The Great Dog-races is a charitable, expensive, whopping, comedy extravaganza [from a screen story by Blake Edwards and Arthur Ross], long on slapstick and near-inspired tomfoolery whose idiom-in-cheek treatment liberally sprinkled with corn frequently garners belly laughs.

A certain nostalgic flavor is achieved, both in the 1908 period of an automobile race from New York to Paris and Blake Edwards’ broad borrowing from The Prisoner of Zenda tale and an earlier Laurel and Hardy comedy for some of his heartiest action. [Pic is dedicated to L&H.]

Characters carry an old-fashioned zest when it was the fashion to hiss the villain and cheer the hero. Slotting into this category, never has there been a villain so dastardly as Jack Lemmon nor a hero so whitely pure as Tony Curtis, rivals in the great race staged by an auto manufacturer to prove his car’s worth.

Strongly abetting the two male principals is Natalie Wood as a militant suffragette who wants to be a reporter and sells a NY newspaper publisher on allowing her to enter the race and covering it for his sheet.

To carry on the overall spirit, Curtis always is garbed in snowy white, Lemmon in black, a gent whose every tone is a snarl, and whose laugh would put Woody Woodpecker to shame.

Lemmon plays it dirty throughout and for huge effect. Curtis underplays for equally comic effect. Wood comes through on a par with the two male stars.

1965: Best Sound Effects.

Nominations: Best Color Cinematography, Editing, Sound, Song (’The Sweetheart Tree’)

In 1984, Robert Redford starred in Barry Levinson’s coating of Bernard Malamud’s Arthurian baseball saga The Natural. It was, against all odds, very acceptable, but it must’ve turned his head: as director, he’d later wax esoteric over aviate fishing (A River Runs Completely It), equestrian skills (The Horse Whisperer), and now golf, with God as a caddy. The one imaginable motive (besides lucre) for perpetrating such mush ought to be that Hollywood types feel the need to justify/dignify time again spent schmoozing on artificial oases of sprinklered sward that despoil and reparation the environment. The hand, allegedly from ‘a novel’ by Steven Pressfield, concerns Rannulph Junuh (Damon) who, since returning from the Great Contention fighting, has frenzied his ‘authentic swing’, not to naming his drive and his hankering for Savannah heiress Adele (Theron). Seeing daddy’s luxury links menaced by the Depression, she plans to save them by staging a match between Bobby Jones, Walter Hagen and the restricted man of the hour. But can Junuh overcome his apprehensiveness, self-bleed for, glory in and poor concentration? As if by lot, out of the darkness comes canny caddy Bagger Vance (Smith) to instil him how to read greens, to hear tides and the turning of the eart’ - to know himself and clinch the contest. Uncle Tom cobblers and all, this risible bloated excuse exchange for a parable of clerical redemption insults racial egalitarians, the devout, any golfer remotely hard-nosed about the game, and those with brains not addled by what passes for the good survival in LaLaland. Fore!

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Winner Mancini (Sam Rockwell), a sex-addicted dropout, keeps his increasingly senses matriarch, Ida (Anjelica Huston), in an expensive seclusive medical hospital by working days at the Colonial Williamsburg historical theme park. And to help yield a return the hospital, Victor runs an supplementary scam by deliberately choking in upscale restaurants to form parasitic relationships with the rolling in it patrons who "save" him. When, in a rare lucid movement, Ida reveals that she has withheld the abhorrent correctness of his father’s unanimity, Conqueror enlists the aid of his best friend, Denny (Brad William Henke) and his mother’s smashing attending physician, Paige Marshall (Kelly Macdonald), to reveal the obscurity previous the truth of his possibly surmise parentage is lost forever.

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Frank Frazetta is renowned as one of the greatest creativity artists of all in good time dawdle. His singular style and scrupulous accuracy, combined with a visual flair that is unforgettable, has inspired many over the years. Concert-master Ralph Bakshi (Wizards, The Lord of the Rings) undertook to do the impossible by making Frazetta’s art come to life. Not necessarily his paintings, mind you, but his side-splitting art, which had ranged from fantasy and technique fiction to a stint ghosting for Al Capp on Lil Abner. But a fair amount of Frazetta’s initiative and visual formula is captured, making the film a success on its own terms.

In a flight of fancy world, the evil wizard Nekron (Sean Hannon), together with his warped mother Juliana (Eileen O’Reill, voiced by Susan Tyrrell), controls the forces of ice, forcing a glacier over the world to force the lavish people to submit to his will. Warrior Larn (Randy Norton, voiced by William Ostrander) is the last of a village wiped out by Nekron’s forces. King Jarol, of Fire Keep in the land of volcanoes is disquieting to fend off Nekron and his Neanderthal Subhumans, but the king’s will is weakened when his voluptuous daughter Teegra (Cynthia Leake, voiced by Maggie Roswell) is kidnaped by the Subhumans. Lurking in the background is the mysterious Darkwolf (Steve Sandor), who has a mysterious agenda of his own. These disparate threads come together for a indisputable cataclysmic brawl for the days.

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Similarly to The The Creator of the Rings, barely all of the film is rotoscoped rather than animated freehand. At in the first place this seems like it could be a failing, but as Bakshi notes in the commentary, you’d never get the accuracy that Frazetta demands without the rotoscoping process. The monochrome quality is apt and covers much of the same foundation as Frazetta’s comics art. At the unvaried dead for now, the backgrounds, painted by James Gurney (Dinotopia) and Thomas Kincade, are marvelous. Speedily created (Bakshi notes that 8-10 were painted each day), they have a very Frazetta tolerate to them, with similar uses of light and shadow that firmly anchor the animated characters into the artist’s world. The character designs, with significant contributions from Frazetta, give every indication quite appropriate, and as is incumbent for the artist, Teegra is impossibly ravishing, with merely the tiniest bits of clothing. The segments that are animated freehand, such as a monster lizard, a skeletal witch and a fleet of pterodactyls (the latter moving by Peter Cheung of Aeon Oscillation fame) protest an fad and vigor that the rotoscoping can’t completely capture.

The feature, written by Be agog Comics scribes Roy Thomas and Gerry Conway, has some problems. It doesn’t course incredible extravagantly, and a small shred more expo could have been serviceable to keep the incarnation more well-organized. Parley is weak and cheesy, and motivations for major characters (most notably Darkwolf) are undoubtedly out. One key line that would prepare helped somewhat but was left on the slip room floor is described but not shown in the extras. The actors, most of whom were, as noted above, dubbed by others, are adequate inasmuch as the action but are nothing spectacular and are hardly convincing at any time.

Where the film excels is in its visual interpretation. There are diverse terrific set pieces. One is a dizzying seascape of Larn being pursued wholly the treetops by the Subhumans; another is a dazzling pan through an ice cavern as the pterodactyls stoop in during the paroxysm. There’s also an astonishing POV shot as we carried along with Larn on a pterodactyl that’s principled barely under control. The swooping pans pilfer united suspect that they were closely studied by Peter Jackson for the comparable camera moves in his Lord of the Rings films. Also memorable is a short chain where Teegra runs afoul of the termagant who later reappears in skeletal form. Iconic moments from Frazetta paintings, such as Dying Dealer and Neanderthals are also incorporated seamlessly. While the story is no awful shakes, the visuals are done with such a flourish that it’s hard to dislike the film.

Reviewed by Dennis Schwartz

The superior first film version of W.R. Burnett’s novel Saint Johnson
was filmed by Edward L. Cahn as Law and Order in 1932. This version retains
the plot of the original version, unlike the Johnny Mack Brown remake in
1940. But director Nathan Juran’s version is a tired one, lacking dramatic
effects and intensity and suffering from wooden acting. Juran was an architect
before he became a film art director, and this was his third film as director.
The routine western was a retelling of the Wyatt Earp legend, only changing
the names and emphasizing a message of restraint.

The film is set in the Arizona of 1882. Marshal Frame Johnson (Ronald
Reagan) quits his job in Tombstone after an attempted lynching by townies
of the Durango Kid, someone he went out in the desert to arrest and disappoints
the crowd that he brought him in alive. Having brought law and order to
this community, Frame resents that they don’t appreciate how peaceful their
former wild town has become. Seeking a new peaceful life Frame buys a ranch
sight unseen in nearby Cottonwood, where he plans to settle down as a rancher
and marry his beautiful saloon owner girlfriend Jeannie (Dorothy Malone).

The former marshall arriving in the new town with his best pal Denver
(Chubby Johnson), Tombstone’s mortician, and brothers Lute (Alex Nicol),
his deputy in Tomstone, and the troubled youngest one Jimmy (Russell Johnson),
as they plan to spruce up the place and make it fit for Frame’s future
wife.

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In town, it is learned that Frame’s old nemesis, a cattle rustler
and cheater in cards, Kurt Durling (Preston Foster) runs the town and has
created a friendly outlaw environment. The corrupt sheriff Fin Elder (Barry
Kelley) works for him, and cattle rustling and disturbances in the saloon
are routine and not handled by the law. Judge Williams representing the
law abiding citizens wants Frame to take the job of marshall, but he refuses
even after a young kid, Johnny Benton, is bullied unmercifully by Durling’s
young brother Bart and the sheriff doesn’t stop it. When Johnny kills Bart
in self-defense the sheriff arrests him and hangs him before his case goes
to trial. 

Lute becomes marshall and is soon goaded into an unfair gunfight,
whereby Kurt’s other brother Frank (Weaver) kills him. This flushes Frame
out and he takes over as marshall, and forces an unpopular gun ordinance
where no guns are allowed in town. Meanwhile Jimmy has fallen in love with
Frank Durling’s sister Maria (Hampton), and kills Frank in self-defense
when the resentful brother goes after him. Frame brings his brother in
to stand trial, showing the law shows no favorites. But Kurt arranges for
Jimmy to escape, hoping this will get Frame fired. 

It predictably ends up with Frame doing his job and restoring law
and order to his new town. Ronald Reagan doesn’t make it as an actor, his
stiff performance and his inability to prove that he was up to the physical
challenges of his tough guy law enforcer role helped bury this film. It
is worth pointing out that the one thing Ronnie could do well was ride
horses, in this one he rides his own horse called Tar Baby.

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Adam’s Rib is a bright comedy success, belting over a transfer of sophisticated laughs. Ruth Gordon and Garson Kanin have fashioned their amusing screenplay in all directions from the age-aged conflict of the sexes.

Setup has Spencer Tracy as an assistant d.a., married to femme attorney Katharine Hepburn. He believes no woman has the right to take shots at another femme. Hepburn believes a woman has the same right to invole the unwritten law as a man. They do courtroom battle over their theories when Tracy is assigned to prosecute Judy Holliday.

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This is the sixth Metro teaming of Tracy and Hepburn, and their approach to marital relations around their own hearth is delightfully saucy. A better realization on type than Holliday’s portrayal of a dumb Brooklyn femme doesn’t seem possible.

1950: Nomination: Best Story & Screenplay