Sudhir Gaekwad's blog

The Bible’s sultriest link, bar Samson and Delilah, be entitled to better than this put out Super Technirama epic. There’s so much visual padding (feathers, armour, surplus crowd scenes) it’s hard to core on the exoticism. Lollobrigida does her pouting richest, but she’s no Gloria Swanson. Tyrone Power, the actual Solomon, died halfway fully origination; Brynner, his replacement, is decidedly ill at ease. More game of to tuck up with the Erstwhile Testament.

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THE ORDERLY DOPE:
Agnes Varda’s Everyone Hundred and Harmonious Nights (1994) attempts to create a single character to embody all of film history who can, through sheer experience, sit back and reminisce on a century of art. This high-hat pretense doesn’t fully develop into a overlay explicitly, but does spawn some interesting moments. When Monsieur Cinema, played by Michel Piccoli (whose unaffected film career dates ignore to the forties), feels his memory fading he hires Camille (Julie Gayet) to be his reverie and his teacher. She sits with him each day and discusses ago cinematic triumphs, many of which he takes hold accountable representing.

What gives the film any value at all is the bizarre assortment of film clips illustrating Monsieur Cinema’s memories, ranging from the Lumiere Brothers’ train at the station to Bunuel’s Un Chien Andelou, Welles’ Citizen Kane, Romero’s Night of the Living Dead, and Van Zandt’s My Own Private Idaho. An impressive list of films which is often cleverly worked into the Varda film, through match cuts and similar movements.

The film also features a constant barrage of international stars as themselves paying Monsieur Cinema a visit, including Marcello Mastroianni (who seems to be having a ball), Catherine Deneuve, Jeanne Moreau, Gerard Depardieu, and Alain Delon. The film also features Robert De Niro in a bizarre cameo that makes almost no sense as well as totally ridiculous appearances by Clint Eastwood and Harrison Ford who seem to have been caught unawares, Bowfinger-style. That the film lists them in the opening credits is essentially fraud. There are also many actors listed in the credits, from Leonardo DiCaprio to Harry Dean Stanton, Martin Sheen to Daryl Hannah that I suspect do not even appear in the film at all. There may be some potential lawsuits here.

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One Hundred and One Nights also features a lame subplot that has Camille conspiring with her boyfriend, also named Camille (those crazy French!) to hijack the old man’s estate. Whatever the point of the film, it all disappears in the end which features one of the most abrupt finales I’ve ever seen. It seems that, in order to be cute, Varda, whose Cleo From 5 to 7 and Vagabond are available on DVD from Criterion, decided to end the film at 101 minutes, regardless of how much still needed to happen. The only question that I was left with was, with all of the film clips featured, how come no Jerry Lewis?

Exhibiting all the faults and almost none of the virtues of Dumont’s earlier, far superior La Contend de Jésus, this is again repudiate in an unrelentingly sad Pas de Calais, where Schotté’s police lieutenant investigates the knock off of a inexperienced young lady whose mutilated solidity he’s found in a field. The notion, that he’s an ordinary, unremarkable man whose tendency to deduct the world’s suffering – and sins – on his own shoulders makes him a latter-age saint, has a destined Bressonian supplicate, but the clumsy performances (by local amateurs), the slow, faltering pace, and Dumont’s seeming greenness of the most focal police procedures (finger-printing, DNA, cross-third degree, deduction) make for a turgid, pretentious and every now risibly unreasonable film.

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“The performances are stagy
but filled with fiery emotion.”

Reviewed by Dennis Schwartz

After ten years of being away from home and chasing a romantic dream
that didn’t pan out Mae Doyle (Stanwyck) returns to the small fishing village
of Monterrey, where she was raised. Mae tells her handsome brother Joe
(Andes), who is not happy to see her–but accepts her back into the family
house anyway– “That she left town with big ideas, but got small results.”
Joe’s girlfriend is the sexy Peggy (Monroe), a 20-year-old worker in the
cannery, who is naively enamored by Mae’s adventurous life. She is in the
midst of fighting with her conservative beau, as she wants to be viewed
as a liberated woman.

Clash by Night is about a bitter love triangle that is filled with
sardonic characters, all of whom are lonely and searching for love. This
Odets’ work was originally performed as a neo-realist Broadway play in
1941, with Tallulah Bankhead in the Stanwyck role. Fritz Lang changed the
locale from Staten Island to a fishing village in California, but kept
intact the oppressive seacoast atmosphere.

Mae has become cynical and is tired from running away from her problems,
and of being vulnerable. She meets a good-natured widowed fisherman she
knew from the past, Jerry D’Amato (Douglas), whom she doesn’t love. But
when he falls for her sophisticated ways and good looks, they marry against
her better judgment. She thinks this marriage will give her a stable life,
one in which she can feel secure. The problem arises when Jerry pushes
his close friend on her, a movie projectionist, the cynical and crude Earl
Pfeiffer (Ryan), making them become friends. The only thing that makes
her happy with the marriage, is that she has a baby.

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After sleeping off a drunken binge in her house, celebrating his
divorce from his wife, Earl takes hold of Mae. She can’t resist anymore
and tries to make a relationship with Earl work, fed-up that Jerry is so
dull. But trouble arises when Jerry’s vindictive uncle (Naish) tells him
about the affair and he goes berserk. All the suppressed emotions of the
three now arises, as each tries to fight for what is theirs.

The performances are stagy but filled with fiery emotion. The performers
are able to bring out the complexities underlying each of their characters
as they battle each other, hoping not to die of loneliness or of cynicism.
Everything about these characters and their alienation seemed natural something
that was grounded by Lang’s showing them at work, never cutting them off
from all the other travails they were going through. Lang’s point is how
easy it is not to see the faults in yourself, as easy as it is to see them
in someone else. Clash by Night brilliantly tells how some lonely
folks break out from their shadowy existence, as if that darkness was a
prison where survival at any cost is the name of the game.

Relatively minor Godard which, characteristically, plays off the mark fictional model (a day in the zest of an adulterous wife) against documentary moments (face-on interviews in which characters lecture on abstracts adore ‘Memory’ and ‘Childhood’). Another of his socio-progenitive fables, in fact, curious for the temperament it was censored. Outraged by its disappointment of Marriage and Family, the authorities insisted that the title be changed – from La Femme Mariée (Married Woman, a collectivity, a condition) to Une Femme Mariée (A Married Broad, an individual, unrepresentative case).

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1864: Inman (Law) has had his fill of civil war. Wounded, he deserts the military hospital and sets off on foot for home – and Ada (Kidman). It’s an arduous odyssey across the Carolinas. Only Ada’s cherished love letters keep him going. The country is sick, starving and tyrannised by Confederate Home Guards. Back at Cold Mountain, gentle Ada is orphaned and alone, until ruddy Ruby (Zellweger) arrives to put the farm to rights. If Miramax had another English Patient in their sights (or another Gone With the Wind), Cold Mountain emerges as a bloodier, muddier wartime romance. Minghella’s adaptation of Charles Frazier’s bestseller, beautifully crafted in all departments, establishes its chaotic and hazardous time with complete conviction, and the opening battle scene is masterly stuff. Layering flashbacks of the lovers’ decorous courtship three years previously with Inman’s painful progress and Ada’s straitened circumstances, the storytelling is never less than compelling, even over a generous two and a half hours. It’s episodic, of course, but many of these Homeric interventions have a searing intensity and probing moral engagement unusual in blockbuster entertainment. There’s vivid work from a stellar cast, notably Portman as a war bride, Hoffman as an unconventional priest, Gannon and Gleeson. But Kidman is a shade mature for Scarlett – sorry, Ada – and erratic accents infect Winstone and Atkins in roles innumerable Americans could have played. Not a problem for Law, as Inman suffers nobly in long periods of silence. If the love story is asked to carry more weight than it can bare, at least this is a film of rich measure and ambition.

DVD Info

Special Features Featurette – 1. Making Of / 2. Visual & Special Effects – Open Scene / Deleted Scenes / Theatrical Trailer / Production Notes
Main Language English

When I was a kid, Hogan’s Heroes was always a solid, go-to rerun when nothing else looked good. It wasn’t something you thought of watching first (that would have been The Avengers or Mission Impossible or maybe even The Brady Bunch), but you could always count on it to give you some solid laughs and adventure if you caught it. That’s probably because for six years, it just remade the same episode over and over and over again. It really is rather shocking to watch Hogan’s Heroes: The Complete Fifth Season, and not be able to tell, for sure, what season it truly is – it could be the first; it could be the last — who knows? Repetition seems to have been the guiding motto for the show’s production. And with that in mind, you can then understand why kids and pre-teens probably loved this show (it aired on Friday, Saturday, and Sunday nights during its broadcast run, the nights when most little kids got to stay up and watch shows with their parents). Kids love repetition. They love to watch the same shows, over and over again. They love to watch something that will progress and end exactly the same way, each and every time. It’s security to them. And Hogan’s Heroes: The Complete Fifth Season certainly provides that.

Thematically, it’s also designed to appeal to kids. After all, what is Colonel Klink (Werner Klemperer) but a harmless version of the Big Bad Wolf, who huffs and puffs, but who we know can never blow the house in? Barely aided by the child-like Sergeant Shultz (who does more, actually, for the POWs, through purposeful ignorance and blackmail), Klink is the blustering, ineffectual parent to the juvenile, smart-ass, willful POWs who con and jive him every step of the way. Their barracks loaded with all the conveniences, including a high-tech tunnel that would be the envy of James Bond and Batman, the POWs, headed by charming ne’er-do-well Colonel Hogan (Bob Crane), constantly sneak out of their house at night while rubbing their parents’ (Klink and Schultz) noses in it. Klink knows they’re up to something; Schultz (John Banner) definitely knows they’re up to something, despite his, “I know NOTHING!” protestations; but neither one can do a damn thing about it. And kids love that; they love a story that shows youthful kids getting one over on blowhard adults.

It’s pure fantasy, too, of course. That helps with its timeless appeal to children. I had a grandfather who refused to watch Hogan’s Heroes. He had been in WWII, and the very idea of the show disgusted him. That was certainly his right, and we never questioned that. But we also never thought, even at our young age, that the series in any way depicted a modicum of reality concerning WWII. Critics of the show (for that matter, most critics who review TV programs) never really give audiences enough credit for being savvy about what they’re watching. Most viewers get it. It’s TV; not a window out on the world. Despite the scattered loonies who still write to Lucy asking her when Ricky’s going to let her sing with his band, the vast majority of TV audiences understand they’re watching entertainments that have little or nothing to do with reality. Much of the initial criticism of Hogan’s Heroes seems to have stemmed from a misconception that the show dealt with Nazi concentration camps, and not Luftwaffe POW camps (that’s certainly a reference you see even today when people write about the show, marveling at the tasteless premise). Of course, the show steers way clear of the Holocaust, but still, it’s relentlessly whitewashing the horrors that captured POWs faced in the stalags of Hitler’s Germany. Interestingly enough, nobody ever mentions that one of the most popular WWII epics of all time, The Great Escape, does precisely the same kind of whitewashing; if you’ve ever read Paul Brickhill’s original book, there’s not a whole lot of wholesome, all-American Steve McQueen wisecracking in it.

But as with any piece of work designed as entertainment, its first and only real obligation is to entertain, not to tell the “truth” through art. Conceived as a piece of fantasy, Hogan’s Heroes adroitly sidestepped the horrors of WWII by making the villains toothless windbags, and the heroes charming, jocular Rover Boys, full of vim and vigor (no starvation in these POW camps), ready to tweak the noses of their captors while blowing up their supply trains and stealing their code books (just as The Andy Griffith Show sidestepped the racial tensions of the 1960’s American South by not having a single black person live in Mayberry — and I don’t hear anybody beefing about that). The realities of warfare never entered Stalag 13’s confines. All Hogan and his crew had to do to get Schultz to look the other way while they snuck out of camp, was to mention the Russian Front, and Schultz started sputtering away, clearing out fast for a guy of his bulk. The show couldn’t really depict the ruthlessness of a true German POW commandant either, so the producers went back to standard forms of farce, and came up with hapless Colonel Klink. Klink’s lot was even worse than Schultz’s; not only was he the butt of all of Hogan’s jokes and innumerable office pop-ins (most stalag commandants would have shot Hogan dead after about the second personal put-down), but he was also at the mercy of superiors who were constantly belittling him, or putting him in harm’s way. What father, sitting at home on a Friday night after a rotten week at the office or factory, couldn’t sympathize, in some small way, with stupid, harmless Klink getting reamed out by disparaging General Burkhalter or icily cutting Gestapo officer Hochstetter? By showing every German officer as either blackmailed or blackmailing in some capacity, to stay out of harm’s way, Hogan’s Heroes reinforced their fantasy construct that the Nazi Germany shown on the tube every Friday night was not only controllable, but also downright fun for the confident, secure POWs.

Confidence. That certainly describes Hogan’s Heroes star Bob Crane. Now, of course, it’s difficult to think of Crane in any context other than through the seamy revelations of his private life and death, but at the time of Hogan’s Heroes, at least on the TV screen, he was the epitome of the wisecracking, amiable, psychologically secure American Male. He was totally in control at all times, living by his wits and his witticisms, while keeping the Germans running in circles as he essentially won WWII single-handedly. That kind of male role model – the youthful, secure, confident, sardonic yet optimistic, verbally and physically adept American Male – was almost extinct from our theatre screens (Easy Rider reigned at the movies during this fifth season of Hogan’s Heroes), and rapidly disappearing from the tube. Viewed now, it’s a characterization that hits you like a welcome breath of fresh air, after witnessing several decades of a seemingly endless parade of fidgety, scared, morose, neurotic male role models. It’s a shame that the producers and writers didn’t delve deeper into the other POWs who made up Stalag 13 (all of them extremely talented actors), but again, the whole point was silly farce, not character development, so….

What is a marvel is the myriad ways the writers and directors (many of whom would later work on another war comedy, M*A*S*H, came up with variations on the same exact plot: Hogan learns of a secret installation, or a code book, or a munitions train, where he must then escape out of the camp to secure said target, or blow it up, often with the indirect aid of Klink and Schultz. By this fifth season, Hogan’s Heroes had slipped badly in the Nielsen ratings (it hadn’t even been in the Top Thirty for the previous two seasons), so the handwriting was on the wall for the show. This next-to-last season, though, attempted nothing in the way of innovation to stem the ratings hemorrhage. On the one hand, you can fault the producers with being perhaps too unimaginative to change the format of the show. But on the other hand, it fits in with the show’s determination to stay rigidly artificial. If things didn’t change from season one to two, things weren’t going to change from season five to six. The reality of the ratings, like the realities of the real WWII (and the current Vietnam conflict, as well), had no place in Stalag 13.

Here are the twenty-six, one-half hour, color episodes of Hogan’s Heroes: The Fifth Season

DISC ONE:

Hogan Goes Hollywood
To transmit information home, Colonel Hogan plans to cast an American actor to star in a German propaganda film.

The Well

Hogan steals the Luftwaffe codebook, but can’t use it after Newkirk accidentally drops it down a well.

The Klink Commandos

In order to steal key documents, Hogan and his men volunteer for a German suicide-squad train bound for the Russian front.

The Gasoline War

Hogan and his men plan to demolish a gas station that’s just been built in the camp.

Unfair Exchange
Hogan kidnaps General Burkhalter’s sister, with the intention of exchanging her for a captured Allied agent.

The Kommandant Dies at Dawn

Colonel Klink is set up for execution after the Gestapo finds him with underground information — planted on him by Hogan.

Bombsight

A new weapon is about to be tested and Hogan schemes to get the blueprints to foil its detonation.

DISC TWO:

The Big Picture

When the Gestapo blackmails Klink, Hogan plans to steal the incriminating photo.

The Big Gamble

Hogan plots to keep a secret device, hidden on board a downed plane, from the Germans.

The Defector
A defecting field marshal tailed by Major Hochstetter to Stalag 13 needs Hogan’s help to get to England.

The Empty Parachute

By planting an opened parachute in camp, Hogan tricks the Germans into looking for an Allied agent — so he can find the missing briefcase that was handcuffed to a courier.

The Antique
Hogan convinces Klink to open a business selling “rare” cuckoo clocks, which Hogan plans to use for smuggling information.

Is There a Traitor in the House?
Hogan plans to filter information into London through the wires of a German propaganda radio broadcast.

At Last — Schultz Knows Something

Hogan prods Sergeant Schultz to reveal the site of a secret atomic installation that Schultz has been assigned to guard.

DISC THREE:

How’s the Weather?
Hogan throws an anniversary party for Klink, planning to use party balloons to forecast the weather.

Get Fit or Go Fight

Hogan convinces Klink to get back in shape so he won’t be shipped to the Russian front.

Fat Hermann, Go Home

Things heat up as Hogan schemes to return a load of stolen paintings to London, just as Maryn convinces Schultz to impersonate Reich Marshal Goering.

The Softer They Fall
Kinch agrees to fight a German boxing champ to divert attention from a heist that Hogan is planning.

Gowns by Yvette
By having LeBeau design her gown, Hogan plans to use the wedding of Burkhalter’s niece as a smokescreen to smuggle a defector out of Germany

One Army at a Time
When he’s captured in German uniform, Carter convinces the Germans that he is one of them.

DISC FOUR:

Standing Room Only

Hogan tries to save Klink from the officer who wants to turn him in for his lousy bookkeeping skills.

Six Lessons from Madame LaGrange
With the help of a singer, Hogan schemes to prevent the Gestapo from arresting all the local Allied agents.

The Sergeant’s Analyst
Schultz is headed for the Russian front because Burkhalter caught him goofing off.

The Merry Widow

To transport secret documents, Hogan sets up Klink with a female agent — but when the wrong documents fall into Klink’s hands, Schultz becomes the delivery boy.

Crittendon’s Commandos

On a mission to capture Rommel, Colonel Crittendon and his commandos parachute into camp, but the Colonel is the only one to avoid capture.

Klink’s Escape

Hogan gets Klink to believe he is about to bust a POW escape ring.

movie sharing

The DVDs:

The Video:
The full screen video image for the Hogan’s Heroes: The Complete Fifth Season disc set is remarkably clear. The 1960s was the true “Golden Age” of 35mm filmed TV shows, with Hollywood veterans behind the scenes who had perfected their crafts over decades of work in films. Colors are richly hued, with deep blacks and primary-colored blue skies and green pine forests (nicely recreated on the famous “40 Acres” lot — Gomer Pyle’s Marine barracks were right across Stalag 13’s road, out of camera range).

The Audio:
The Dolby Digital English mono tracks accurately represent the original sound presentations of Hogan’s Heroes: The Complete Fifth Season

The Extras:
Unfortunately, there are no extras for Hogan’s Heroes: The Complete Fifth Season. Dis……missed!

Final Thoughts:
It may seem trivial, but when viewers finally got a look at Hogan’s Heroes, and saw that old Bing Crosby was the executive producer, I’m sure that went a long way towards telling America it’s okay to laugh at Nazis. After all, if Der Bingle thinks it’s funny….It may be the same show, over and over again. It may be that no one could be dumb enough not to figure out that the nexus of weekly sabotage actions was located at Stalag 13. And it may be that the premise was essentially tasteless. But Hogan’s Heroes: The Complete Fifth Season, like all its seasons, ignored the real history of WWII to create a fantasy land backdrop for a classic farce, ably acted by a cast of real pros. And it’s still funny forty years later. I recommend Hogan’s Heroes: The Complete Fifth Season.

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Paul Mavis is an internationally published haze and television historian, a member of the Online Film Critics Society, and the initiator of The Espionage Filmography.

The Tick vs. Season One
is a gaiety introduction into the world of the considerable superhero, The Tick.
THE REVIEW

Covering 10 of the first 11 episodes of the animated series,

The Tick vs. Season One

can be a part of hold up to ridicule at times. For those of you who don't know the position, The Tick is a exceedingly strange superhero who is a sizeable, despondent man/tick. Along with his sidekick Arthur, The Tick is sworn to keep The Big apple from wickedness villains. Actually, how he got The City as his city to protect is a rather fun way to start the series, with superheroes assigned places to go and the earliest joined we see is assigned New Rochelle. That may not be funny to everyone, but I certainly laughed antiquated gaudy. The series is very strange as The Tick himself is more an different shun. He's knowledgeable and brave, but also rather stupid. But at the unvarying time he always manages to get the share out done. Arthur is a erstwhile accountant who believed he had a higher area and now wanders around wearing a moth set-up, undiminished with wings.

Take one of the episodes early on, The Tick vs. Chairface Chippendale. You might think that the guy had a face that resembled a chair, or he really liked chairs. But no, in the world of the Tick, the bad guy's head

was

a chair. There are no eyes, nose or mouth… instead there is a chair where his head should be. And that right there is a microcosm for how truly bizarre the series is. It's not your normal good guy vs. bad guy series where someone wants to rule the world or make a lot of money. One bad guy might want to just tattoo his name on the moon for instance, while another one might be upset that he got kicked out of cooking school and now throws homemade bread bombs at people. There are also other superheroes that wander around, including American Maid, a female superhero in a maid outfit, Die Fledermaus, who looks like a mouse, and my favorite, a guy with the head of a bullet who shoots himself out of a cannon. And that's his power. Nothing is quite what it seems in The City.

I think the biggest problem with the show is that I had a hard time watching more than one episode at a time. While I enjoyed what I saw and at times would find myself laughing out loud, it got to be too much. There are plenty of TV shows I can watch back to back episodes and not get tired, but I didn't feel that way with this one, so I can't say I totally loved it. But at the same time, the show is fun enough, and different enough, that it's definitely worth a look. He's not the most popular hero ever, but The Tick has his moments.

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THE BOTTOM VANGUARD
So all-embracing,

The Tick vs. Available One

is a rib reveal which will-power gain you entry into the strange fantastic of The Tick. Whether you be aware who he is or not, it's still a lead that you should take the continually to watch. At least a only one episodes of.

When a secret government agency lets broken a mortal virus causing the reanimation of the dead, the first place to effect on hit is Rhino’s, a piquant underground Nebraska get naked club run by the pornographic Ian Essko (Robert Englund). When stripper Kat (Jenna Jameson) is infected by an escaped soldier from the skill, she turns into a extraordinary, human-eating zombie stripper – and her gothic and bloody additional routine makes her the hit of the consortium. Done her jealous colleagues want to mean in on the undertaking, and the boss sees immense money in the new manner attraction. But things ultimately come down with out of turn over – and foot, and member and head …..

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Two opportunists check up on their constancy as well as the audience’s in the Hungarian oddity “Bahrtalo!” Docu-fiction cross from helmer Robert Lakatos, who reportedly met the verified-pep leads in a bar, is with regard to two traveling friends who are eternally looking in favour of ways to make liquid assets, and who both want to contain the matrix facts. Pic is refreshingly decent in its warts-and-all portrayal of friendship, despite the fact that its be deficient in of narrative hooks and genuine comedic sparks on make this a hard blow the whistle on anywhere.

Lori (Lorand Boros), a Transylvanian Hungarian, and Lali (Gabor Lajos), a Gypsy, buy whatever they can resell for a profit. Despite all their heated arguments, there’s a clear, underlying affection between them, even if the friendship never develops into anything warranting the audience’s interest. A director like Tony Gatlif might have molded them into a fascinating odd couple, but Lakatos wrings neither drama nor comedy from the duo. Shot over several years, pic feels as aimless as its protags, who wander from Transylvania to Vienna, Egypt and back. Score by Romany band Szaszcsavas suits pic’s rambling nature; print caught looked extremely dark in places. Title is Romany for “Good Luck!”

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