BobLib

"The Bulldog of Bergen," Jim Braddock was a fighter who came out of the depths of the Depression to win the World Heavyweight Championship against incredible odds, one who lived to see himself honored as a folk hero, a legend of sports, and one of New Jersey's first citizens. Had he lived long enough to see Ron Howard's excellent film on his life, "Cinderella Man," he would have almost certainly approved.

A box-office disappointment when released, and all but overlooked at the Oscars, "Cinderella Man" is, nonetheless, one of the best films of 2005 in the opinion of everyone I've known who has seen it, as well as myself. As much as Peter Jackson in "King Kong," Howard and his team take a grimy, unsentimental look at the Depression Era that is both fascinating and unsettling at the same time. The New Jersey/New York area of Braddock's time, as well as such venues as the old Madison Square Garden Bowl in Long Island City, are faithfully and meticulously recreated. Howard's direction is, as always, right on top of things. The pace doesn't slacken for a minute, the storytelling always grabs you.

But technical aspects are only part of what makes a movie great. There are also the performances, and in this respect, "Cinderella Man"'s cast doesn't disappoint. Russell Crowe gives his best performance yet (And, no, I'm not forgetting Howard's earlier "A Beautiful Mind") as Braddock. He doesn't play the part, he IS the part, gentle and loving with his family, a hard worker on the docks, a tiger in the ring. Renee Zellweger effectively de-glamorizes herself as Braddock's loving wife, Mae, tender yet tough. Paul Giamatti definitely earned his Oscar nomination as Braddock's best friend/manager Joe Gould, who won't give up on Jim even when everybody else has. And Craig Bierko gives an appropriately over-the-top performance as Max Baer, Sr., the flamboyant champ, a devil with the ladies and in the ring, whom Braddock challenges for the championship. This was the performance that motivated Baer's son, actor/producer Max Baer, Jr. (Jethro on "The Beverly Hillbillies"), to sue the producers, claiming, justifiably, that they presented a very one-sided view of his father, turning him, for the sake of a good story, into a villain he was far from being.

All in all, a great movie about the triumph of the human spirit. Once you see it, you will never forget it, and always want to come back again.

Incidentally, the DVD of "Cinderella Man" (a nickname for Braddock coined by Damon Runyon) features several interesting bonus features. There is a commentary track by Ron Howard, cut scenes, newsreel footage of Braddock in action, and interviews with Braddock's family.

While not generally associated with the great horror films of the early 1930's, MGM certainly made some noteworthy contributions to the genre during that period, most notably Tod Browning's great trio of films: "Freaks," "The Devil Doll," and "Mark of the Vampire." And then there is the fascinating "The Mask of Fu Manchu," directed by the underrated Charles Brabin and starring the man who, by 1932, had established himself as Hollywood's master of the macabre, the great Boris Karloff.

Forget the convoluted plot, involving a lot of twists and turns trying to receive the mask and sword of Genghis Kahn. The script, as with Sax Rohmer's original novel, hews closely to the western view of Asians during the period as a sub-human "race" bent on bringing death and destruction to the good, pure, non-racist (Ha!) Caucasian peoples of the world. Concentrate, instead, on Tony Gaudio's fluid camera-work, Cedric Gibbons' suitably elaborate production designs, and Adrian's equally elaborate costumes.

Focus especially, though, on the performances, which are the heart of this film. Rarely did Karloff convey more sheer, unadulterated menace than here as Fu Manchu. From the first time we see him, his face distorted behind a magnifying glass, to the climax as he prepares to lead his "yellow hordes" on an orgy of death and destruction, he dominates every scene and commands your attention all the way, like the consummate actor he was. Lewis Stone comports himself with the innate dignity he brought to every role as his adversary, Inspector Neyland Smith. Likewise Jean Hersholt as the archaeologist Von Berg. Future Durango Kid Charles Starrett and 1930s ingénue Karen Morley are appropriately bland and attractive as the young lovers. Finally, there is the young Myrna Loy, just on the cusp of major stardom, playing the last of her many early faux-Asian vamp roles as Fu's sadistic daughter. To see her going almost orgasmic at the sight of Starrett being tortured is to witness pre-code high camp at its best.

In short, see "Mask of Fu Manchu" for what it is: A true camp-fest of large proportions and solid performances, particularly by Karloff and Loy.

While all of the Fleischer/Famous Studios "Superman" cartoons are excellent, "Billion Dollar Limited," the third in the series, is probably the best of the lot in terms of overall animation, plot, and pacing. Why it wasn't even nominated for an Oscar as Best Animated Short for 1942 (Incredibly enough, only the first one was) in inexplicable.

Here, Lois Lane is assigned to cover the transfer of one billion dollars in gold to the U.S. Mint. Masked gangsters in their super-powered (for 1942) car take off after the train, determined to get that gold. Without giving too much away, what ensues is a thrill ride for both the characters and the audience, with truth, justice, and Superman triumphant at the end.

As they did in all the Fleischer/Famous Superman cartoons, Clayton "Bud" Collyer and Joan Alexander, who played Clark Kent/Superman and Lois Lane on radio, have the voice work honors here, and Fleischer perennial Jack Mercer gets a little to do as one of the bad guys, as well.