I’m excited to announce a new venture coming to a YouTube channel near you. As early as next month, you will be able to check out a new video blog program of TV and movie reviews, author interviews, comic book commentary, and lots of other fun stuff. The program is called The Two Towers Talk Show, co-hosted by John F. Allen and me.
John and have a mutual love for all things geeky, and though our opinions are often in sync, they diverge just enough to lead to interesting conversations. Which we can hold. For hours. And hours. But never mind.
What can you expect from the Two Towers Talk Show?
Movie and TV Discussion Comic Book reviews (mainly from John) Classic / old movie reviews (mainly from R.J.) Author interviews Guest hosts
All done from Indianapolis and with a strong emphasis on Indie and Small Press authors, and on Indy region special events.
Over the holidays, John and I had the same idea at pretty much the same time. It was John who approached me about doing the show, to which I said “I was gonna call you and discuss doing something like that.”
So while I’ve been putting the finishing touches on my latest novel, John has bolted forward to create a foundation, creating a logo and setting up dedicated outlets. Click to join us on Facebook, Twitter, the YouTube Channel, and the blog, and check back regularly for updates.
I’m looking to have my own small feature dedicated to old / classic movies, horror, SF, and other interests, presenting a sort of cranky old man perspective on why these movies still matter. And my first topic will likely be a beef I have with certain young bloggers who have taken to dissing Stanley Kubrick’s masterpiece 2001 A Space Odyssey and Robert Wise’s Star Trek The Motion Picture because they’re “slow and boring.” (Spoiler: no, they’re not).
John and I have had many discussions about the various directions the show may go, but things like this are best grown organically, and that’s how this will unfold. So watch for more updates from the usual outlets, and join us as John and I launch into this new venture.
Popular Consensus: Marilyn shows off her comedic chops in this madcap comedy about three women trying to get their hooks into various rich guys.
How I see it: Whatever. And when I say “whatever” to a film co-starring Lauren Bacall, you know something’s wrong. This movie almost fell under “bad” but I’m in a good mood today. Maybe it was edgy at one time, but it’s eye-rolling today. How to you make a knockout blonde like Marilyn look “nerdy” and intelligent? Put a pair of large goofy glasses on her face, of course. Ho. Ho. Ho. Look at the image to the left. Is that hysterical to you? Right. That’s my point. Add to that, some near-sighted jokes that make Mr.MaGoo look sophisticated, and it all adds up to a movie you can take or leave, and you’re probably better off leaving.
“Known for” Marilyn Moments: None that I’m aware of.
Jane Russell and Marilyn as two odd couple show girl best friends who keep getting into silly trouble.
Popular Consensus: A sex-comedy musical with Marilyn at her best.
How I see it: Okay, this one *almost* ended up in the good column. To be fair, there’s much to like here. The comedy is snappy, Jane Russell is also quite easy on the eyes, and there are at least two landmark musical numbers. The great moments are draped around a plot that barely exists, making the movie as a whole pretty generic, and as a result, one that doesn’t get a lot of replay in my collection. But that’s just me, you may feel otherwise. Even as I get ready to post this, I wonder if I’m judging too harshly. You decide and send me a nasty-gram. I may even admit I deserve it.
Popular Consensus: Marilyn delivers a riveting performance as a femme fatale.
How I see it: Here’s another one that almost ended up in the “good” category. This film doesn’t work for me, and I think it’s because the plot is a 1940s film noir. You have Joseph Cotton (!) as the troubled husband, Marilyn as the no-good wife plotting to do him wrong, the Naïve Young Couple as innocent as driven snow, the “other man” waiting in the wings to do in the husband. There are no characters here, only archetypes. Once you know the types, the movie proceeds exactly as you expect, including the “plot twist” you see coming a mile away.
Add to that, film noir should be that–dark. Black and white, lots of shadows. We need Humphrey Bogart in here somewhere. Instead, this plays in lavish Technicolor. It’s a disconnect.
But that’s just me. Again, there’s a lot to like here, just not enough for me to recommend it.
“Known for” Marilyn Moments: Posing under the covers with the shadow of vertical blinds across her face. She gives great strut in one party scene–seriously, the movie is “known” for these things.
Cowboy and son and Marilyn on a raft escaping Indians.
Popular Consensus: A troubled production and missed opportunities resulted in an overall disappointment, then and now.
How I see it: I concur. The movie wants to be liked, and lays on the sweetness a bit thick. Rancher Robert Mitchum and his son end up taking Marilyn, playing yet-another showgirl, across the river to escape rampaging Indians after Marilyn’s no-good boyfriend causes trouble for everyone. Suffers from too many western clichés. One particular eye-roller is when Marilyn breaks out into song in the middle of the woods with a hidden band accompanying her. The blue screen rafting scenes that make up the last 20 minutes of the film do not hold up. It all plays out predictably and overall underwhelmingly.
“Known for” Marilyn Moments: None that I am aware of.
Marilyn turns psycho-babysitter in a low budget black and white thriller. Seriously.
Popular Consensus: For the most part, overlooked.
How I see it: A black and white thriller early in Marilyn’s career in which she plays a babysitter hired to watch a young girl in a swank hotel room while the parents attend a party downstairs. It’s clear early on that Marilyn’s character has mental problems and suffers from some post traumatic stress, and that the night may lead to some Very Bad Things. Though the credits say otherwise, this movie plays very “B picture”, and that’s not a bad thing, given the mood.
It’s a surprising film, and another movie I almost moved to the “good” category. I give Marilyn credit for tackling this role, and even more surprising since she landed it fairly early in her career. She has some chilling moments, but putting my fanboy perspective aside, the role gets away from her. She just doesn’t have the acting chops to hold this one together, though as a curiosity piece, I find myself watching it fairly often.
Marilyn has tiny parts in the film classics All About Eve and The Asphalt Jungle. Both are great films for reasons that have almost nothing to do with Marilyn.
On the other hand, she also has a tiny part in Clash by Night, a fairly wretched film noir wanna-be with some of the most painful dialog ever delivered by any actress (in this case, Barbara Stanwyck). (And directed by Metropolis fame Fritz Lang! WTH?) The best that can be said here is it’s not Marilyn’s fault.
So there you have it., Feel free to comment and tell me if my ratings were good, bad, or meh.
The Good, the Bad, and the Meh
(Because Marilyn can never be “Ugly”.)
Even a raving fan, if they’re honest, will tell you Marilyn Monroe cinema is like dancing across a landmine. Unlike other Hollywood icons, such as Alfred Hitchcock or Humphrey Bogart, it’s just not wise to go to the library and pick up a random title from her catalog. The quality is all over the place. Some films, frankly–and I say this as a fan–are so awful that they may put you off to ever trying another. You can’t even count on the film’s reputation! (more on that as we go)
And that would be a shame, because when Marilyn is good, she’s really good. Unfortunately, when she’s bad….it’s not always in the good way.
And so, with TCM preparing to air every major Marilyn film this Saturday, August 4, on the 50th anniversary of her death, [as written in 2012–alas, Marilyn is conspicuously missing from the TCM Schedule in 2015] I offer my expertise on where to begin, what to avoid, and what won’t scar you but won’t impress you, either. My opinion on some of these films differ from “popular consensus” and I’ll also tell you where that’s the case.
Arguably the very best. Marilyn shines when she has strong support and you can’t get much stronger than a Billy Wilder-written and directed film co-starring Jack Lemon and Tony Curtis. Jack and Tony are two musicians on the run from mobsters when they get a chance to join a traveling band to Florida–an all-girl band! So they man-up and channel their inner drag queen to blend in as “Geraldine” and “Daphne”, and, as they are “executive transvestites” and still dig girls, they’re attracted to and rival for the band’s lead singer, Marilyn.
Accolades and popular consensus: A smash hit when it first came out, the film is recognized on two AFI’s top 100 lists, including the #1 spot on their Top Comedies list.
It’s no accident that Marilyn’s best comedic moments occur in Billy Wilder-directed films. Seven made Marilyn a superstar, with a lot of help from Tom Ewell as a stressed out husband and Dad who remains in Manhattan to work while the family escapes the heat of the summer (before A/C was common). He’s determined to stay focused until he gets his first look at the blonde who just moved in to the apartment upstairs.
How I see it: It’s still hysterical, even if the “edgy controversy” of its subject matter–a family man contemplating infidelity! Played for laughs! Heavens!–plays quaint today. The first ten minutes of this one are fairly insufferable–the credit sequence is meant for a VistaVision big screen and is illegible on video. And the twinky music! It takes several minutes of before the movie finds its stride, but it’s worth it.
Accolades and popular consensus: Another hit out of the box, a triumph for director Billy Wilder in his long list of triumphs.
“Known For” Marilyn Moments: The famous blowing skirt scene comes from this film, though compared to the publicity photos, the filmed version is fairly subdued.
Starring Marilyn Monroe, Clark Gable, and Montgomery Clift, written by Arthur Miller and directed by John Huston. (Eli Wallach and Thelma Ritter kick ass in this, too). The Misfits is a drama scripted by famed playwright and then-husband, who wrote it for Marilyn to executive-produce. (No, Quantum Leap, she didn’t frickin’ audition for the frickin’ part, you frickin’ morons–ahem, sorry, derailed by a sidetrack). The script plays to her strengths. What I’m going to say next is strictly my opinion, but I’m sticking to it–by having the character tipsy or hung over most of the film, Miller turns Marilyn’s problematic condition onset into an advantage. So give it up for the brilliant writer. (Yes, I went there).
Marilyn, a recent divorcee looking to escape from the city, hooks up with cowboy Clark Gable out in the country to learn all about the “the easy life.” Of course, she learns that getting away from it all is anything but. The more she tries to acclimate, the more she clashes with those around her.
The film builds to an extended sequence in which the cowboys take Marilyn on a Mustang wrangling trip–those sensitive to images of animal mistreatment be warned. As Marilyn runs around begging the cowboys to stop what they’re doing, the movie pulls no punches in showing a family of horses being taken down one at a time. [Spoiler–It all works out for the horses in the end]
Accolades and popular consensus: In spite of the mega-stardom behind and in front of the camera, the movie bombed on initial release. Gable had a massive heart attack shortly after the production wrapped, and The Misfits could not shake the stigma of being “the film that killed Rhett Butler.” In recent years, the film has been revisited and is receiving the proper credit it deserves.
“Known For” Marilyn Moments: Though she lived to see the film open, The Misfits proved to be Marilyn’s final film as well as Gable’s. She has several great moments in this film, my favorite being the screaming fit breakdown toward the end of the film.