Co-writer-directors Philip Gelatt and Morgan Galen King, alongside actor Larry Fessenden, join me to talk about their upcoming dark-fantasy adult animation feature The Spine Of Night. The film will be available on Shudder from 24th March 2022
You can follow The Spine Of Night on Twitter and watch on Shudder, in the UK, from 24th March 2022. It’s currently available to stream on a number of platforms in the US, where there is an upcoming DVD and Blu-Ray release on February 1st.
Cert – 15, Run-time – 2 hours 18 minutes, Director – Adam McKay
Astronomers Dr. Randall Mindy (Leonardo DiCaprio) and Kate Dibiasky (Jennifer Lawrence) set out to tell the world of a large comet set to wipe out all life on Earth in just six months time, after the American government and major tech companies fail to react, instead looking at how they can gain from the event.
There’s an almost unexpected sense of anxiety and panic within Adam McKay’s Don’t Look Now. An increasingly thick feeling of real-world doom as the seemingly unstoppable impact of a planet-destroying comet grows ever closer and increasingly politicised. For months astronomers Dr. Randall Mindy (Leonardo DiCaprio) and university student Kate Dibiasky (Jennifer Lawrence) have been trying to tell the world of the planet killer which is just six months away, however the best they’ve gotten is becoming social media memes or daytime TV personalities. Getting the word out themselves, even with the help of a great Rob Morgan as key NASA figure Dr. Teddy Oglethrope, has proved more difficult than they thought, after the response from the American government and major tech companies has been about how the comet can be used for their own gain, both personally and in the eyes of the public.
Yet, McKay’s latest strays away from just targeting such figures. It’s certainly not a “nobody is safe” type film, but Don’t Look Up is the least specifically targeted of his more recent efforts. Showing how the world may very well react, or indeed fail to react, if threatened with impending, but potentially stoppable, doom. Jabs at social media and growing trends in relation to the event feel well done and at points unfortunately believable, increasing the level of engagement and satire within the piece. It balances the bursts of humour – not always jabs or shouting for attention to be recognised as parallels to the real world – well with the lightly (yet growing) dramatic nature that it largely holds throughout. As DiCaprio and Lawrence become increasingly frustrated and worried about what will happen to them and the whole planet if nothing is done.
Unlike McKay’s previous film Vice where the central figures were meant to be unlikable this is a film where largely the main characters are in the right – even if on some occasions they do go down predictably wrong and questionable routes as their influential statuses grow from their TV presences. The villains, wrongdoers, and figures who are trying to profit from the death of the planet are those which cause the frustration, but we’re not meant to connect with them meaning that it’s easier to connect with the film as a whole. What further helps the piece is that it feels more narrative than character led, allowing for a sense of interest to be sparked when it comes to how things are going to pan out. In this slightly recognisable satirical world it does feel as if anything could happen by the very end.
Where the film becomes more of a commentary on political divide is in the second hour where Mindy and Dibiasky almost get pushed aside for a short amount of time. It gives chance for Meryl Streep’s slogan-branded-cap-donning, undeniably Trump-influenced President to take to the stage and develop her side-arc in the build-up to the finale, working with tech billionaire Peter Isherwell (Mark Rylance – perhaps the only truly naff performance in a film that has its fair share of (not so) heightened parody, see Jonah Hill as the President’s son and slightly ignored chief of staff, and a very funny Ron Perlman as a Medal of Honor recipient with views of “a different generation”) to gain precious elements from the comet. However, once the original pairing properly return after a brief 20 minute breather the film comes back to form in multiple ways. DiCaprio’s anger is felt, creating a sense of unease and tension that is truly felt in his on-air rants on an otherwise light-hearted gossip show (anchored by the booze and banter-fuelled personas of Cate Blanchett and Tyler Perry). Fear begins to set in during a number of highlight scenes as the film truly hurtles through its final stages, with the viewer never quite knowing where, or how, it will end.
It’s certainly well-handled by McKay who keeps track of the events well and makes sure the viewer is aware of the increasing panic throughout the film, while still managing to create a well-balanced satire and light drama. The chuckles are there, but so is the growing anger within DiCaprio and Lawrence, both of whom are strong leads in bringing the viewer on board and into the unfolding narrative, with the various figures who don’t appear to be treating the extinction-level threat with the seriousness that the astronomers think (know) that it should be. It makes for an enjoyable, sometimes uneasy, watch; perhaps just as McKay intended. Not specifically targeting one group of people, capturing a fair deal of the modern day in its representations, responses and reactions to the events that pan out over the mostly quickly-passing run-time.
Perhaps Don’t Look Up is a film very much of its time, it certainly feels like it is – largely in regards to some of the political references which luckily don’t feel too out of date as of the moment – but, for the time and this very moment it’s a film that largely works. Creating both knockbacks, tension and humour through its modern leanings and depictions, much of which is caught through the frustration of the DiCaprio and Lawrence’s central two figures who help bring you on board and into the flow of the luckily event led narrative.
With a narrative led more by events than characters Don’t Look Up manages to stir up tension and occasional humour within its largely well-acted drama. Rattling along with a fine pace to keep your engagement it may be of its time, but very successfully so.
During the week-long production of a peak-popularity episode of I Love Lucy Lucille Ball’s (Nicole Kidman) career and personal life are thrown into spiralling worry for her and the producers after a series of potential and actual revelations.
It’s 1952. I Love Lucy is the most popular show on American TV. Nearly the whole country stops just to watch it on a Monday night. Lucille Ball (Nicole Kidman) is perhaps one of the most famous and influential figures in the country with her leading role in the sitcom. However, while the show appears to be at its peak – and only just setting out on its second series – we’re meant to believe that Ball is still a risky presence on set due to a series of flops and struggles in her past – her status, as an increasingly un-bankable ‘aging’ figure, seems to be, at best, “queen of the B-movies”. This is only career-wise; as writer-director Aaron Sorkin’s film covers the week-long production of an episode of the show there’s plenty more for Ball, the producers; particularly increasingly stressed head-writer Jess Oppenheimer (Tony Hale), and her husband and co-lead Desi Arnaz (Javier Bardem) to worry about.
It all starts when Walter Winchell announces historic links between Ball and the Communist party – risking both the show and Ball’s career before production of a new episode can even start. The lawyers and producers are immediately on the case, brainstorming ideas of how to deal with this if anything further arises. As if this isn’t enough to deal with Lucille and Desi, who she begins to believe might be having an affair, both looking for more involvement in the show – particularly as they both begin to seek more control in terms of production – announce that they are expecting a baby, truly altering the course of the rest of the series. The way is paved for a series of beats and ideas that pop up every now and again over the rather lengthy two hour and eleven minute run-time. We experience flashbacks which act as further jumping from one point to another and then back again all to try and tell the story of the figures who played the famous Ricardo couple of TV, yet the film often leans more towards Kidman’s Lucille.
While giving a good performance it’s often distracting seeing the make-up intended to transform Kidman into Lucille Ball. There’s something almost of the uncanny valley to it, reminding you somewhat of motion capture films of years gone by. However, Kidman still manages to give an engaging performance, and so does Bardem – offering a couple of musical numbers as he performs in a club, growing the want to see him in a musical. However, the best performances of the piece perhaps lie within the supporting figures of J.K. Simmons and Nina Arianda as supporting castmates of the central pairing William Frawley and Vivian Vance respectively. We don’t see the feuds and worries that unfold through their eyes, but their certainly there to witness key events, both together and individually, and try to help out – or at times rather call out – in certain situations.
There’s almost a sense of consistency that comes from them as the film continues to jump back and forth, even in the second hour where details are expanded upon, and the film almost becomes busier with the various ideas that it has bubbling over and trying to fit into both the run-time and the week in which it takes to create and shoot an episode of I Love Lucy. It pushes the run-time and causes certain scenes to feel longer than they should be, particularly a couple which feel as if they could belong on the stage, calling back to some of Sorkin’s early theatrical work. Where scenes such as this succeed is when looking at a group response to the unfolding, and changing, events. Whether it’s the pregnancy, communism links (which drop very quickly and almost appear to be forgotten about at one point), cast demands or more that arises within the studio offices there’s a quick-paced nature to the table or desk debates. When looking at more personal, almost behind-the-scenes, elements there’s a slightly slower pace that shows the film’s bigger interest in Lucille as it moves towards her and her past rather than the chaotic week that she’s currently riding through.
In the end the film sits between biopic and retelling of events, not quite blurring the lines between the two. It certainly houses good performances which help to lift it up, especially in ensemble sequences where the dialogue bats back and forth. However, with so many strands with varying levels of detail running throughout and being referred to at different intervals there’s a lot going on in Being The Ricardos. Certainly some of it is more engaging than others, and it’s often that which happens in the confines of the early 1950s TV studio system that keep you in place and create the most fluidity amongst the rest of the time-jumping that makes up this rather mixed series of observations and retellings which have been somewhat condensed into the easily-burst confines of a week’s TV production.
There’s a lot going on in Being The Ricardos and it shows in its jumping back and forth between times and locations. The performances are good, particularly from the supporting cast, and there are interesting ensemble elements, however the quieter, more personal beats begin to fall flat as the film pushes further strands and the run-time.
Each year the Alternative Christmas Film Advent Calendar takes a look at the perhaps lesser-known Christmas films. The ones that we don’t make a point of re-watching each year as festive tradition. With that in mind this year the Calendar, with slight inspiration from last year’s selection of The Curse Of The Cat People, delves into the world of forgotten classics, the ones that may have been slightly left behind in exchange for the likes of It’s A Wonderful Life and The Bishop’s Wife.
As we arrive at Christmas Eve, and therefore the final day of this year’s calendar, today’s forgotten classic is one that has perhaps become a new festive favourite of mine. And also one that I knew nothing about before researching and watching for the calendar. Behind the final ‘door’ – put a quote/ saying you feel applies for this – of this forgotten Christmas classics calendar is 1952’s The Holly And The Ivy.
Based on the stage-play of the same name (with writer Wynward Browne co-writing the screenplay with Anatole de Grunwald), The Holly And The Ivy largely revolves around the traditional idea of a rather dysfunctional family returning home for Christmas. The leading figure of the Gregory’s is devout vicar Martin (Ralph Richardson), deeply faithful he’s fixed on the true meaning of Christmas and the sermon he will deliver on Christmas Day. It’s the kind of thing daughter Jenny (Celia Johnson) hears all day every day as she looks after her father and his house, despite wanting to run away and be married to local engineer and family friend David (John Gregson). The restraint that she feels is felt by everyone else as they arrive one by one, in quick succession. With this in mind tensions rise and re-rise as it’s revealed just who doesn’t hold religious beliefs anymore, and the personal problems that certain faces are going through.
From initial civil disagreements to complete disapproval and arguments each of the children is made to feel put down and almost shamed of by their father, over the course of a long Christmas Eve. What initially feels like a standard Christmas of distant family reacquaintances, a feeling which is lightly kept throughout in the presence of elderly Aunts Bridget (Maureen Delaney) and Lydia (Margaret Halston), delves into a set of personal dramas, particularly when Jenny’s sister Margaret (Margaret Leighton) arrives with her own truths and secrets, and the personal burden of alcoholism which she’s trying to hide from the family, particularly her father.
It’s difficult for each figure to focus on the goodwill and family presence of the season with their own respective worries and focuses. Despite some attempts many, mainly the children, get caught up in their own personal feelings and fears at how their father will behave and react, all while he prepares for his Church service the next day. The tree may be lavishly decorated and the fire warm, yet the white coldness of the thick snow outside, lining the windowpanes, lightly draughts in to the situation and adds a coldness to each situation, despite the lack of conversation and confrontation which is (or rather isn’t) occurring.
Yet, there’s still a spark of family festivities present within the piece. A group who have come together, some travelling far distances – with son Michael (Denholm Elliott) somehow obtaining a couple of days of compassionate leave from the army – to celebrate Christmas together. There are certainly rifts on display, a fair few deeper and more long-held than the standard dysfunctional family. But, the film doesn’t forget the Christmas season and that Christmas Day itself is just around the corner, a feeling which is present throughout much of the short run-time – a feeling which both heightens the drama and the family feel and heart of the film.
The Holly And The Ivy can be watched in the following places: Amazon iTunes/ Apple TV Google Play YouTube Or, you might be able to find a physical copy somewhere. To see if the film is available to buy, rent or stream anywhere else, particularly in your country, it’s always worth checking JustWatch.
Release Date – 26th December 2021, Cert– 15, Run-time – 1 hour 45 minutes, Director – Joel Coen
When a trio of witches (Kathryn Hunter) prophesise to Lord Macbeth (Denzel Washington) that he will become king of Scotland he finds himself pushed by his wife (Frances McDormand) to murderous extents to bring this sooner rather than later.
More often than not the biggest turn away from Shakespeare for a number of potential modern audience members is the language. It acts as a form of barrier from truly being able to access the events occurring on stage, or in the film. Back in 1996 Baz Luhrmann kept Shakespeare’s original words but brought them into the setting of the modern day. Allowing the visual style of the famous narrative to help tell the story just as well in the more up to date context. With his latest venture, and first without brother Ethan, Joel Coen doesn’t quite bring Macbeth into a 21st Century setting, not just because of the occasional look of a studio-era Hollywood production, but creates a gothic and atmospheric tale that visually strikes you and brings you into the shrouding mists that surround the handful of locations throughout the piece.
By choosing to shoot the film in black and white Coen adds an extra layer to the gothic style which emphasises the mindsets of both Lord and Lady Macbeth – both excellently performed by Denzel Washington and Frances McDormand respectively. As the two delve into murderous intentions when the former is told by three witches (all wonderfully, physically performed by Kathryn Hunter seeming like one, eerily twisting creature) that he will one day become king of Scotland there’s an easy to follow nature to the unfolding events. The potential language barrier falls down as Washington and a powerhouse McDormand – absolutely commanding the screen! – provide performances which are far from what some may deem as ‘generic Shakespeare style’. Their delivery is everything and helps to life the film and build up its atmosphere.
The expansive home in which they live, almost like a cold, stony palace in itself, is a dark and seemingly limitless place. It increasingly feels more like a prison than somewhere of warmth. The feeling of entrapment simply enhances as we see the dark thoughts and intentions that the pair spiral down into in the hopes of making Macbeth king, particularly as he finds himself encouraged and somewhat manipulated by his wife. It simply causes the environment to become colder and tenser as he questions his own actions and what he’s willing to do to fulfil what’s clearly his destiny.
It’s all paired with a strong visual style which has been finely crafted to help tell the story just as well as anything else. Sometimes it’s the strongest element, pushing across some of the creepier, bordering on horror-like, details – particularly when it comes to the effective impact of the interpretation of the witches. Such attention pays off as it helps gradually bring you into the film and the cold, grey, endless plains in which it takes place – even when indoors. From there Coen allows his two leads to truly take the stage, giving two triumphant, considered performances that capture the dark edge and heart that lies within the film – truly getting across the titular tragedy of the central two figures, and those around them. It all comes together to create something accessible that has multiple working layers to tell its story, hopefully able to connect and bring in different audience members, regardless of their connection and knowledge of Shakespeare in general, especially the original text and outline of Macbeth.
The Tragedy Of Macbeth first brings you in with its strong visual style, pushing the horror and tragedy early on and luckily managing to work throughout the film. Once Washington and McDormand demonstrate their sensational performances the possible language barrier for some is hopefully knocked down as the darkness of the piece comes into fuller effect.
Each year the Alternative Christmas Film Advent Calendar takes a look at the perhaps lesser-known Christmas films. The ones that we don’t make a point of re-watching each year as festive tradition. With that in mind this year the Calendar, with slight inspiration from last year’s selection of The Curse Of The Cat People, delves into the world of forgotten classics, the ones that may have been slightly left behind in exchange for the likes of It’s A Wonderful Life and The Bishop’s Wife.
After the last couple of days of looking at family relations and charitable goodwill in and out of the home at Christmas today’s calendar entry jumps back towards the start of the week build-up to Christmas by taking a look at a growing workplace romance. A (slight) musical remake of previous calendar entry The Shop Around The Corner, 1949’s In The Good Old Summertime.
As has already been deduced, due to it appearing on the Alternative Christmas Film Advent Calendar, the title of The Good Old Summertime is somewhat deceptive. While the bookend opening and close take place at the height of summer the majority of the narrative takes place in the build up to Christmas. It’s a time when plenty of people are buying presents for their loved ones, however they all seem to be avoiding the harp-filled music shop of Otto Oberkugen (S.Z. Sakall). It’s all well and good being able to walk in and hear a song performed live on piano by store-favourite Andrew (Van Johnson) and sung by new employee Veronica (Judy Garland), however not everyone can read sheet music or play an instrument.
Yet, amongst the slight chaos and disorder of what’s being sold there’s a tight unit amongst the floor staff who have built a close bond over the years. One which, for most, isn’t disturbed with the addition of Veronica, who is employed after a chance, somewhat negative, encounter with Andrew earlier on. The relationship between the two becomes as frosty as the increasingly cold weather outside, particularly as they begin to compete for the affection of both the customers and their boss. However, behind the scenes; without either figure knowing, they’re months-long pen pals having written numerous poetic, romantic letters to each other discussing art, literature and many other in-depth, serious, intellectual topics that the other just couldn’t even begin to comprehend in real life.
The film makes the most of the Christmas setting through the standard seasonal kindnesses that are on display by various characters, and the standard workplace hopes for Christmas promotions or good bonuses, but also to boost the romantic relationship, and also lack of it, between the two central figures. The feeling runs throughout with other potential love interests, an only slightly referenced beat or two involving Buster Keaton’s lightly-seen Hickey, and the more prominent inclusion of Marcia Van Dyke’s Louise Parkson; and other seasonal relationships playing into the narrative with the boost of Christmas adding a spring into a number of the characters’ steps. Especially when attending a party of various festivities – not to mention the distractions and missteps.
As Christmas gets ever closer and the situation of the shop, and its employees, becomes more uncertain the sense of unity amongst the staff grows stronger, particularly as at least one or two of their futures in the workplace become a matter of question. Perhaps it’s an idea further pushed by the decorations which spread throughout the store, the tree with all its ornaments by the piano where so many of the musical ‘rivalries’ and bites have taken place. Either way by the time the finale arrives, truly putting the context of Christmas on full display, there’s a true festive romance within the wintery confines of In The Good Old Summertime.
In The Good Old Summertime can be watched in the following places: Amazon iTunes/ Apple TV Google Play Chili YouTube Or, you might have a physical DVD (maybe even Blu-Ray, VHS, Betamax or LaserDisc – if availably on such formats) copy somewhere that you can watch. To see if there are any other places where the film is available, particularly to buy, rent or stream in your own country, I recommend checking it out on JustWatch.
Cert – 15, Run-time – 2 hours 28 minutes, Director – Lana Wachowski
Influential video game creator Thomas Anderson (Keanu Reeves) finds himself unwillingly creating a new instalment in his ground-breaking Matrix trilogy, however he begins to re-discover the technological reality hidden in his games.
Keanu Reeves has become an iconic figure for his wistful, almost poetic views and statements on life. He’s also become one of the world’s favourite action stars thanks to his titular role in the John Wick franchise. Therefore, it’s slightly weird to see him returning to his other iconic franchise pottering around a bit like a confused old man. It’s certainly not something that runs throughout the entire film, but it does feel like famous video game creator Thomas Anderson is often just drinking in information with little else to add. Much of The Matrix Revolutions is told through the words of those around him as he is brought into the world of his smash-hit video game trilogy.
After almost being forced to create a fourth addition in the series, particularly pushed by his money-focused business partner (Jonathan Groff), Thomas begins to experience what he believes to be flashbacks to his fictional world; seeking the help of a therapist (Neil Patrick Harris) to help him distinguish such visions from reality. However, it’s not long until Thomas discovers that the Matrix was never just something from his mind as the figure of Morpheus (the ever-welcome presence of Yahya Abdul-Mateen II), fresh from what appears to be a shopping spree, brings him back in to a newly assembled team.
There’s certainly a rather meta and self-aware feel to this latest instalment in the franchise, nearly twenty years on from the original trilogy. Both of which are made points of in the initial build-up to our big re-introduction to the world. However, such feelings appear to be dropped as the narrative moves on and the film focuses on bringing back old faces to the new functions of this familiar world. After seeing a familiar face in a coffee shop both Thomas and stranger Tiffany (Carrie-Anne Moss) feel they’ve met before but have no idea where, putting it down to just seeing each other most days by the counter waiting for their respective drinks. This is much of their relationship throughout the film, not much else is done with it as we mainly focus on Reeves’ gradual discovery of his abilities within the coded world. It’s an often long road with various segue-ways and tangents for the sake of familiar elements, and lengthy discussions between characters. What’s formed is a rather rambly piece that loses the attention of the viewer as the majority of the piece feels like build-up.
Not even the action manages to properly grab you as it jumps between fights and figures in the same place. Showing the battle from multiple perspectives and angles instead of being more concentrated, engaging and in general less distracted. It pushes the lengthy run-time – which begins to be felt beyond the halfway point of the film where much of the content and conversation still feels like build-up and context to something much bigger than what we actually get.
The finale certainly holds some decent content, like one or two patches throughout the nearly two and a half hour course of the film as a whole, yet it begins to dive again as it either feels too extended or as if it’s building up to something else as a whole. In general a number of key moments in the third act feel as if they could have been placed halfway through a narrative with what feels like bigger stakes; and giving Moss more to do – although she certainly seems to be enjoying the brief bursts of action that she gets.
The Matrix Resurrections feels like something different from the rest of the series, and not always in the best of ways. Not completely bringing anything new to the table its biggest issue is that it largely feels like a lengthy build-up to something not overly satisfying. As we watch characters react with confusion to the lengthy conversations and explanations of those around them. While there are one or two moments that catch your interest in the unfolding events they come somewhat later in the day and don’t manage to connect and bring the otherwise uninvolving and disengaging nature of the film up.
After dropping the different, more meta and self-aware content early on The Matrix Resurrections loses its audience with lengthy build-up to lacking action. Its rambling nature feels unengaging and it simply doesn’t provide enough in its worlds to get truly brought into either of them.
2021 was the year where the big screen truly came back. The cinematic experience was celebrated and relished once more with a whole flood of worlds to be immersed in. However, it’s also been a year where the more independent awards hits have had a consistent spotlight shone upon them. Now, as usual at this time of year, it’s time for you to have your say as to what you thought the best film of the year was.
All you have to do is vote via this poll by 6pm on Wednesday 5th January with what you thought was the best film released in 2021. The results will be announced just after 7pm on the radio show on this same date, with an article here on the website afterwards.
While 2021 saw the return of major blockbuster franchises such as the MCU (seeing four cinematic releases this year!) and Bond it shouldn’t be forgotten that the smaller films that made up awards season – such as Nomadland and The Father – also proved to be box office hits. Even films from streaming platforms such as Netflix and Amazon managed to still have plenty of word-of-mouth love shown towards them. From those with brief cinema releases; Tick, Tick… Boom! and The Power Of The Dog, to those which helped get us through the lockdown: The Mitchells Vs. The Machines and Promising Young Woman.
Whatever your personal favourite is it should be included in the poll. All films featured are done by UK release date. Hence why titles such as Nightmare Alley, Belfast and Licorice Pizza (all of which, at time of writing, have release dates for early next year) aren’t listed, and Another Round, Spontaneous and Sound Of Metal are.
A huge thanks to everyone who votes, shares the poll or both. It’s all very greatly appreciated. As mentioned, the results will be announced on a review of the year show on Somer Valley FM on Wednesday 5th January, starting at 6pm. With a piece being posted here on the website not long after.
Each year the Alternative Christmas Film Advent Calendar takes a look at the perhaps lesser-known Christmas films. The ones that we don’t make a point of re-watching each year as festive tradition. With that in mind this year the Calendar, with slight inspiration from last year’s selection of The Curse Of The Cat People, delves into the world of forgotten classics, the ones that may have been slightly left behind in exchange for the likes of It’s A Wonderful Life and The Bishop’s Wife.
After spending Christmas at home and in the workplace let’s take a further shift with this year’s calendar as we look at the spread of festive goodwill in the open streets in 1951’s The Lemon Drop Kid.
As Bob Hope and Marilyn Maxwell strolled through the busy, snow-covered New York City streets, past various false-bearded charity collectors, singing Silver Bells I found myself feeling a sense of Christmas spirit that I haven’t felt for a long, long time. The scene coincidentally occurred just as midnight of December 1st had arrived – perhaps boosting the effect of the moment. It comes in a moment of calm where everything appears to be going right for Hope’s titular Lemon Drop Kid (although ‘Kid’ might not always fit Hope’s lemon-drop-lacking Sidney Milburn, especially as he was nearing 50 towards the release of this film). In fact, the successful charity collectors are largely collecting for him. Under the guise of raising money for an old people’s home, Milburn is secretly trying to collect the thousands of dollars he owes to a local gangster (Fred Clark) who he caused to bet on the wrong horse in the build up to Christmas.
Already owing money to various other figures Milburn assembles a team to go along with his scheme so that he’ll have what he needs before his Christmas deadline. However, as more figures are brought in to the piece, mostly in aide of helping a local old woman they all appear to have a connection to (Jane Darwell). The kind-hearted spirit of seasonal helpfulness increases and runs rife throughout the film as a bigger effort is put in and the money shifts from being raised for Sidney’s scheme to actually being used for the retirement home that everyone has their hearts put into – named after their mutual connection, The Nellie Thursday Home For Old Dolls.
In general the film increases and spreads the Christmas spirit it holds as it travels along its path. Through the humour that comes from the efforts of Hope’s character, as his heart too becomes set on more charitable causes, and the work other characters are, initially with suspicion for what the Kid really wants, putting in there’s plenty to get hooked on in terms of festive cheer and warmth. It’s certainly a film to take you by surprise when going in to it, particularly if you know nothing about it. All simply adding to the overall tone, style and feeling as an unlikely group comes together to dress as Santa, ring bells, sing carols and raise money for those in need. It’s perhaps a traditional Christmas path and theme now, but it’s still effectively put together throughout The Lemon Drop Kid. Maybe it’s down to Hope’s central performance, and maybe it’s just the increase air of festivity and goodwill throughout. Either way, there’s a sense of warmth to the film that catches you up in its lack of cynicism, without feeling overly tacky or sentimental.
The Lemon Drop Kid can be found in the following places: Amazon Microsoft Store Or, you might have a physical copy of the film available to watch. To see if there are any other places to watch the film, and to see where it’s available to buy, rent or stream in your country, it’s always best to take a look at the film on JustWatch.
Each year the Alternative Christmas Film Advent Calendar takes a look at the perhaps lesser-known Christmas films. The ones that we don’t make a point of re-watching each year as festive tradition. With that in mind this year the Calendar, with slight inspiration from last year’s selection of The Curse Of The Cat People, delves into the world of forgotten classics, the ones that may have been slightly left behind in exchange for the likes of It’s A Wonderful Life and The Bishop’s Wife.
After yesterday’s look into an unwanted house guest in The Man Who Came To Dinner, today let’s take a glance at a different kind of Christmas guest, that of the entirely unknown one, as the Calendar presents 1950’s The Great Rupert.
The titular Great Rupert is a squirrel (taking both live-action and stop-motion animated form) living in the walls in-between the house of wealthy Frank Dingle (Frank Orth) and into the cramped living space of the Amendola family, who are renting, with increasing prices, from Frank. The fortunes of the Amendolas begin to turn around when the rarely-seen Rupert rains Frank’s money – hidden in the walls of his house – from the ceiling, although the family are unaware of the source of the money and the squirrel, they simply view this as an act of God; answering their Christmas prayers.
Soon the poor family, led by former circus performers Louie (Jimmy Durant) and Mrs Amendola (as Queenie Smith is simply credited as), come into increasing fortunes and begin to help out struggling businesses in the nearby town. While baffling Frank, who finds the Amendola family a disturbance to the calm routine of his life, he’s certainly happy with the money that’s coming in for him – particularly when it appears as a form of present on Christmas Day, with extra added on. Yet, cares are largely forgotten about on the big day as the two families, despite their differences, gather around he piano to sing and perform. Durant particularly puts on a vaudeville persona as the film almost becomes something of a variety show. Echoing TV of Christmases past with a more traditional feel and one act moved swiftly on into the other. Such a feeling arises a number of times throughout The Great Rupert, yet there’s a jovial feel to each one as the cast, particularly Durant in the lead, appear to relish the opportunity to perform in this way and show off their skills.
Such moments also allow for Amendola daughter Rosalinda (Terry Moore) to further spark a gradual relationship with restricted Dingle son, and aspiring composer, Pete (Tom Drake). After first meeting when the family move in, rather promptly, after an old performing friend (Jimmy Conlin) of theirs has been kicked out so close to Christmas after not being able to afford rent due to the money he’s put in to his new act (Rupert the, occasionally-kilt-donning, dancing squirrel – this being where the stop-motion comes in to play, with a look and effect which still manages to hold up over 70 years on).
Over it’s short run-time the film generally emits a feeling and tone of seasonal goodwill, particularly as the Amendola family’s situation turns around and things vastly improve for them over such a short amount of time. When the vaudeville elements are mixed in there’s a very traditional feel to the film in terms of not quite Christmas films, but generally performances and maybe TV specials, of the past. It’s a slight throwback and reminder to them, while still managing to capture a rather enjoyable tone within such sequences and moments, often thanks to Durant’s energy and style as he’s in his element behind the piano, or whenever generally performing. There’s a very traditional nature to The Great Rupert, shown in the general simplicity that it holds, and more often than not it manages to push the kind-heartedness of the good-natured central family and the festive spirit which they appear to emit and hold closely.
The Great Rupert can be watched in the following places: Amazon iTunes/ Apple TV Google Play Plex YouTube Or, you might have a physical copy of the film somewhere. To see if the film’s available in any other places, or to see where you can buy, rent or stream it in your own country, it’s best to check JustWatch.
Just A Little Bit Random 