conn24h

I enjoyed this movie very much - in a "sitting in front of the TV with munchies" kind of way. Nothing wrong with that. Its not a great picture, and you can see the end coming a mile off, but nonetheless its all good fun if that's all you're looking for. The thing is, all the way through the picture I couldn't help wondering whether or not the writer had seen the 1961 Hammer film (British) CASH ON DEMAND which starred the wonderful Peter Cushing and Andre Morrell. It is basically the same story, though the earlier film is, by its very nature, much more subdued and also much more subtle. I suggest anybody who either likes or dislikes FIREWALL take a look at CASH ON DEMAND and see how it should be done!

Whilst I agree entirely with thedoge and simuland - especially regarding the incredibly unfunny racist treatment of the two piano removers at the beginning (I presume it WAS meant to be funny!), I thought I'd point out a few things to any possible Ellington fans who may seek out this movie just to see the 1929 band in action. Be warned: the sound quality is awful. The band performs less well than on any of the studio recordings of the period, and every number is tailored to the various dance routines. "Black Beauty" is particularly horrendously butchered, and with a cheesy coda added for no apparent reason except to underline the fact that it has thankfully come to an end. "The Duke Steps Out" - a marvellous recording from the Victor studios, is taken at snail's pace - again to accommodate the so-called dancing I would imagine. What on the studio recording is a brilliant passage for the three trumpets, here is taken down an octave, and they don't even make it together! Nanton's trombone sounds way off mike, and although he is perhaps the major soloist, he doesn't even get properly in any of the shots - all of which are dominated by the oddly unsexy dancing of the semi-naked chorus girls. The opening has Ellington at the piano and Artie Whetsol with his trumpet 'learning' the intro to "Black and Tan Fantasy". It doesn't have much to do with anything, but Ellington buffs might like to note that Whetsol does not use the rubber plunger and pear (pixie) mute (in the manner of Bubber Miley) but an ordinary Harmon mute. Odd - Whetsol was quite adept with the plunger (check out the Vocalion recording of "Take it Easy" where he has to play Bubber Miley's part because the latter didn't show up for the session!) so why not use it in the movie? This brings me to the final number, "Black and Tan Fantasy". Ellington had already recorded this several times by the time this film was made, and it was one of his most well known compositions. It was co-written by the aforementioned Bubber Miley, who was also the featured soloist. What a shame he had left the band shortly before the film was made. I remember being extremely disappointed to discover that he was not in the film when I first saw it back in the 70s. For some reason (its not dancers this time!) the arrangement is altered quite drastically from all the previous recordings, with a clarinet solo from Barney Bigard added in place of Miley's 2nd chorus. (Maybe Duke felt Whetsol wasn't up to two choruses, but I doubt it). Once again Whetsol uses the Harmon mute instead of the plunger, and even more interestingly Joe Nanton, the trombonist, does not use the trumpet straight mute inside the bell underneath his plunger, as he does on all of the studio recordings. The result is an out-of-tune muffled sound that hardly sounds like Nanton at all! This is capped off by a ridiculously over-recorded bass (Wellman Braud) which detracts from everything else. There's also a weird organ coda tagged on the end, which has nothing to do with anything, and the obligatory negro gospel type choir making a meal of it. I'd love to know how much say Ellington had in all of this - not a lot me thinks! But, having said all that, its still the band, and its a worthy historic document. Thedoge and simuland have said everything else. What a shame its nowhere near as good as it COULD have been!

Not as good as the first Phibes movie (The Abominable Dr...) but jolly good fun, so long as you're not expecting a horror movie! This is a comedy! The double act of Peter Jeffrey and John Cater as the bumbling police officers Trout and Waverley are a joy. Vincent Price, himself, often portrayed his characters with tongue firmly in cheek, (witness the AIP Corman series of E A Poe titles) and this is no exception. What I would like to know is what is the obsession with dance band leaders and jazz cornet/trumpeters all about? OK, its set in the 20s, (allegedly!) and the mechanical band look like an old dance band of the time, or is it just another in-joke probably lost on most viewers? I'll explain: Beiderbeck (Bix Beiderbecke - legendary cornettist, who died of drink at 28); Hackett (Bobby Hackett - cornettist often compared to Bix for his lyrical style); Baker (Harold "Shorty" Baker - one-time trumpeter for Duke Ellington. Or even Kenny Baker, English trumpeter of considerable ability); Shavers (Charlie Shavers - highly accomplished trumpeter from the 'swing era'); Stewart (Rex Stewart - cornettist with Duke Ellington during 30s/40s). Get the picture? Then we have two band leaders: Ambrose (English dance band leader from the 30s) and Lombardo (Guy Lombardo, Canadian dance band leader from the 20s and 30s). Obsessive or what? Never mind, I just thought I'd point it out!!!! Its still an enjoyable load of old nonsense all the same. 10 out of 10 for cheekiness, but overall a 7.