims really did such square dancing on wheels), which is the most interesting part of the movie.

Briefs for March 15-16, 2026

Oh yeah, the Academy Awards are going to be handed out tonight. As is normally the case, I haven't seen any of the nominated films. I don't know how many of them got shown at the local dump of a sixtyplex we have around here. And as someone whose normal work shift is 6-2:30, I'm generally more up for a matinee, which takes the local independent theaters right out. Well, that and the in-your-face tedious politics.

As I understand it, the main competition this year is whether the Academy will vote for the movie that allows them to virtue signal their politics on immigration, or to virtue signal ticking off the demographic check box. Except everybody's talking about the Shakespearean-era period piece for Best Actress, and, I'd guess, the technical categories like Costume Design.

In any case, tonight being the awards presentation also means it's the final night of 31 Days of Oscar on TCM, which means they're getting back to "regular" programming and the various spotlights. There's actually going to be a Star of the Month, which I'll get to later in the week when that comes up.

I mentioned the 1930s version of Last of the Mohicans last week as the movie that TCM was going to be running during the time change to Daylight Savings Time. Sure enough, when I checked my DVR, it turned out that the recording of Last of the Mohicans was only 45 minutes when it should have been in a 1:45 slot. It's still available on the Watch TCM app until the end of the month, so hopefully I should get around to watching it.

Also, as always, I've got a backload of posts, and then sometimes after writing a post I see the advanced TCM schedule has a movie I've posted about coming up that I haven't scheduled yet so I have to juggle the scheduling of movies around to put up a post in conjunction with the upcoming airing. So whenever I put up a post that says a movie is running that night or the next day, check the listings.

It Started With Eve

A few months back, I mentioned having recorded a double-feature of Deanna Durbin movies that aired on TCM. One of the movies, It Started With Eve, is one that I had watched many years back but never actually done a review on. So I watched it again in order to be able to do this review on it.

We don't meet Deanna Durbin for several minutes. Instead, we see Jonathan "Johnny" Reynolds, Jr. (Robert Cummings). He's the son of wealthy businessman Jonathan Sr. (Charles Laughton). Except that Dad is on his deathbed, and Junior is returning home to see Dad for what is probably the final time, with some newspaper types keeping a vigil outside the family mansion and wondering whether Johnny is going to make it back in time before Dad dies. Tragically, this means that Dad isn't going to make it to his son's wedding: Johnny has only recently gotten engaged while on the sort of vacation to a place where all the rich people go. With that in mind, Dad tells his son that his dying wish is to meet his son's fiancée, Gloria Pennington.

Johnny dropped the Penningtons off at the hotel, not realizing that Dad would want to meet them; to be fair one can think that bringing the fiancée's family to an occasion like this might be too much for the old man. But it means he has to go back to the hotel room and pick them up, and who knows whether they'll make it back in time before Dad dies? Worse, when Johnny gets to the hotel, he finds that Gloria (Margaret Tallichet) and her mom have gone out late in the evening to get a custom fitting for clothes for the funeral, which again seems like a bit of a plot hole considering that stores would likely not be open at this hour of the evening.

On his way out the lobby, Johnny runs into hat-check girl Anne Terry (Deanna Durbin), who is hoping to get back to her family in Ohio. Johnny, being desperate, offers this woman he's never met before a proposition. Would she be willing to play the part of his fiancée for an hour or two until Dad dies? Johnny will pay her good money, and since Dad will never see her again, is there really any harm in this little white lie? Anne could use the money, and it won't keep her from catching her train, so she decides to accept.

Except that this is a Hollywood movie and we're only ten or fifteen minutes in, so you know fully well that this isn't all that's going to happen and that there are going to be serious complications. Dad does not in fact die. Not only that, but it looks like he's going to start getting better and eventually even make a reasonable recovery. Johnny has to go back to Anne's apartment and bring her back to the house, which she's not particularly excited about at first. And then there's the real Gloria and her mother, who are understandably displeased about not being able to meet their future in-law until Johnny can come up with some sort of explanation as to what's going on. Even worse is that Dad really likes Anne. Finally, as you might guess, as the movie goes on it's going to become more and more apparent that Johnny and Anne are the ones who are right for each other, even if they don't yet realize it.

It Started With Eve is one of those movies that has a premise where you know exactly where it's going to go and that it's going to get to a happy ending, but the fun is seeing how it gets there. And with a cast like Deanna Durbin, Robert Cummings, and Charles Laughton, it's a fairly fun ride getting to the obvious destination. Charles Laughton did not get to play comedy as often in his career as he probably should have been given the chance to do. He's clearly enjoying himself here in the sort of mischievous older father role you could easily see Charles Coburn do, and his enthusiasm really makes the film a lot of fun. Durbin and Cummings are more than adequate. There's a bit of odd miscasting with Guy Kibbee as an Episcopal (I think) bishop; Kibbee just doesn't look the part although it's not as if he does anything wrong with his smallish role.

Bang the Drum Slowly

Tonight's prime-time lineup on TCM is baseball movies that were nominated for at least one Oscar. Wouldn't you know it, but one of the movies in the lineup has been sitting on my DVR. That movie is Bang the Drum Slowly, tonight at midnight. So as is always the case, I watched it in order to be able to do this review on it.

Michael Moriarty stars as Henry Wiggen, star pitcher for the New York Monarchs baseball team. Some pitchers, especially left-handed starters and knuckleballers, seem to wind up with "personal" catchers in that the combination of the two players works better than putting the pitcher with the nominally "better" catcher. Henry has a catcher who also happens to be his best friend, Bruce Pearson (Robert De Niro). However, as the movie opens, we learn that Henry is picking Bruce up from the Mayo Clinic in Rochester, MN: Bruce is terminally ill with Hodgkin's disease. Henry takes Bruce back to Bruce's family home in the South, although it's not to die, just to meet Bruce's family and introduce us to a made-up card game some of the ballplayers like to play that's really just an excuse to find a mark to take that guy's money from.

Henry is in a contract dispute with his team, so he gives his manager, Dutch Schnell (Vincent Gardenia), an ultimatum: I want my best friend Bruce to be signed to the team along with me, and I want the contracts to be structured in such a way that if you get rid of him or send him to the minors, you have to do the same with me. Now, this presents a serious problem in that at this point of the movie Bruce isn't really presented as Henry's personal catcher in the sense that Bruce could play every fifth day when Henry starts, allowing the regular catcher to take a breather since catcher is one of the more demanding positions physically. Bruce, in fact, is the sort of ballplayer who in a normal world would have topped out in the minors, and rarely gets to start.

And then never mind the fact that Bruce is dying, and that neither Henry nor Bruce are about to tell the team this. Also never mind the fact that the intake physical that certainly every player gets before being signed doesn't seem to have found anything wrong with Bruce. Indeed, Bruce is terrified that the team is going to find out he's terminally ill, since one of the symptoms is going to be some sort of attack reminiscent what poor Bette Davis got in Dark Victory, although not one attack like that. Cancer doesn't work that way. In any case, Bruce does get one of these episodes in the hotel room, and Henry has to call for a doctor, at which point it becomes pretty damn clear that there's something wrong with Bruce although the few people who do figure out something is seriously off are going to keep it a secret as much as they can.

The season goes on, and Bruce still doesn't seem to be getting that much worse, although the movie has a bizarre ending in that Bruce goes missing (well, back home) for the postseason, asking Henry to send him a box score. Wouldn't Bruce stay with the team? If they make the playoffs, wouldn't the contracts require Bruce to be on the playoff roster as well as Henry?

But, then, Bang the Drum Slowly isn't really about baseball per se. Instead, it's one of those movies that uses baseball as a backdrop to be more of a character study of the relationship between Henry and Bruce. Reviewers who can focus on that have generally tended to find Bang the Drum Slowly quite a good movie. I'm sorry to say I don't quite agree with that, as the movie is interminably slow and for me rather full of plot holes. Still, enough people like it that this is one you're definitely going to want to watch and judge for yourself.

If you liked Son of Lassie

Another movie that I watched off my DVR before it expired is Gallant Bess. Having watched it, now I can do the obligatory post on it here.

Marshall Thompson, who was being groomed for stardom by MGM but never quite achieved it, plays Tex Barton. Tex runs a horse ranch in California, although he seems rather young to do it since it's implied later in the movie that he's 16 going on 17 and an orphan. He's got one particular horse, Bess, that he absolutely loves, since that horse more than any other is a link to his late father. So when Bess gets knocked up he's aboslutely thrilled and goes to the nearest "town" to the ag supply place to get stuff for a pregnant mare.

While he's at the store talking with proprietor Smitty (Clem Bevans), a couple of navy recruiters show up needing one more person to fill their recruitment quota. Why, I don't know, since World War II already seems to be on and you'd think they'd just draft people. And Tex should be exempt anyway since he's all alone on that ranch and involved in agriculture. He's more important to the war effort on the home front. Yet Tex rather stupidly signs on even though it's going to mean leaving that pregnant foal that he loves behind, leaving Smitty to run the ranch.

Tex goes to a naval base where he's going to learn to become a Seabee, and becomes friends with Lug (George Tobias). One day, however, he gets a letter from Smitty informing him that Bess is sick with pneumonia. So Tex utterly stupidly tries everything he can to get leave, literally busting in to the CO's office, and then trying to go AWOL when he can't get leave. He's put in the brig, until he's informed that his unit is shipping out so everyone in the unit gets 24 hours liberty. This enables him to go home just in time for Bess to die and Tex to bury her. At this point, the audience should have lived happily ever after, but that's not what happens in the movie.

Tex has an illogical resentment towards his commander, Lt. Bridgman (Donald Curtis), to the point that he makes life difficult for everyone around him, with only Lug trying to keep Tex from doing something that will really get him court-martialled. On the island where they're building an airstrip as part of the island hopping campaign in the Pacific, Tex starts having dreams about Bess and waking up in the middle of the night, although he's also waking up everybody else in the tent so they all absolutely despise him, and with good reason. And then he thinks he hears a horse and disturbs everyone else's peace even more.

Except this time, when he goes out into the jungle, he finds that there actually is a horse, and tends to the horse, which is something that saves his life when a Japanese air raid hits the tent in which he would have been sleeping. The horse beomes the unit's mascot and even saves Tex's life when Tex gets injured in another Japanese attack. Will Tex be separated from the horse again?

Gallant Bess, at least the second half of the story set on the Pacific island, is based on a true story, although the man who wound up with the horse was a career Navy man who was in his 40s by the time of World War II. The part before the character gets sent to war is wholly made up, and frankly to the detriment of the movie since it makes the main character terribly unsympathetic. When he started waking everybody else up talking in his sleep I really wanted them to beat the crap out of him. Instead, we get all the syrup MGM could bring to a project like this.

Well, not quite all the syrup. MGM for whatever reason didn't film this in Technicolor, but instead in Cinecolor. The result is the print TCM ran does the movie no favors either as the colors are both flat and inconsistent. When the horses are crossing either green pastures or reddish dusty ground, the tone of the red or green changes from one second to the next, and not because the camera is panning ground that's changing color -- many of these are medium-to-long shots.

Gallant Bess had potential, but I don't think it quite lives up to that potential.

A fool is thanked

It wasn't uncommon for producers in the UK in the 1950s and 1960s to want to bring over an American star to make it easier to get one of the American studios to distribute the movie in the US. The latest such film I watched is I Thank a Fool.

The American star in question was Susan Hayward. She's playing Christine Allison, a Canadian who moved to the UK in part to become a doctor, and in part to follow her boyfriend. Said boyfriend is, as the movie opens, terminally ill in hospital, and Dr. Allison hastens his entrance into the next world by giving him an overdose of something when the duty nurse could easily have given him the proper dose and let him die "naturally". Even though it's a mercy killing, it's still technically medical malpractice, which means that a trial is necessary. Stephen Dane (Peter Finch) prosecutes the trial, with Allison being found guilty of manslaughter, sentenced to prison, and stricken from the doctors' register.

Fast forward 18 months. Christine is released from prison, but in need of a job, since she can't legally go back to being a doctor. But wouldn't you know it, there's somebody who could use a person with a physician's skills, and that person just happens to be... Stephen Dane! He's got a wife who might be suffering from a mental illness, and he needs somebody with medical skills to be a companion for the wife. Why am I thinking of The Chalk Garden here?

In any case, Christine takes the job and meets Stephen's wife Liane (Diane Cilento), who certainly seems to have some problems. One of those problems involves anything that spins like a circle, which is played up at several points during the movie. Liane's mental problems started back in her native Ireland, when she and her father, Capt. Ferris, were in a car accident in which her father died. Dane rescued her, at least metaphorically, and brought her over to the north of England to live. But she has those apparent mental problems, and Stephen doesn't want to have her committed to an asylum, which is also where Christine is convenient. A regular doctor would have the power to have Liane committed -- but of course Christine is no longer legally a doctor.

Christine quickly gets the impression that things are not quite what they seem, in no small part because Stephen seems to be terribly controlling and doesn't want Liane to go out on her own. All sorts of little things happen, and there's also the impression that one of the workers in the stables, Roscoe (Kieron Moore), might be trying to get involved with Liane. But things really take a turn when a man shows up claiming to be... Capt. Ferris (Cyril Cusack)! Now Christine really believes that Stephen has sinister motives, to the point that she's willing to help Liane run away to Ireland to see her father. This isn't quite the reunion you might thing, and Stephen is close behind, leading to shocking complications.

I Thank a Fool is a melodrama that starts off with the interesting premise of euthanasia, which would have been an even more controversial topic back in the early 1960s than it is today. But it devolves into something that at times is ridiculous and implausible. I'm guessing Susan Hayward took the role in part for the chance to take a working vacation in Ireland (the Ireland-set scenes were filmed at least in part in Ireland). She does the best she can with the material, and she's not bad. Peter Finch is reasonbaly good as the morally ambiguous man, and Cusack is professional too. But the script. Oh boy are the plot twists a mess.

So watch I Thank a Fool for some acting performances, or for the location shooting. But don't expect the best of plots.

TCM's Robert Duvall tribute

Robert Duvall died last month, and TCM altered its schedule slightly to include three of Duvall's Oscar-nominated roles tonight. Those films are:
8:00 PM Tender Mercies, in which Duvall plays an alcoholic country singer; (the night's original lineup was movies with alcoholics)
10:00 PM The Great Santini, with Duvall as a martinet of a father in an Air Force family; and
12:15 AM Apocalypse Now, which saw Duvall pick up a Supporting Actor nomination.

As I happened to have Apocalypse Now on my DVR, I decided that I was going to watch this one to put up the post on it in conjunction with the tribute, instead of doing it fairly quickly after the announcement of Duvall's death as had been my original intention.

Duvall having picked up a Supporting Actor nomination, the star of the movie is actually Martin Sheen. He plays Ben Willard, a captain in the US Army who, as the movie opens, is in Saigon in late 1969/early 1970 during the Vietnam War where he's spending leave drinking heavily in his hotel room and trying to forget nightmares. Voiceover has Willard speaking after the fact, but the action on screen is actually the beginning. His sojourn in Saigon is interrupted by a couple of men who have orders to take Willard to see Lt. Gen. Corman (G.D. Spradlin). Spradlin tells Willard about a colonel named Kurtz (Marlon Brando). Kurtz had a rising career in the army, but it seems that in about 1964 he did an intelligence mission to Vietnam that soured him on the whole thing. He went to Fort Benning and paratroopers' school, returned to Vietnam, and then went native, basically deserting to fight his own war, or at least that's what the official US channels think. Kurtz is a danger to them, and somewhere in the jungle in the borderland between South Vietnam and Cambodia, and it's Willard's mission to find Kurtz, and terminate him with extreme prejudice. It's a top secret mission, and nobody is actually supposed to know why Willard is headed where he is.

Willard heads out to the river system where a small patrol boat is going to take him as close as they can safely get to where Kurtz is suspected to be. For part of the journey, they're supposed to have air support, commanded by Lt. Col. Kilgore (that's Duvall). The boat on which Willard is traveling has a motley crew of men who seem to have been deeply affected by their experiences in the war, although they're not all going to show the effects at the same rate. It's obvious, however, when they intercept a Vietnamese boat carrying goods to a farmers' market.

Willard sees more and more surreal things on his way up to the edge of where the US has any control, such as a USO-type show with Playboy playmates, but eventually gets to people who know where Kurtz are. Along the way, he's been reading up on Kurtz from the classified material the general gave him, and begins to gain some sympathy. He also learns that his is not the first mission to try to assassinate Kurtz. The other guy, Colby (Scott Glenn), is officially MIA, but the classified information suggests he may have joined Kurtz. There's also a photojournalist (Dennis Hopper) who has also turned to Kurtz' side.

As I said, they do eventually find Kurtz, but as to what happens when they do, you're going to have to watch the movie yourself for that.

Surprisingly, I'd never actually seen Apocalypse Now in its entirety before this. I think that's a lot to do with my not being of the generation to be terribly interested in the Vietnam War and movies about it. I'm much too young for the 1960s protest era, and by the time I got old enough to appreciate classic cinema, there would be other Vietnam movies like Platoon that were the big ones.

I have to say that for me, Apocalypse Now is another of those movies that's very well made, albeit a difficult watch. However, I think I'd put it with movies like Raging Bull, Lawrence of Arabia, or Au hasard Balthasar where I see why they're good, but for me not good enough to put all the way at the top of all-time great film lists the way a lot of critics do.

Prosperity

MGM had a big star in the early sound era with the presence of Marie Dressler. As was often the case in those early sound days, studios would put their players in all sorts of movies to keep them in the public eye. In this case, that meant a series of comedies with Polly Moran. One that I haven't blogged about before is Prosperity.

One thing belying the movie's early sound provenance is the use of title cards to introduce a couple of scenes, with the opening here telling us the movie starts in 1925, "when money talked and was on speaking terms with everybody". Dressler plays Maggie Warren, who owns the family bank in one of those small cities that populated Hollywood movies of the era. She's got an adult son John (Norman Foster), who is being groomed to take over the bank when Mom retires. John, for his part, is about to get married to his girlfriend Helen Praskins (Anita Page). She just happens to be the daughter of Lizzie Praskins (Polly Moran), who is the largest depositor of the Warren bank.

Maggie and Lizzie are constantly at odds with each other for whatever reason, starting with the preparations for their children's wedding, a scene which goes on rather too long. But the two kids get married and have a coupld of kids, and would be ready to live happily ever after, if only it weren't for that damn crash of 1929 which led to the Great Depression, and money not talking to as many people. A lot of banks failed, but Maggie's prudence has kept the Warren bank open.

That is, until Lizzie gets all panicky at the idea of her money not being safe in the bank. She not only wants to withdraw it, but makes the request in a way that everybody else knows what she's doing, leading to a run on the bank which renders the bank illiquid because the money is in Mr. Jones' business and the Smith family house, and all that other stuff Jimmy Stewart reminded us of in It's a Wonderful Life. The bank is forced to close, although Mom is able to hold on to some bonds in the hope of re-opening the bank if enough people can pay back those loans.

As part of Maggie's prudence and sense of honor, she liquidates her house and a lot of her personal belongings to make her customers whole. This forces her to move in with her son and daughter-in-law. As in The Mating Season, the young couple has both mothers-in-law living with them, which causes a lot of tension as Lizzie treats Maggie like dirt. In one scene of obvious foreshadowing, Maggie keeps rat poison around and Lizzie, worried about her grandkids getting into it as well as wanting to spite Maggie, dumps the poison and puts her "Prune-o-Lax" laxative into the bottle to keep anybody else from stealing it.

John Warren isn't as prudent as his mother, and gets swindled out of the bonds by a Mr. Holland, played by ubiquitous MGM villian John Miljan. This leads to the climax where John has to get the bonds back, while Maggie has finally drunk the rat poison in an attempt to commit suicide. It also leads to a happy ending and Lizzie realizing the error of her ways.

Prosperity was a hit, in no small part because of the pairing of Dressler and Moran, who are quite good at playing off of one another. However, modern audiences may have some issues with the movie since it's very much a product of the early 1930s (and the technical issues from movies of that era). That, and the fact that Polly Moran's character is just so nasty to everybody around her. If I were introducing people to Marie Dressler, I'd pick some of her other movies first.

Paris, Texas

Another of those movies that would probably have been on my "Blind Spot" list if I took part in the "Blind Spot" blogathon is Paris, Texas. I've stated before that I don't take part mostly because it requires me coming up with a series of movies that I'm going to be watching over a full year. Since I generally don't know what's going to be showing up to watch that far in advance, I don't take part and just get around to watching the movies I haven't seen before when they do show up. In the case of Paris, Texas, that was quite some time back that TCM ran it and I recorded it. Once again, I watched it before it expired, and then wrote and scheduled this post.

A man walks through a desert in west Texs with just a gallon jug of water in his hands. Stupidly, he discards the jug upon emptying it. He makes it to a building that has what looks like an honor bar: take a drink and pay for it. The man takes some ice, but eventually faints on the floor. Thankfully, there was another person in the bar who takes the man to the closest thing there is to a doctor. When said doctor goes through the man's things looking for some ID, he finds a card with the name and phone number of a Walt Henderson (Dean Stockwell).

Walt lives in the Los Angeles area, where he works as a graphic designer designing billboards and lives with his wife Anne (Aurore Clément). Walt isn't exactly pleased to get the phone call, since taking time off work is going to be a hassle although that's really the least of the issues. Walt knows that the man in Texas is actually his brother Travis (Harry Dean Stanton). Travis dropped out of life four years ago, and worse, put his kid in a taxi and sent the kid to Walt and Anne's place because Travis' wife Jane similarly dropped out of life. The kid was almost too young at the time to remember his biological parents, and Walt and Anne have raised the kid, Hunter, as their own, not having any biological children themselves. So how is the kid going to deal with having this stranger back in his life?

Of course, simply getting Travis to LA is going to be tough. Travis goes on about Paris, since his and Walt's parents joked about conceiving Travis in Paris. Travis has a photo of a plot of land that he claims to own, and Walt doesn't get what this has to do with Paris since Walt doesn't yet realize that there is a town in Texas also called Paris which is where the land is. Also, Travis keeps trying to run away and doesn't talk for the longest time.

Eventually, however, they do get back to Los Angeles, and Travis starts talking. At this point, you'd think Walt and Anne would start talking with Travis about whether he might try getting a job and reintegrating into normal human life. Instead, Anne tells Travis about a bank account that Hunter has, one which gets regular deposits by wire transfer in the days when there was no internet to do such electronic transfers. The money is presumably coming from Hunter's mother Jane, and those transfers are coming from a bank in Houston, so Travis takes Hunter and drives off toward Houston in the hopes of finding Jane since apparently not so many branches could do these transfers at the time.

Travis and Hunter basically set about stalking the bank, and find a woman who looks like she could be Jane (Nastassja Kinski) and start following her, eventually coming to a nondescript building in a crappy part of Houston that serves as the home for the sort of business you wouldn't want your mother to be working for. But is this woman really Jane? And if so, will Travis be able to make real contact with her?

Paris, Texas is a movie that certainly has an interesting premise, although it's another one that I found myself thinking is full of characters who certainly wouldn't be acting that way in real life. It's also one that definitely goes way too slowly at times. The running time is about 145 minutes, and is the sort of story that I think could easily have been edited to get down to under two hours. Still, I can understand why there are a lot of people who would find Paris, Texas to be interesting for how different it is from traditional Hollywood fare. Definitely watch and judge for yourself.

The Calico Dragon

One of the non-Popeye cartoons that TCM ran in the Saturday matinee block when they had cartoons was an old Hugh Harman-Rudolf Ising Happy Harmonies entry called The Calico Dragon.

As always, this being a one-reeler, it's not like there's a lot here. A little girl (I couldn't find the name of the actress voicing her) is in bed reading a fairy tale called "The Princess and the Dragon" to three of her stuffed animals: a human doll, a Scottish terrier dog, and a polka-do horse. After reading the story, the little girl goes to sleep.

At this point, the dolls come to life in what is presumably supposed to be a dream sequence, although it doesn't matter either way since this is a cartoon. The three characters head off to a mythical medieval-type land where there are still castles, and dragons for brave princes to fight. This particular dragon has three heads, and the main sight gag is how the three necks get knotted together, which is the way to kill the dragon. There's also the recurring theme of the cowardly dog.

One thing that will be immediately noticed is that, although The Calico Dragon is in color, it's not very vibrant color. That's because Disney had the exclusive contract to use the newer three-strip Technicolor in animation. Other animation had the choice of black-and-white (not uncommon through the late 1930s), two-strip Technicolor (as with this one), or other inferior color processes. Granted, it's not such a big deal in animation. After all, if the human and animal forms aren't supposed to be extremely lifelike, is it such a big deal if the color isn't either?

The Happy Harmonies shorts are also fairly tame. It wasn't until things like Merrie Melodies over at Warner Bros. in the early 1940s, or the Tom and Jerry shorts MGM put out, that cartoons started to get the stereotypical cartoon violence that we all think of today. In the 1930s, most cartoons were a lot less cynical and had a lot more singing and dancing.

I looked it up on Amazon, and I didn't see any Happy Harmonies box sets for sale, which rather surprises me. Considering that many other series got Warner Archives-type box sets, one would think that Warner Home Video might have released such a set. But apparently they only got a laserdisc release back in the early 1990s.