brisky

This latest musical travesty from ABC, was missing the two vital ingredients that made Little Orphan Annie a national treasure. SPUNK AND ENERGY! We all know since Cinderella that these TV musicals inhabit a PC world of their own, which is fine. But what is wrong with having a really mean Miss Hannigan. She threatens the kids but she never hits them? What kind of a villain is she? Those little brats in the orphanage were meaner than she was. The Wicked Witch from The Wizard of Oz never touched Dorothy but her presence was menacing enough and her threats had teeth to them. Kathy Bates, who normally is wonderful, didn't seem to have a clue as to how to play the character. It seemed like every time she was getting ready to be really mean she would back off. Can this be the same Kathy Bates from Misery? and Dolores Claiborne? And while I'm all for giving newcomers a chance, couldn't they have at least chosen an Annie who can sing? Or if they couldn't find a singing one, couldn't they have chosen one who could act and dub in the singing? Who is that kid related to? For that matter, who is Victor Garber and why does he keep getting employed in these TV musicals? He doesn't sing that well and he can't act. Besides his head is too lopsided to be a bald Daddy Warbucks. Give me somebody with an nice head. John Schuck played Daddy Warbucks on stage and he did a great job. Why can't they hire somebody who knows what they're doing? Speaking of Andrea McArdle, besides the fact that the NYC number was terrible and I do mean awful, she is not the most attractive cookie on film. Her voice is good, but those veins sticking out of her neck when she hit the high notes. I thought her head was going to explode. I mean I'm all for sentiment, but there are lots of pretty or at least attractive girls out there who could have used this break. Andrea needs to be on stage with a flattering pink gel. Most of the musical numbers couldn't have been flatter. Maybe? Awful! Hard Knock Life! Stupid and pointless. Little Girls? You're Going to Like it Here? I couldn't help but notice that even though Oliver Warbucks had plenty of servants most of them were white (except for Grace). Does being terribly PC mean that good black singers and dancers have to wait for ABC to do the TV version of My Fair Lady so that they can play British gentry? What in the world was the director thinking? The only good number was Easy Street and that was entirely due to Alan Cummings, who truly understands how to have a nasty attitude. This musical will probably do well in the ratings and even though I want ABC to keep producing more musicals on TV, come on people, you can do better. Why don't they hire a director who's actually seen a musical and I don't mean The Wiz or A Chorus Line!? Who is the dweeb who directed and choreographed? There has to be a decent choreographer available. What about the person who choreographed for The Drew Carey Show or those Gap commercials? At least hire someone who realizes he doesn't have any good ideas and is willing to steal! I'll gladly point him in the right direction!

"A Free Soul" is best known as the film which cemented Clark Gable's film reputation and catapulted him into a 30-year career as the King of Hollywood's leading men. In the year of "A Free Soul", 1931, Gable had no fewer than 10 films in release, three of them, "Possessed", "Laughing Sinners" and "Dance, Fools, Dance" with his most frequent screen partner Joan Crawford. "A Free Soul" tells the story of the relationship between an alcoholic lawyer (Lionel Barrymore) and his free-spirited daughter (Miss Shearer) who come to an impasse when she takes up with one of his clients, gangster Ace Wilfong (Clark Gable). Miss Shearer is rejected by her high society family and becomes the possession of the brutal gangster who threatens her with a forced marriage (hey, it was 1931!) until her ex-fiance (Leslie Howard) shoots him. The last part of the story details Howard's trial and defense by Lionel Barrymore (who's final courtroom scene, shot with multiple cameras in one take, won him the Best Actor Academy Award). Although there is fine acting all around from Barrymore, Miss Shearer, Leslie Howard and the always excellent James Gleason, it is Gable who makes the greatest impact. His brutality towards Miss Shearer must have shocked the audience's of 1931 who were used to having her treated with respect by her screen lovers. But at the end of the picture, her relationship with Gable is much easier to understand than her less volatile, but more socially acceptable attachment to gentleman Leslie Howard (his murder of Gable, notwithstanding). The film vividly illustrates a popular theme of films at the time of a definite social schism. In a diatribe of non-equality between the "classes" as delivered by lawyer Barrymore, he illustrates that beasts like lower-class Gable can clean themselves up and cross the "tracks" to the upper-class but they can never really be accepted by their "betters." However, there were probably very few women in the audience who wouldn't have liked to have been pawed by Gable regardless of his social standing, at least once (or twice, if they were lucky). Director Clarence Bull ultimately would work with Gable in 10 pictures (6 with his co-star, Joan Crawford). Miss Shearer looks beautiful in designer Adrian's loose top, tight bottom bias cut gowns (a look which would typify MGM leading ladies in the early 30's). Her final courtroom entrance wearing a hat, a big fur and an Adrian gown would be copied on-screen for decades to come (Joan Collins first entrance as Alexis Carrington on TV's "Dynasty" comes to mind). Norma Shearer is obviously from the upper class, but passionate enough to take up with lug Gable and make her desire for him completely believable. Leslie Howard gives an understated but effective performance. However, with the sexual fireworks between Gable and Shearer he quickly fades into the background. This film is a good example of exactly what made Clark Gable into a star. It was also, probably the film that launched the phrase, "Who do you think you are? Clark Gable?".

This relatively unknown star vehicle is unusual for a number of different reasons. Although top billed, MGM Studio Queen, Norma Shearer's role is substantially smaller than co-star Robert Taylor's heroic turn as an American son desperately attempting to save his mother from a German Concentration camp. His mother is wonderfully played (and occasionally overplayed) by Nazimova, one of the great theatrical legends of the early 20th century. It's an interesting footnote, that it was Irving Thalberg who helped cut short the meretricious Nazimova's strange film career while his widow, Shearer, graciously allowed the former star to appear to great advantage in one of Shearer's last screen appearances. Conrad Veidt plays Shearer's Nazi lover and while he appears as icy and unyielding as he would two years later in "Casablanca", his character is softened somewhat by his un-disclosed illness and by Shearer's devotion to him. This film was one of the few made in Hollywood prior to the war which was openly critical of the Nazis (although they do hedge their bets by having a sympathetic German doctor, which gives the impression that more than a few intelligent German's disagreed with the Nazis. Significantly, this character does appear in full Nazi drag towards the end of the picture). Robert Taylor is given a very tricky part to play as a man determined to save his mother against all odds. With his masculine demeanor and his controlled sensitivity he gives a performance of great passion and conviction. Norma Shearer, looking regally beautiful and every bit the Countess, manages to convey the situation of a woman who desperately wants to help Taylor and leave her adopted country, but realizes that she must stay out of duty to Veidt, in spite of her true feelings. Felix Bressart also appears as the Nazimova's frightened but faithful servant, who helps Taylor escape. Bressart, who made a career of playing befuddled foreigners, is best known as one of the three Russian Communists in Ninotchka. Interesting casting was Bonita Granville, best known as the screen's all-American girl detective, Nancy Drew, here playing the role of a pro-Nazi student at Miss Shearer's finishing school (she would play a similar role in 1943's wartime propaganda film, "Hitler's Children"). The film was sumptuously mounted and stylishly directed by Mervyn Leroy the same year as he directed "Waterloo Bridge" also starring Taylor with Vivien Leigh. "Escape" is effective, at times shocking, but always vastly entertaining. Interesting footnote: Norma Shearer would turn down "Pride & Prejudice" and "Mrs. Miniver" both of which would turn Greer Garson into an MGM star much in the the same vein as Miss Shearer. Norma Shearer's last film, "Her Cardboard Lover" would also be opposite Robert Taylor.