Now With More Than 3600 Reviews! Go Nuts - Read 'Em All!!

WELCOME! Use the search engines on this site (or your own off-site engine of choice) to gain easy access to the complete MAKSQUIBS Archive; over 3600 posts and counting. (New posts added every day or so.)

You can check on all our titles by typing the Title, Director, Actor or 'Keyword' of your choice in the Search Engine of your choice (include the phrase MAKSQUIBS) or just use the BLOGGER Search Box at the top left corner of the page.

Feel free to place comments directly on any of the film posts and to test your film knowledge with the CONTESTS scattered here & there. (Hey! No Googling allowed. They're pretty easy.)

Send E-mails to . (Let us know if the TRANSLATE WIDGET works!) Or use the Profile Page or Comments link for contact.

Thanks for stopping by.

Sunday, January 31, 2016


At first glance, John Ford’s 1937 output (this disaster epic for producer Sam Goldwyn & WEE WILLIE WINKIE for Shirley Temple) seems impersonal; professional ‘jobs of work’ in Ford speak. But a second look finds the director much less out of his fach than in films like THE WHOLE TOWN’S TALKING/’35 or MOGAMBO/’53. (Both excellent, BTW.) HURRICANE, from a novel by MUTINY ON THE BOUNTY authors Charles Nordhoff & James Norman, grabs a lot of plot from Hugo’s LES MISÉRABLES, with Jon Hall as a sort of Polynesian Jean Valjean and Raymond Massey doing implacable Javert as a rule-bound island governor. Fordian themes spring largely out of the underlying racial injustice that runs the plot, and from a trove of supporting characters we’d revisit in many Ford films to come. Most notably, Thomas Mitchell’s tipsy doctor; a role that leads (with many a stop!) all the way up to Edmund O’Brien’s LIBERTY VALANCE/’62 newspaper editor . . . and beyond.* There’s not a lot of subtlety in most of these types (it is a big special-effects disaster pic), but the broad playing is as large in spirit as it is in scale. And the eponymous analogue destruction designed by James Basevi, just off SAN FRANCISCO’s earthquake, holds up remarkably well once you get past some poor model work in the prologue.

DOUBLE-BILL: *One of those ‘and beyond’ pics being Ford’s late, enjoyably eccentric DONOVAN’S REEF/’63 which returns to Polynesia (more or less), to racial themes, to Jack Warden in a sober doctor’s role, and even to bringing this film’s Dorothy Lamour out of semi-retirement.

No comments: