This Elvis flick leans to the dramatic. Not great drama, mind you, but more serious than the usual EP Grade B frolic. By 1964, Elvis was getting too old to be convincing as an "angry young man," but he gave it his best shot. Elvis is the motorbike-riding rebel whose singing peps up business at a struggling carnival. Elvis clashes with the hard-drinking ramrod, Joe (Leif Erickson). Joan Freeman and Elvis moon around each other, but find romance a rocky road. Movie veteran Barbara Stanwyck lends stature to the film as the carnival owner. The song writing teams of Giant-Baum-Kaye and Leiber-Stoller wrote some of the music, but the results are only mixed. On the plus side, the ballad "Big Love, Big Heartache" and the comic "Little Egypt" number are worth the effort of viewing. The other music is less memorable. One amusing footnote is Pat Buttram as a rival carnival owner. This was shortly before he enjoyed popular recogniton as Mr. Haney on TV's "Green Acres." Given the movie's emphasis on the social mores of carnival folks, we wonder if Col. Tom Parker was in hog heaven, considering his carny background. The movie offers good Hal Wallis production values. Wallis once asserted he made flicks like this one to raise money for serious films like "Becket." He considered Elvis trivial but profitable. Elvis fans will be pleased with this movie, regardless. Sample the cotton candy fluff. ;-)

This movie is a peculiar entry in the Godzilla series. Back in 1985, it played to empty theaters, which may not surprise many people. The demeanor is serious. There is some camp humor, but that does not drive the movie. As Godzilla flicks go, this is an oddly pensive entry. Genre fans and movie critics alike typically dismiss this flick as a dud. As a vehicle that restores some of the grim dread and terror of the Godzilla image, it has merit. In some ways, it is a re-make of the first Godzilla film, and tries to bring everything back to square one. The special effects are an upgrade. Not great, but better than usual. Godzilla again attacks Tokyo. Explosive destruction ensues. Godzilla's great size and power is a source of awe and wonder to the puny humans. The Japanese fight back with advanced military technology. The story seems to be groping toward some vaguely realized ecology message. The script compares Godzilla to a force of naure, lacking evil intent. Much as a hurricane. The ending is brooding and enigmatic. True to tradition, there are spliced in scenes of Raymond Burr. The American military ask him to draw on his experience as a "Godzilla survivor" to advise them in combating the current menace. This movie isn't everybody's choice, but give it credit for trying to be different from the typical wacky monster fest. ;-)

Will James' collection of stories and illustrations is a beguiling antique, first published in 1927. The theme is the changing culture of the West during the first 25 years or so of the 20th century. Cattlemen and cowboys struggle with new methods and technology. Environmentalism is threatened. Cow country gradually changes ownership, and the stage is set for clashes in vision. Out on the Y-Bench spread, the new owner is a dude who tries to impose European ideas of saddles, livestock husbandry, and range management. Grizzled Bearpaw and the boys take exception to these mandated changes. Humorous confrontations ensue. In another story, two old timers just can't stomach encroaching civilization and head west for California, until real estate developers scare them back to Wyoming. The presentation of the book is more than its content. The many charcoal and pen-and-ink drawings look as rustic and hardened as the weather beaten cowboys, wild horses, and longhorns they portray. The first person narratives of the Westerners are rich with vernacular and colloquialism. The stories are lightweight, but hearfelt. More as written portraits than tales of Western adventure. Will James' work as an illustrator compares favorably with Remington and Russell. The book celebrates his love of the land and the animals, a change of pace for modern readers. ;-)

Typically, I have a bias against abridged editions of literary works. Nevertheless, prudent editing and abridgement enhances the casual reader's appreciation of this literary tome. Undergraduates working a required reading list for English Lit classes are on their own. Anyway, Samuel Johnson was a noted author and editor of the 18th century English literary scene. Instead of an exhaustive study of Johnson's life as author and editor, biographer Boswell compiled a series of anecdotes, quotations, and correspondence that is held together by his friendship with Johnson. Boswell's purpose was to capture the essence of the man. Johnson was adept at articulating pithy remarks with surgical precision. For example, "...a woman's preaching is like a dog's walking on his hinder legs. It is not done well; but you are surprized to find it done at all." The 18th century spellings, etc. remain intact. We have Johnson to thank for the familiar "...hell is paved with good intentions," and "Patriotism is the last refuge of a scoundrel." Boswell takes care to portray Johnson as sexually moral. After the death of his wife, Johnson (according to Boswell) was apparently celibate. Johnson rebuffed "women of the town," and said he wasn't interested in their carnal delights. Johnson told David Garrick, the actor, that he would not go backstage at the theater because "the white bubbies and silk stockings of your Actresses excite my genitals." As an interesting aside, the editor's introduction speculates that Johnson's relationship with the widow Thrale may have been sexual, with bondage overtones. Who knows? The description of London coffeehouses, theaters, and gathering places are heavy with 18th century atmosphere. Bottom line, reading this book is interesting as a curiosity. Its relevance for 21st century readers may seem limited, but don't let that stop you from sampling the fare. ;-)

Great music and delightful humor make this animated Christmas special of 1962 a holiday treat. Mr. Magoo (voice of Jim Backus) returns to Broadway to star in a musical adaptation of Dickens' "A Christmas Carol." In a hilarious prologue, we see the nearsighted Magoo dealing with big city traffic and creating havoc as he arrives late at the theater. Magoo, of course, is Scrooge. In an inspired moment, we view the play as if we are in the theater audience. We even have to peer around a lady wearing prominent horn-rimmed glasses. The curtain rises and falls with each act of the play. A lot of talent went into the making of this Christmas tale, including the voices of Jack Cassidy and Morey Amsterdam, but the original songs put this feature in a class all its own. The Cratchit family dinner includes the lively song about the Christmas that is more glorious than grand. Tiny Tim keeps chiming in about "razzleberry dressing" and "woofle jelly cakes." This is certainly a high point of the story. The tender song "The Winter Was Warm" prompts heart-tugging emotion truly unusual in a cartoon. Magoo manages a chuckle-headed charm as the cranky Ebenezer Scrooge. Humor is never far away amid the holiday sentiment. Note the "We're Despicable" song and dance routine, even down to the rat that is alarmed by Scrooge and the Spirit of Christmas Future at the window. Scrooge's encounter with the lad outside his house on Christmas morning is fine comedy. This is a great way to introduce the younger generation to the zany world of Mr. Magoo. ;-)

Roy Rogers discovers that the stepson of his old schoolteacher is riding the outlaw trail. Working with an unscrupulous cattleman, the young hellion commits murder and mayhem. What's even worse, the bad guys secretly try to market cattle inflicted with hoof-and-mouth disease. Roy must work quickly to save the ranchers of Sunset Valley from disaster.

Shortly before he made the the jump to Saturday morning TV in the 1950s, Roy Rogers made a new series of action-packed Westerns for Republic Studios. Filmed in "Trucolor," these pictures stress hard riding outdoor action rather than the intrusive musical numbers that plagued some of Roy's earlier films. Astride Trigger, billed as "The Smartest Horse in the Movies," Roy and his friends help the sheriff outshoot the bad guys. Dale Evans is present, but Bob Nolan and The Sons of the Pioneers gave way to Foy Willing and The Riders of the Purple Sage. Expect some singing, but not enough to impede the blazing six-guns. Pat Brady is around as Roy's comic relief sidekick. The violence is bloodless enough to qualify as "G" rated entertainment. The production values are Grade B, but nobody made Westerns like Republic. Some of the color tones have a green and blue tint that looks a little odd. Regardless, relish the nostalgia and introduce today's plugged in kids to the days when the West was really wild. Enjoy the ride. ;-)

This classic Christmas movie is a comfortable blend of music, romance, holiday sentiment, and humor. Okay, so I have a keen grasp of the obvious. Laying aside the sentiment, etc., I want to focus on the humor. For me, this is the real appeal of annually viewing this film. Danny Kaye and Bing Crosby are among the funniest comedy teams. Their snappy repartee rivals anything done by Groucho and Chico, Abbott and Costello, or even Hope and Crosby. Under the deft direction of Michael Curtiz, the comedy sparkles. Amidst the holiday schmaltz, zingers abound. Why they didn't cast Bob Hope in Danny Kaye's part is puzzling (maybe it was the dancing), but it was a fortunate choice. Early in the film, Danny's efforts to fix Bing up with a "dumb Dora" chorus girl gets the laughs going nicely. Later, after Danny announces his fake engagement to Vera-Ellen, the same blond nuclear scientist nasally intones, "Gee, I wish it would happen to me!" Danny deadpans, "So do I." The look that Bing gives Danny across the table as they contemplate a photograph of "Freckle Face" Haynes is priceless. Great timing and delivery by an enthusiastic cast carry the film over the potential pitfalls of frequent and lengthy song-and-dance routines, and the unlikely plot premise of the ex-general's problems. The lightweight story is merely a framework for the spirited singing and dancing. The minstrel show number is great fun, and nobody sings "White Christmas" like Bing Crosby. Multiple viewing only increases the enjoyment. By the way, fiscally speaking, "Wow" falls between "Ouch" and "Boiinnngggg!" ;-)

The stories of H. P. Lovecraft are difficult to adapt to film. Nevertheless, this Grade B movie is better than one might expect. Inevitably, there are some differences, but the tale of HPL's famous Cthulu Mythos cycle remains surprisingly intact. New characters appear that are not authentic Lovecraft. Sandra Dee's character introduces a sexual element that is anathema to Lovecraft's rather prissy sexual attitude. A side-view of Dee's bare left thigh and buttock is about it for the proclaimed nude scene. Dean Stockwell is not as monstrously horrific (in spite of his goofy hairstyle) as the Wilbur Whateley of HPL's story. Wilbur displays an obsessive interest in the dread book of evil, "Necronomicon," encased in glass at Miskatonic University. He speaks the incantations in a forgotten language that summon Yog Sothoth and the elder race of ancient beings from beyond time and space. Professor Armitage (Ed Begley) speaks the counter spell and tries to keep Wilbur from the book. Bearded Sam Jaffe is effective in a small role as old Wizard Whateley. In a flashback segment, draped in his dark cloak and carrying the rune staff of unholy sympbols, he summons the "Old One" who mates with his feeble-minded daughter, Lavinia, and spawns Wilbur and one other. In an eerie scene, the whippoorwills' wailing cry seek to capture the expiring Whateley's soul as it leaves the body, another authentic Lovecraft element. The dread Devil's Hop Yard atop Sentinel Hill is a grim setting of terror and sacrifice. When Wilbur's otherworldy brother escapes from his lair, initially invisible, he wreaks havoc on the remote farms in fine monster-on-the-loose fashion. The climax of the film, however, amidst the stone figures and high places lacks the powerful punch needed. Regardless, this is a good attempt to translate Lovecraft on film. Weird as it is, enjoy it. ;-)

Mike Hammer, Mickey Spillane's street-wise private-eye, has been on a seven-year drunk. His perennial girlfriend and licensed P.I. office assistant, Velda, died on a bodyguard job that Mike should have handled himself. Hammer sobers up very fast when a dying secret agent tells him that Velda is still alive, but in danger. In this throwback to the Cold War, Hammer embarks on another case of murder, mayhem, and espionage. On a rainy night, the girl hunters prowl. When Hammer encounters the dread assassin known as "The Dragon," he strikes both tooth and nail.

Mickey Spillane's writing is something less than literary, but the fast pace holds the attention. In this era of veritable tomes by Tom Clancy, etc., Spillane's succinct mystery adventure novels (i.e., less than 200 pages) are a quick hit of gutter tough action. Mike Hammer boldly proclaims his rightwing political beliefs at the business end of his rod, a .45 Colt automatic. A running theme in the writings of Mickey Spillane is the aggressive and violent pursuit of "commie slobs." Bureaucrats and politicians who coddle nefarious elements should beware the day of the guns. To his credit, Spillane does an effective job of capturing the essence of the underside of New York City, both its stenches and forbidden delights. His first-person narrative features slang and jargon of 40 years ago. We imagine that Hammer's lifestyle of cigarettes (deck of Luckies), beer (Blue Ribbon), and unprotected sex (every sex kitten in sight) causes fear and trembling in the politically correct crowd. Hammer's unbridled male chauvinism is another amusing relic of a bygone era. Published in 1963, this book is typical of the second phase of Spillane's productive years as a novelist, after his first spectacular burst of popularity in the early '50s. Enjoy the action. ;-)

Movie critics are not impressed with this movie. We have to disagree with the so-called experts; this is a hilarious comedy. Looking beyond the sentimental trappings, the strength of the film is the droll exchanges of the three convicts: Joseph (Humphrey Bogart), Jules (Peter Ustinov), and Albert (Aldo Ray). With their pet viper, Adolph, the trio saves the Ducotel family from financial ruin by using their criminal skills to foil the real villains. Their interactions with the loving Ducotel family begin to soften their jaded view of humanity. As things get emotional on Christmas Eve, observe the comic arrival, mock trial, and execution of evil Cousin Andre Trochard. After Cousin Andre expires, the boys have trouble getting the body discovered by a "legitimate" person, another hilarious segment. Veteran director Michael Curtiz deftly displays a fine flair for timing and stinging humor. Bogie is good at deadpan delivery. As a slick con man, note his ability to sell the bald-headed customer hairbrushes. Peter Ustinov is funny as a polite sex-fiend and murderer. He drools longingly over a hefty lady customer of the Ducotel store and recalls occasions by date of when he was happy. Aldo Ray, another lady-killer, gives the innocent daughter, Isabelle (Gloria Talbott), amusing advice on seduction. Basil Rathbone plays, well, a Basil Rathbone type as coldhearted Cousin Andre in a ridiculous tasseled nightcap. Leo G. Carroll is lovable and befuddled as Felix. Joan Bennett rounds out the cast as his attractive younger wife, Amelie. The movie, based on a play, looks a little stiff and stagy in places. Beyond this minor quibble, it's great fun. ;-)