Now With More Than 3000 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 2500 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 MAKSQUIBS@yahoo.com . (Let us know if the TRANSLATE WIDGET works!) Or use the Profile Page or Comments link for contact.

Thanks for stopping by.

Wednesday, September 7, 2016

ESCAPE ME NEVER (1947)

Journeyman director Peter Godfrey’s uninvolving remake of a romantic quadrangle story first made in 1935 (two brothers/two girls) opens in a lighthearted vein (with everyone playing too hard) before taking a forced tragic turn. The writing however is consistent, lousy all the way thru. We’re in studio backlot Venice, where a clean-shaven Errol Flynn is the talented, struggling composer whose relationship with single-mom Ida Lupino is threatened by his eye for the ladies. Seriously so when he meets-cute with Eleanor Parker’s rich society lady who just happens to be engaged to Gig Young, Flynn’s less talented brother. (Gig sports the missing Flynn mustache.*) Hopefully this foursome will work things out in time for the premiere of Flynn’s make-or-break ballet score. Not much convinces in this one, with airless soundstage mountain exteriors that wouldn’t pass for scenery in Flynn’s ballet; and back-and-forth romantic vows looking equally flat. Only the filmscore, an exceptionally melodic one from Erich Wolfgang Korngold holds interest. Korngold had stopped his concert & opera house composing during the war years, but as the war wound down, so too did his movie work. This, his second to last original film score (and last to be released) was followed only by another classical music story, DECEPTION/’46. An altogether better (if nuttier) film with a mini-cello concerto as its centerpiece, one he later expanded for the concert hall.

ATTENTION MUST BE PAID: *Pay no attention to that man in the poster, Flynn is sans ‘stache in this one which somehow makes him look altogether bigger.

WATCH THIS, NOT THAT: As mentioned above, for fans of Bette Davis, Paul Henreid, Claude Rains & ultra-stylish New York apartments, DECEPTION.

No comments: