The Freshman (1925)

Directors: Sam Taylor and Fred Newmeyer
Writers: Sam Taylor, John Grey, Ted Wilde and Tim Whelan
Star: Harold Lloyd

Index: That's a Wrap!

I watched a lot of Harold Lloyd features back in 2005 and ranked this one up there with the best of them, but it doesn’t stand up to a fresh viewing the way that Safety Last! did two years earlier for its centennial. It’s cleverly funny, both because of Lloyd and its intertitles, but it has precious little substance to prop it up.

The premise is almost ludicrously simple. A young man, Harold Lamb, wants, needs, aches to go to college and he’s been accepted to one, Tate University, “a large football stadium with a college attached.” He wants to be popular, so prepares with glee, copying a movie character, The College Hero, right down to the little jig that its star, Lester Laurel, does as he greets people. In his mind, he’s already replaced Chet Trask, the most popular student at Tate.

Of course, that makes him seem ridiculous, a little endearingly, sure, but still ridiculous. It’s enough to gain unwelcome attention from the college cad, who pranks him quickly and often enough for it to become a big deal. Harold has become quickly known to the student body, a feat he interprets as popularity but isn’t. Only late into the movie is it made clear to him that he’s just the college boob.

Being There (1979)

Director: Hal Ashby
Writer: Jerzy Kosiński, based on his novel
Stars: Peter Sellers, Shirley MacLaine, Jack Warden and Melvyn Douglas

Index: 2025 Centennials.

I knew very little about Being There going in. I knew that it was a late Peter Sellers movie, it was something of a departure from his typical comedy and it landed him an Oscar nod. And I knew that it was still highly regarded, comedy often dating poorly but this one not so much.

I certainly hadn’t realised that it can viably be considered a cult film; that it was directed by Hal Ashby, who had made Harold and Maude; that it was written by Jerzy Kosiński, he of The Painted Bird fame; or indeed that it had won an Oscar for Melvyn Douglas, a Golden Age actor I’ve enjoyed in many films from the thirties.

Not knowing the story certainly helped. It’s a subtle comedy, meaning that one departure for Sellers was a need for him to underact for once. It’s an unpredictable comedy too, much of the fun for me arising through his character always telling the exact truth without anyone actually realising that.

The Phantom of the Opera (1925)

Director: Rupert Julian
Writer: uncredited, “from the celebrated novel by Gaston Leroux”
Stars: Lon Chaney, Mary Philbin and Norman Kerry

Index: That's a Wrap!

Just six months after a mysterious phantom wreaked havoc at the famous Paris venue, the Moulin Rouge, in the feature by René Clair, a fresh phantom followed suit at an even more famous Paris venue, the Opera House.

Lon Chaney’s make-up, designed himself, is a marvel that had the audience screaming and perhaps fainting in their seats when Christine unwisely rips off his mask to reveal the horror of his disfigured features. The scenes at the Bal Masque, shot in Process 2 Technicolor, are still gloriously striking, the Red Death’s robe a vivid reminder of blood. No wonder it meant a series of Universal horror movies that would define the genre for decades. After all, Chaney had given them their most successful film two years earlier, The Hunchback of Notre Dame. The success of this thematic follow up guaranteed a whole lot more. It merely took the advent of sound to progress the genre further.

Patrick the Great (1944)

Director: Frank Ryan
Writers: Bertram Millhauser and Dorothy Bennett, based on a story by Jane Hall, Frederick Kohner and Ralph Block
Stars: Donald O'Connor and Peggy Ryan

Index: 2025 Centennials.

Donald O’Connor is fairly best known for his Make It Laugh routine in Singin’ in the Rain. It’s one of the all time great scenes to drop the jaw of everyone watching in astonishment at what a human being can actually do. However, that was a result of a lot of work over a lot of years, going back to his days in vaudeville, starting at a mere thirteen months of age, as part of the O’Connor Family, the so-called Royal Family of Vaudeville, as they toured the nation.

By that point in his career, he’d become the sidekick but he got to that point playing leads for Universal in smaller pictures like this one. I’ve seen a few of them, but that one that blew my mind was Curtain Call at Cactus Creek, which I watched for Vincent Price’s First Thirty. It’s hardly a great movie and it ends horribly, but O’Connor is simply amazing in it, as the entire crew of a travelling troupe, doing every single behind the scenes task, often all at once.

Fright (1971)

Director: Peter Collinson
Writer: Tudor Gates
Stars: Susan George, Honor Blackman, Ian Bannen and John Gregson

Index: 2025 Centennials.

There are plenty of things wrong with Fright that I can’t ignore, but there are also a heck of a lot of things right with it that I can’t ignore either. With half a century of hindsight, it’s an impressively powerful pioneer of a movie that deserves more attention and I’m happy to give it some as a celebration of Honor Blackman.

I wasn’t aware of it until now, but this is the progenitor of the babysitter in peril movie, a title only challenged by a short from the same year, Foster’s Release, with Dan O’Bannon as the proto-slasher. Here, that’s the similarly named Ian Bannen, who’s far from a one note slasher.

The plot isn’t a strong point, because it does little more than the tagline on IMDb states: “A babysitter is terrorized by the child’s father, escaped from an asylum.” That’s pretty much it for story but not for the film itself because the actors, the director and, surprisingly, the sound editor all bring a lot more to the table.

Fortune is a Woman (1957)

Director: Sidney Gilliat
Writers: Sidney Gilliat and Frank Launder, adapted by Val Valentine from the novel by Winston Graham
Stars: Jack Hawkins, Arlene Dahl, Dennis Price, Violet Farebrother and Ian Hunter

Index: 2025 Centennials.

In many ways, this is a quintessential British film, but I’m watching it for an American, as Arlene Dahl would have been a hundred years old today. The next most prominent woman in the cast, Greta Gynt, was Norwegian, but made her career in British film. Dahl didn’t. She only made two films in the UK, Wicked as They Come in 1956 and this a year later.

Otherwise, the names are all British. Sidney Gilliat and Frank Launder, a famous team in a slew of genres, wrote the script. Launder took the director’s role for comedies but Gilliat for dramas like this and he did here. Jack Hawkins is the star, with other old faithfuls like Dennis Price, Bernard Miles, Geoffrey Keen and even a young Christopher Lee lower down the cast. It was based on a novel by Winston Graham, best known for his Poldark historical series.

I should emphasise that it’s a mystery, as it’s keen to start out like a horror movie. We chase through the countryside to an old dark house, then zoom inside in horror fashion to focus on a painting of the very same house. We zoom in there too and there’s a dead man’s hand. It’s a nightmare sequence, being suffered by Oliver Branwell, an insurance investigator.

Sally of the Sawdust (1925)

Director: D. W. Griffith
Writer: Forrest Halsey, from the play Poppy by Dorothy Donnelly
Stars: Carol Dempster and W. C. Fields

Index: That's a Wrap!

While the star of Sally of the Sawdust is Carol Dempster, playing, well, Sally of the Sawdust, the key name here is her co-star, W. C. Fields, because this is a pivotal film in his career for a variety of reasons.

For one, he plays a versatile show man, Prof. Eustace McGargle. His first and, for my money, most impressive routine is comedic juggling, a routine that’s perfect except when he doesn’t want it to be, at which point he loses balls but uses a quick foot movement to regain them as if nothing untoward had happened. It should not surprise that this was Fields’s specialty as a vaudeville performer.

For two, it’s based on a stage play from 1923 called Poppy. That wasn’t his first experience on Broadway, as he’d debuted in 1905 and was a regular in Ziegfeld Follies revues, but it was a lead role, with Madge Kennedy, that made his name as an actor. He was the only actor to go from play to film and he shot a sound remake, Poppy, in 1936, with Rochelle Hudson.

For three, the routine that gets McGargle in trouble is the shell game, though he insists it’s not gambling at all but a game of skill. “It’s the old army game”, he claims. This film and That Royle Girl after it landed him a contract with Paramount and his first film for them was It’s the Old Army Game.

Dont Look Back (1967)

Director: D. A. Pennebaker
Writer: D. A. Pennebaker
Stars: Bob Dylan, Joan Baez and Alan Price

Index: 2025 Centennials.

“Don’t criticise what you can’t understand,” Bob Dylan sang in The Times They are a-Changin’ in this film, which every critic should keep in mind as they review it. After all, it’s not your typical documentary and wasn’t in 1967.

Ostensibly, filmmaker D. A. Pennebaker was chronicling Dylan’s tour of the UK in 1965, but, quite frankly, this does a terrible job of that. I left knowing little more about that tour than I did going in, which wasn’t a heck of a lot.

I had to research online to find that it ran for eight nights in seven cities over ten days, that he only performed solo and acoustic and each gig was performed in two halves without support, prompting me to wonder why Joan Baez and Alan Price were there for much of it.

Locke & Key (2011)

Director: Mark Romanek
Writer: Josh Friedman, based on the graphic novels by Joe Hill and Gabriel Rodriguez
Stars: Miranda Otto, Mark Pellegrino, Sarah Bolger, Nick Stahl, Ksenia Solo, Skylar Gaertner and Jesse McCartney

Index: Unsold Pilots

There are probably a lot of ways to start an Unsold Pilots project but Locke & Key seems like the perfect one because there’s a long history that highlights how complicated the process is to bring a well known and successful property to television. It doesn’t hurt that my better half is a huge fan.

Locke & Key started out as a comic book, one with a huge name as writer, Joe Hill, who’s one of Stephen King’s sons, each of whom found a success of their own. It ran for six stories over six years, from 2008 to 2013, to great acclaim. It was inevitable that it would be adapted into something by someone at some point.

That turned out to be a TV show developed for Fox for their 2010-11 season. The pilot was made but not aired, though it was screened at San Diego Comic-Con. However, Fox passed on it, so no show was made.

Side Street (1949)

Director: Anthony Mann
Writer: Sydney Boehm
Stars: Farley Granger, Cathy O’Donnell, James Craig, Paul Kelly, Jean Hagen, Paul Harvey, Edmon Ryan and Charles McGraw

Index: 2025 Centennials.

Farley Granger was tempted into all sorts of trouble as the forties became the fifties. Alfred Hitchcock made him a murderer in Rope, then Nicholas Ray put him on the run for murder in They Live by Night and Hitch put him right back in the murder game in Strangers on a Train.

He’s a thief here—“no hero, no criminal, just human like all of us, weak like some of us but foolish like most of us”, as the Chief of Police tells us at the end. He sees an opportunity and he takes it, but then he feels guilty about it so does all he can to fix what he did. His problem is that he does all the wrong things, even if he does them for the right reasons.

Side Street has all sorts of flaws, but it works for me on two fronts. For one, it’s a beautifully shot exploration of New York, the city being a deeper and more substantial character than a bunch of the supposed leads. And for two, it’s a great unwitting descent, where we watch Joe Norson jump into a hole, then continue to try to dig his way out of it until he almost makes it to Australia. If you’re one of those moviegoers who likes shouting at characters on screens to not do the stupid thing they’re about to do, I’d highly recommend this one to you.