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26Apr/140

DVD Review: The Saint Double Feature

In 1941, George Sanders left the role Simon Templar in the Saint series and was replaced by Hugh Sinclair.

The contrasts between Sanders and Sinclair is pretty striking.  For Sanders, the Saint was an early highlight of a career that would see him earn parts in A pictures and even earn an Academy Award. For Sinclair, this was as good as it got.  Sinclair just didn't have the presence that Sanders did, and so both of his Saint films were below Sanders best stories. Though both films were better than Sanders subpar The Saint's Double Trouble.  

The Saint's Vacation (1941)  is the better of the two films and truthfully above average when compared to most 1940s B detective features. The Saint is on vacation and gets involved in international intrigue over a music box which serves as the stories Macguffin. It's not an original idea, but the execution of it in this film is pretty enjoyable. The end is somewhat frustrating and drawn out particularly since we never get to find out what exactly the hubbub was about other than that it was a Macguff.

The Saint Meets the Tiger  (1943) is based on the first Saint Novel and finds the Saint on the trail of international gold smugglers. Most of the movie is a little boring and hard to follow, so it's a bit below average. However, at the end of the movie, a madcap scene where the Saint's sidekick and girlfriend are knocking people out aboard a ship really livens things up.

So in short,  the two films are almost mere images of each other. The Saint's Vacation is an above average film that's pretty interesting in the beginning but is bogged down by a slow ending. The Saint Meets the Tiger is a below average film that's propped up by an ending that's a lot more fun than the film itself.

Overall, I'd give the DVD 3.0 out of 5.0 and recommend it only for Saint completists at its retail price.

 

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14Sep/131

A Look at the Nancy Drew Films

1938 and 1939 saw the release of four films starring Bonita Granville as Nancy Drew. In the film, Drew is a precocious teenager who is always stumbling into mysteries.

These are light mystery comedies with typical 1930s suspense stories. The mysteries aren't bad, but the comedy really reigns supreme. The books and the movies are like night and day. This was really standard Hollywood practice when they'd bring a detective to radio or film. They'd be far more likely to adapt the character to what was popular at the time rather than take a risk on making a movie based on what made the books work.

Thus Nancy while bright, intelligent, and brave, also makes some klutzy mistakes and can charge in too quickly to danger, making her a typical 1930s heroine.  Other changes are less clear. Why they changed the boyfriend's name from "Ned" to "Ted" I'll never know.

That said, the movies are good fun for what they are, light mysteries with a touch of Screwball comedy. The best of the films is the only one in the public domain: Nancy Drew, Reporter. It features a pretty intriguing plot and the comedy consistently hits with one scene where Nancy, her boyfriend, and two younger kids perform a song to get out of a tight spot in a scene that seems like an inspiration for the 80s cult hit Adventures in Babysitting.

Bottom: All four films are pretty fun but those expecting the straighter mysteries and the super competence of Nancy in the novels may be disappointed.

Rating 3.5 Stars out of 5.0

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8Sep/130

Video Theater 044: I’ll Name the Murderer

A gossip columnist investigates a murder.

Release Date: January 27, 1936

 

8Jun/131

A Look at the Mr. Moto Film Series

The Mr. Moto films have been released in two four movie box sets, though one film, Mr. Moto's Last Warning is in the public domain and has been available for years on dozens of DVD release.

Mr. Moto was created by James Marquand in 1935 and came to film in 1937 with Peter Lorre playing the role for eight films. All Oriental Detectives played by white actors are controversial, but in many ways, Lorre's performance is different from the portrayal of several actors of the character of Charlie Chan.

Moto speaks in far less proverbs and is also a very active character, a master of the martial and disguise. His capacity and exact reason for being a detective follow him around the world with plenty of intrigue and more than its fair share of violence with Moto killing a few of his enemies in the course of the series.

There were eight Moto films released between 1937-39. For the most part, they are quite enjoyable with well-written plots, great acting by Peter Lorre, and plenty of excitement to go around. Moto operates as a complete man of mystery in the first film with you not even knowing what he wants. The second features Moto on the trail of a treasure and establishes a far more Eastern character.

The first two films were top notch. The third film, Mr. Moto Gamble was actually originally intended as a Charlie Chan feature that was handed over to Moto. This showed up. While Moto did get to use Judo, this one was a bit of an oddball, but entertaining in its own right.

The fourth film The Mysterious Mr. Moto Takes a Chance finds Moto undercover in Thailand as an archaeologist, actually undercover under two false identities.  This film would introduce the worst element of later Moto films-the idiot sidekick. Here, it's a minor distraction but around the time of the seventh film, it'd really begin to wear.

The second half of the Moto films began with The Mysterious Mr. Moto which has Moto going undercover as a Japanese killer and escaping with another convict from Devil's Island and this one actually has Moto dealing with Anti-Oriental prejudice, a novel twist for the time.

The sixth film, Mr. Moto's Last Warning is a great film with the star of the original Maltese Falcon playing a villainous ventriloquist as Moto appears to have been killed off for most of the film.

The seventh film was still okay, but it Danger Island was clearly a declining effort. The stupid sidekick was more annoying and the inclusion of the gratuitous Black character afraid of "the spook" doesn't age well for modern audiences. While the mystery is clever enough, a bad casting choice mars the solution.

The Final Lorre film Mr. Moto Takes a Vacation is proof that most mystery series of the era went one movie too long.  Really,  Lorre was tired, the writing was tired. As the commentary on the DVDs recounted, Lorre had felt like the studio had lied to him and instead of giving him a variety of rolls, had simply changed from casting him a murderous monster to casting him as Moto.

Speaking of the commentary, I have to give credit 20th Century Fox. They did a fine job of assembling interesting and informative commentators who knew their Moto. Each one except the last Moto film had a mini-featurette on the Moto films, the culture of the time, or Peter Lorre.

The eighth film didn't have this. As an extra, it offered up a long lost 1965 Mr. Moto film starring Henry Silva that probably would have been better staying lost.  The Moto character had changed from the original Japanese character to a Japanese American with a strong Japanese accent in the 1950s radio show to Silva's Moto with no sign of being Japanese by any measure. Fox added as an extra, Mr. Silva providing commentary on the film. However, it became clear that the then 78 year old Silva had little real recollection of his work on the forgettable film forty years before, so instead he rambled on without any rhyme or reason for most of the film.

Putting aside, the issue with the eighth film (and it's awful extras), the Moto series at its best was well-done, exciting, and  entertaining. It's a great showcase for Lorre, particularly if you've only seen him playing him the villain.  Fox added some good extras and even the Silva film is of interest if you want to see anything with Moto in it.

Rating: 4.25 out of 5.0
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