MAKSQUIBS CINEMATHEQUE: THE GOLDEN FLEECING (1940)

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Like just about everyone with an interest in the movies, I'm watching more films on DVD and going out to movie houses a lot less. Convenience trumps the better experience.
Of course, you lose audience interaction and the poor film now has to compete with all the comforts of home.
It's a bit like seeing Rembrandts & Titians in a book reproduction, or from posters with iffy color values, no texture or weight to the surface and the wrong dimensions . . . all while snacking on chips & soda. (Oops! You get that at your local cinema,too.)
The ease of instant movie gratification risks turning an art form (well, sometimes) into little more than low-grade eye-candy & mindfodder. So, maybe it's worthwhile to write a bit down on what we're all viewing, just to keep fully engaged.

DVDs: the latest opiate of the people meets the internet, where everyone's a critic.
God help us.

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Monday, November 12, 2018

THE GOLDEN FLEECING (1940)

No more than a pleasant programmer, but with that rarest of features, a distinct comic voice. And not just any voice, but S. J. Perelman*, writing with wife Laura. Lew Ayres, in between Dr. Kildare movies, is the hapless life insurance salesman who can finally marry girlfriend Rita Johnson after selling a big policy . . . to mob informer Lloyd Nolan. Yikes! The guy’s got a bull’s eye on his back. (Bob Hope in ALIAS JESSE JAMES & Danny Kaye in THE MAN FROM THE DINER’S CLUB got in similar jams.) The structure is farce, but with Perelman consistently finding smart/funny ways to do dumb things. Packed with plenty of plot reverses & wild gags, it’s sensible silliness, short & sweet, with excellent support all ‘round. Virginia Grey’s moll especially good and even overcooked vaudevillian Leon Errol as Ayres’ xylophone playing father-in-law getting good laughs. In tone, a lot like Preston Sturges’s CHRISTMAS IN JULY, released just two months after this, with both films featuring Sturges regular William Demerest as well as a $25 thou reward.

DOUBLE-BILL: *Perelman’s best known film work: MONKEY BUSINESS/’31 and HORSE FEATHERS/’32 for the Marx Bros. But pair this one with Sturges’s CHRISTMAS IN JULY.

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A last thought before we go.

Well, enough from me. But before we sign off, here's a great quote from Emile Zola's L'OEUVRE (THE MASTERPIECE), which is about painting rather than the yet to be invented medium of film, but which points a fine critical eye toward the whole idea of art criticism. It's a good, if chilly, thought to keep in mind, especially when you surf the net.

"Has it ever struck you that posterity may not be the fair, impartial judge we like to think it is?

"Suppose the artist's paradise turned out to be as nonexistent as the Catholics, and future generations prove just as misguided as the present one and persisted in liking pretty pretty dabbling better than honest to goodness painting. There are some accepted masterpieces for which I myself wouldn't give a twopenny damn.

"Classical training has given us a wrong view of everything and forces us to acclaim as geniuses a lot of fellows who are no more than well-balanced, facile painters, while what we might really prefer is the work of more emancipated but less even artists known only to an initiated few. Immortality at present depends entirely on the average, middle-class mind and is reserved only for the names that have been most forcibly impressed upon us while we were still unable to defend ourselves...

"Perhaps that's the sort of thing that's best left unsaid. It's certainly the sort of thing that gives me the shudders!"- Emile Zola

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Now Over 5500 Reviews and (near) Daily Updates!

Monday, November 12, 2018

THE GOLDEN FLEECING (1940)

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A last thought before we go.

DROP ME A LINE