Let us now bid a not-quite-fond farewell to Karoline Leavitt, who never met a lie so stupid that she couldn't spew it out in public......
Adios, oh Mistress of Mendacity....you'll be missed....by virtually no one.
Good stuff to read....good stuff to watch....or maybe not.
Let us now bid a not-quite-fond farewell to Karoline Leavitt, who never met a lie so stupid that she couldn't spew it out in public......
BQ visitors, have a great, great weekend.
To Trumpanzees: Remember everything Pumpkinhead warned you about Kamala Harris and Democrats.....endless wars.....a crappy economy....higher and and higher prices for everything you buy? Remember? Ring a bell yet? Guess who served up all that shit to you on a fake gold-plated platter......figured it out yet? We know you're thinking hard....we can smell the wood burning.
The Ghost and Mrs. Muir (1947)
'Elegance' is a word we've rarely applied to any film we've reviewed over the years.....maybe to some of the Hitchcock thrillers like "Vertigo" and "North By Northwest" and a few others.
You can call it elegance, call it class or something similar.....what we mean is the application of precision, restraint and craft. Add those things to a film, along with artistic inspiration and you've got yourself a classic that will stand the test of time.
Watching "The Ghost and Mrs. Muir" again after who knows how many other previous viewings. we're still awed by its sheer state of perfection.....in its acting, production design, sumptuous music score, script and direction. 79 years later, it still casts an emotional spell over us.....(but only if you surrender fully to the story and the world it creates....)
We're back to the kinder, gentler turn of the 20th century in England, where determined widow Lucy Muir, (Gene Tierney) declares her independence from her shrewish, controlling in-laws. With her young daughter Anna (Natalie Wood) and housekeeper Martha (Edna Best), Lucy boldly rents a seaside cottage, even though it's haunted by the spirit of the roguish, boisterous sea captain Daniel Gregg (Rex Harrison).
The reserved but inwardly fearless Mrs. Muir and the brusque, imposing Gregg make an impossibly odd but strangely lovable match that to the subdued melancholy of both, can never be consummated. As their friendship and affection for each other grow over the years, Capt. Gregg chooses to vanish from Mrs. Muir's life, knowing he must let her experience the adventure of living in the real world and finding genuine corporeal romance.
But Lucy's only attempt at giving her heart away ends in such crushing hurt and betrayal that she remains an unmarried recluse for the rest of her life, waiting in hope to be reunited with the dashing Captain Gregg. (The rotten heartbreaking cad by the way, is well played by George Sanders, who'd come specialize in such roles.....)
You can scoff all you like at that plot description but the film presents this paranormal romance with full believability and commitment. Gene Tierney and Rex Harrison's pure and chaste love has wit, charm and a star-crossed aura of inevitable destiny surrounding it. Their story exists in its own self-contained snow globe universe.... and in the midst this mad cruel age we now live in, it's a soothing balm to revisit Mrs. Muir and Capt. Gregg every so often.
The combination of Tierney's exquisite porcelain beauty and Harrison's suave sexuality make them a one-of-a-kind coupling.....they never so much as touch, but you won't have any trouble feeling the longing and desire between them.
And let's now mention another of the film 's primary MVPs.....legendary composer Bernard Herrmann, who drapes the entire film with one of his richest, most achingly romantic scores ever....a score that even the famously cantankerous, irascible Herrmann thought of as his best work.
Which brings us back to that description of ....elegance. You can hear it in Philip Dunne's literate screenplay (taken from a novel by Josephine Leslie) and see it in Joseph L. Mankiewicz's expert, sure handed direction in bringing the best out of his cast.
That, BQ visitors, is what make classic cinema and makes us give this film nothing less than the 5 stars (*****) it deserves.
(And you can get when it hits its 80th anniversary next year, we'll be watching it yet again.)
Harry and Walter Go to New York (1976)
Yet another film that falls into the category of "Who ever thought this was a good idea?"
A lavishly budgeted, overproduced comedy, it recreates the teeming streets, theaters and vaudeville nightclubs of 1890's New York. And all of it photographed (as usual for period films made in the 1970's) in that muted, brownish desaturated color that signified 'a long, long time ago'.
And packed with the biggest superstars of the 70's....James Caan, Elliot Gould, Michael Caine and Diane Keaton. With direction handled by top A-list director Mark Rydell ("The Reivers", "The Cowboys", "Cinderella Liberty")
Only one huuuge problem here.....especially for a comedy.....
There's not a single minute of its 111 minute running time that's funny. Or even remotely amusing. In fact, it's damn painful to watch. All that money, time and talent thrown at the screen.....for nothing at all.
You'd need the Hubbell telescope to detect any humor in the script concocted by John Byrum and Robert Kaufman. With no trace of fun in sight, director Rydell concentrated on the decor and overall atmosphere, while allowing Caan and Gould to carry on like a dire blend of Abbott and Costello, Jerry Lewis and the Three Stooges. They're excruciating to watch in action, dripping in flop sweat and desperation.
The boys play Harry and Walter, terrible vaudevillians and petty thieves who find themselves locked up in prison along with suave, aristocratic gentleman safecracker Adam Worth (Caine, the only cast member who survives with his dignity intact.) Worth despises the bumbling duo, who accidentally set fire to the thief's luxurious, furnished prison cell. (Apparently, Worth's charm and reputation makes him beloved among the prison staff.)
Back in the big city, our dumb duo conspire to thwart Worth's next bank heist by robbing the bank ahead of him........with the aid of fiery progressive pamphleteer Lissa Chestnut (Keaton, in a waste-of-time role for her). This ridiculous caper involves the boys crashing a performance of an absurd musical, upending it with their own improvised, massively unfunny clowning, like a hellish remake of "A Night At The Opera". (At one point in this tortuous sequence, Gould dons blackface. Enough said.)
The only diversion anyone might take out of this trainwreck comes from the film's enormous roster of familiar faces in the supporting cast.....Charles Durning, Burt Young, Lesley Ann Warren, Jack Guilford, Bert Remsen, Ted Cassidy and many more.
Catastrophic from beginning to end, "Harry and Walter....", to absolutely nobody's surprise, flopped the instant it hit theaters, with the cast and filmmakers quickly disowning it. We wouldn't even recommend this film for fans of the actors involved.....for them, it might prove too heartbreaking to sit through.
Unfit on any and every level. Zero stars (0). Avoid it whenever it rears its ugly head....
Brimstone Hollow by Archer Sullivan (2026)
A Killer Plot by E.C. Nevin (2026)
My Killer Family Reunion by Dinesh Thiru (2026)