"THE ADVENTURES OF ROBIN HOOD" (1938) Review

 

”THE ADVENTURES OF ROBIN HOOD” (1938) Review

Over eighty-seven years ago, the 1938 film, ”THE ADVENTUERS OF ROBIN HOOD”, was released in theaters for the first time. For many fans and film critics, the swashbuckler is considered the definitive Errol Flynn movie. They also view his character, Sir Robin of Locksley, as the pinnacle of the Australian actor’s career.

There have been previous versions of the Robin Hood tale before and after. The other most famous versions are the 1922 silent film that starred Douglas Fairbanks and the 1950s TV series that starred Richard Greene. Like the other versions, the movie told the story of the young Saxon nobleman (Flynn) who created a band of outlaws to protest against the reign of Prince John (Claude Rains) in England during the early 1190s. With King Richard the Lionhearted (Ian Hunter) a hostage of Austria’s king, John usurps the royal power to oppress the English poor – especially the Saxons – with the help of Sir Guy Gisbourne (Basil Rathbone) and the Sheriff of Nottingham (Melville Cooper). Robin and his right hand man, Will Scarlett (Patric Knowles), recruits the likes of Little John (Alan Hale, Sr.), Friar Tuck (Eugene Pallette), Much the Miller's Son (Herbert Mundin) and a band of outlaws. Soon, Prince John and his Norman cronies find their cruelties opposed and themselves harassed beyond all bearing. Robin also finds the time to fall in love with the Norman noblewoman and royal ward, Maid Marian Fitzwalter (Olivia de Havilland).

To be frank, ”THE ADVENTURES OF ROBIN HOOD” is a glorious triumph not only for the Warner Bros. studio, but for Flynn as well. It has everything that the moviegoer could possibly want in a swashbuckler – great action, rich color, a superb score by Erich Wolfgang Korngold and a leading man who more than embodied what the main character stood for. Warner Bros. executives Jack Warner and Hal Wallis had originally cast James Cagney in the lead. But the actor became embroiled in one of his many feuds with the studio and two years later, Flynn won the role. I cannot say how Cagney would have portrayed Robin of Locksley. But Warner and Wallis certainly struck it rich with Flynn in the lead. Not only did he look the part, he handled the physical aspects of the role, perfectly. And he managed to inject Robin with a great mixture of roguish humor and sincere compassion.

The rest of the cast were also superb. Olivia de Havilland was never more lovelier. Even better, her Maid Marian became more than just the love interest and damsel-in-distress. Once Robin had swayed her to his cause, she turned out to be a valuable recruit. Not only did she managed to come up with a plan to save Robin from execution, she was the one who discovered a plot by Prince John, Sir Guy and the Sheriff to assassinate the returning King Richard.

Claude Rains, with his soft voice, made a deliciously sly Prince John. Basil Rathbone was tough enough to serve as a physical adversary for Robin. Their duel in the final scene at Nottingham Castle is considered a classic, thanks to the fencing choreography staged by Fred Cavens. And Melville Cooper was his usual funny self as the buffoonish Sheriff of Nottingham. Although I find it odd that he was the only one who was able to come up with a successful plan to capture Sir Robin. And where would ”THE ADVENTURES OF ROBIN HOOD” be without its supporting cast that portrayed Robin’s Merry Men? The handsome Patric Knowles made a sly and witty Will Scarlett. Alan Dale Sr. returned as Little John, a role he had first made famous in the 1922 film. Eugene Pallette made great use of his frog voice and gruff demeanor as Friar Tuck. And Herbert Mundin, as Much the Miller’s Son, seemed to be the best of the bunch. Not only did he proved to be as brave as Robin, he also won the hand of Marian’s nurse, Bess, portrayed by the always memorable Una O’Connor.

Surprisingly, ”THE ADVENTUES OF ROBIN HOOD” had two directors. Hal Wallis first assigned the film to William Keighley, who had directed Flynn in ”THE PRINCE AND THE PAUPER” (1937). But Hal Wallis felt slightly dissatisfied with Keighley’s slow handling of the action sequences and replaced him with Warner Bros’ reliable warhorse, Michael Curtiz. Flynn, who detested the Hungarian-born director, must have screamed in frustration. But Curtiz’s direction gave the film a tighter pace and better action sequences for which the movie is famous. ”THE ADVENTURES OF ROBIN HOOD” was one of the first films of the studio to use the old three-strip Technicolor process. And it paid off, giving the movie a rich color and vibrancy. And what would this version of Robin Hood be without Erich Wolfgang Korngold’s Academy Award winning score. I am still surprised that Korngold had originally turned down the assignment because he felt that his score could not live up to the movie’s action. Thankfully, he proved himself wrong.

”THE ADVENTURES OF ROBIN HOOD” seemed to have everything going for it – great cast, great photography, great action and great music. And it all seemed to blend seamlessly. Yet . . . it is not my favorite Errol Flynn movie. I had come across a review of the film in which a critic stated that one of the reasons this was his favorite Flynn movie was its light-hearted tone and simplistic characterizations that allowed the audience to escape from the more complex, modern world. And I could see those traits in the movie.

But as much as I had enjoyed it, there were times when the movie came off as a little too light or simple for me. Sir Robin of Locksley may be considered Flynn’s best role, but I must admit that I found his portrayal of Geoffrey Vickers in ”THE CHARGE OF THE LIGHT BRIGADE” (1936) and Geoffrey Thorpe in ”THE SEA HAWK” (1940) more complex and interesting. In fact, I consider the two movies to be my favorites that Flynn ever made. However, I do love ”THE ADVENTURES OF ROBIN HOOD” and consider it one of the most entertaining films I have ever seen.

"CENTENNIAL" (1978-79) - Episode Two "The Yellow Apron" Commentary

 

"CENTENNIAL" (1978-79) - Episode Two "The Yellow Apron" Commentary

Set during the 1810s and 1820s, the second episode of the NBC miniseries, ”CENTENNIAL”, continued the story of French-Canadian trapper, Pasquinel; his Scottish-born partner, Alexander McKeag; and their relationship with Clay Basket, the daughter of an Arapaho warrior. ”The Yellow Apron” explored how jealousies, resentments and desire nearly broke apart their tenuous relationship.

”The Yellow Apron” began in 1809, with Clay Basket giving birth to the first of hers and Pasquinel’s three children, Jacques. The story quickly jumped to 1811, with the birth of their second child, Marcel. By the time the story begins in earnest in 1816, Pasquinel is still obsessed in finding the gold that Lame Beaver had stumbled upon in the last episode. Because of his obsession, he asks McKeag to make the visit to the Bockweiss household in St. Louis for more goods to trade with the Plains tribes. Upon his arrival in St. Louis, McKeag learns that Bockweiss is anxious over his son-in-law’s failure to make the trip. He also learns that Lise Bockweiss Pasquinel has given birth to Pasquinel’s daughter, Lisette. And all of this happened within the episode’s first nine to ten minutes.

So much occurred in ”The Yellow Apron”. The episode saw the birth of Pasquinel’s four children – his children by Clay Basket (Jacques, Marcel and Lucinda) and his daughter by Lise (Lisette). McKeag has to deal with Jacques’ dislike of the Scots trapper and suspicion of Clay Basket’s love for him. Clashes with both the Native American world and the white world leave scars on Jacques, deepening his dislike of McKeag and leaving a mark on his psyche. Both McKeag and Clay Basket continue their struggle to keep their feelings for one another in check. And both have to contend with Pasquinel’s desire for gold and his penchant for leaving them all behind in order to be with his St. Louis wife, Lise. And Lise has to struggle between her own love for the French-Canadian trapper and her growing jealousy for his love of the West and a suspicion that he may have Native American wife. And although he seems very fond of Clay Basket, it is obvious that he is more divided by his feelings for Lise, the West and his desire for gold.

The episode’s last half hour spirals into a series of heartbreaking and bittersweet events. Jacques tries to kill McKeag in a fit of anger over a dispute regarding beaver traps. After the attack, McKeag leaves Pasquinel and the latter’s Arapaho family. After spending a winter inside a hut encased by a snowdrift, McKeag hooks up with a group of trappers that include Jim Bridger and James Beckwourth. They travel to a rendezvous for other mountain men. There, McKeag has an emotional reunion with Pasquinel. But McKeag’s lingering resentment toward his former partner makes the reunion short-lived. After one last trip to St. Louis, Lise convinces McKeag to reconcile with Pasquinel. Unfortunately, McKeag’s efforts to reconcile with his former partner come too late. Minutes earlier, Pasquinel is attacked and killed by a band of Ute warriors after finding the gold he had sought for so long. Despite the tragedy, McKeag and Clay Basket are now free to be together. And the Scots trapper agrees to claim Lucinda as his own. The episode ended with a shot of the gold nuggets that Pasquinel finally discovered, but failed to claim as his own due to his death. However, that final shot struck an ominous note . . . as conveying to the audience that not only will the nuggets be discovered again, but also bring havoc to the region. Especially for Pasquinel's Arapaho family and other Native Americans.

I must admit that I found ”The Yellow Apron” is probably one of the most bittersweet episodes in this miniseries. And possibly one of the most epic. The latter is not surprising, considering that most of the episode spans nearly fifteen years. But what I really enjoyed about it was that it touched upon an era of the Old West that is rarely covered in Hollywood films or television. I say . . . rarely. There have been movies about trappers and mountain men of the early 19th century, but most Hollywood productions tend to focus upon the West between the 1840s and the 1880s. The episode featured the growing conflict between the Native Americans and whites (both mountain men and the military) that set foot on their lands. This conflict was apparent in an effective scene in which McKeag, Pasquinel and the latter’s Arapaho family visited a fort along the Missouri River, where they clash with a group of hostile American soldiers. Viewers also had an opportunity to enjoy a scene that featured a rendezvous between trappers and traders from many nations and Native Americans. Thanks to some detailed and colorful direction by Virgil W. Vogel, the scene not only went into detail over what transpired at a rendezvous – trading, horse and foot racing, target shooting, singing, dancing, gambling and other activities.

A yellow apron figured into a session of dancing, initiated by a mountain man playing a bag pipe. This incident led to an emotional reunion between Pasquinel and McKeag. Considering the acrimony (at least on McKeag’s part) that led to their separation, watching the two former friends dance away the bitterness proved to be one of the most poignant moments in the entire miniseries. The scene also proved to be one of the finest moments on screen for both Richard Chamberlain and Robert Conrad. In fact, this particular episode provided some of the best acting in the entire miniseries. Not only did Chamberlain and Conrad did some of their best work, so did the likes of Barbara Carrera and Sally Kellerman, who both did excellent jobs in conveying the emotional difficulties in being Pasquinel’s wife. I also have to commend the late Vincent Roberts’ portrayal of Jacques Pasquinel in his early teens. I thought he did a top notch job of conveying the young Jacques’ dislike and resentment toward McKeag without resorting to any over-the-top acting.

Directed by Virgil Vogel, ”The Yellow Apron” is without a doubt, one of my favorite episodes in the miniseries. Personally, I thought it conveyed the complex friendship between Pasquinel and Alexander McKeag with more depth than even ”Only the Rocks Live Forever”. Not only did it boast some first-rate performances, especially from Richard Chamberlain and Robert Conrad, but also provided one of the most memorable scenes in the entire miniseries.

R.I.P. Richard Chamberlain (1934-2025)

"THOR" (2011) Review

 

"THOR" (2011) Review

My knowledge of European-based mythology is very sketchy. I am familiar with some figures of both the Greek and Roman mythologies. But my knowledge of Norse mythology is even less. As for the many characters from Marvel Comics, I barely knew about any of them - aside from "SPIDER-MAN", until the past seventeen years. One can only imagine my surprise when I learned that one of Marvel Comics' more successful super heroes was the Norse god, Thor.

Based upon the Norse mythology and the Marvel Comics character, "THOR" is an origin tale about the God of Thunder (and several other things), and how he ends up on Earth and becomes affiliated with S.H.I.E.L.D. The story begins in New Mexico, when scientist Jane Foster, her assistant Darcy Lewis and mentor Dr. Erik Selvig stumble across a figure that has tumbled from a wormhole in the sky. That figure turns out to be Thor, the Norse god that was exiled by his father, Odin, king of Asgard.

Earlier, Thor had been preparing to ascend to the throne of Asgard, but his ceremony was interrupted when Frost Giants attempted to retrieve the source of their power, the Casket of Ancient Winters, which had been taken by Odin in an earlier war. Against Odin's order, Thor traveled to Jotunheim, the Frost Giants' realm, to confront their leader Laufey; accompanied by his brother Loki, childhood friend Sif and the Warriors Three - Volstagg, Fandral and Hogun. A battle ensued until Odin intervened to save the Asgardians, which destroyed the fragile truce between the two races. For Thor's arrogance, Odin stripped his son of godly power and exiled the latter to Earth, accompanied by Thor's hammer Mjolnir — the source of his power, now protected by a spell to allow only the worthy to wield it.

No one had been more surprised than me upon learning that actor/director Kenneth Branagh had manned the helm for "THOR". Pop culture movie franchises were nothing new to him. After all, he had appeared in 2002's "HARRY POTTER AND THE CHAMBER OF SECRETS". But directing an adaptation of a comic book series? Mind you, "Thor" is a different kettle of fish in compare to . . . say "Spider-Man", "The Fantastic Four" or "Captain America". After all, Thor originated as a figure in Norse mythology. However, I must admit that I found it difficult to wrap my mind around the idea of a known Shakespearean actor directing a comic book hero movie.

In the end, I believe that Branagh did a pretty good job. "THOR" turned out to be a solid tale filled with mythology, some first-rate acting, family drama, comedy and action. The best aspect of "THOR" was to me - hands down - the family drama surrounding the main hero and his relationships with his father Odin and his younger brother, Loki. The family drama began with a mixture of Thor's arrogant nature and brother Loki's discovery that he was an orphan that Odin had discovered in the Frost Giants realm. Despite his discovery that he was a Frost Giant instead of an Asgardian, Loki viewed Thor as an unsuitable heir to the Asgard throne and used Thor's exile to muscle his way to the throne . . . and, uh Odin's heart.

Another aspect of "THOR" I found interesting was the story line about S.H.I.E.L.D.'s investigation into the wormhole that delivered Thor to Earth and his hammer Mjolnir, which is stuck in the middle of the New Mexican desert like Excalibur. The first encounter between the forces of S.H.I.E.L.D. and Thor during a rainy evening also provided some interesting action. This sequence not only featured a brutal fight to the now mortal Thor and a S.H.I.E.L.D. agent and a cameo appearance by future Avenger member, Clint Barton aka Hawkeye.

The New Mexico sequences provided most of the comedy featured in "THOR". The former Norse god's interactions with Jane Foster, Erik Selvig, Darcy Lewis and the locals of the New Mexico town where they resided. Ashley Edward Miller, Zack Stentz and Don Payne's screenplay not only provided a good deal of slapstick humor and witty one-liners for the Darcy Lewis character, but also a variation on the "fish out of water" theme for Thor's character arc.

And If there is one thing that the movie did shine was its production designs and cinematography. Bo Welch did a excellent job in recapturing the rugged setting of the small New Mexican town and the Frost Giants' realm of Jotunheim, featured in the film. But he did a superb job in his design of Asgard, the realm of the Norse gods. Asgard possessed a sleek, colorful and over-the-top quality that reminded me of what the Art Deco style would look in the hands of Hollywood craftsmen in the 1930s and 40s. And Haris Zambarloukos' photography did great justice to both settings, especially Welch's designs for Asgard. Even though I found the movie's theme somewhat conflicting, I must admit that I found Paul Rubell's editing rather smooth and well done in both the action sequences and the jumps between Asgard and New Mexico.

However, I have yet to encounter a movie that I would consider perfect. And "THOR" was far from perfect. The film's main problem was that it seemed to have a conflicting quality about it. Because the movie's setting constantly moved from Asgard to New Mexico and back, it ended up striking me as a mixture of "CLASH OF THE TITANS" and "STARMAN". And this conflicting style did barely had any balance. I could have settled for "THOR" beginning its story in Asgard and remaining in New Mexico until the last scene. Unfortunately, most of the movie's more important action occurred in Asgard, leaving the New Mexico sequences to bear the brunt of most of the comedy. By the time the movie's last scene ended, I could not tell whether this was a movie about mythological gods or a comic book hero. "THOR" was a pretty good movie, but it did not exactly rock my boat. I found the story a bit mediocre and conventional. And the problem, if I must be honest, rested with Marvel Comics' decision to create a comic series about a well-established mythological figure, instead of a new and original character.

If there was one aspect that "THOR" was blessed with . . . it was the cast. The three actors and one actress that portrayed Thor's Asgardian friends - Sif and the Warriors Three - were very popular with moviegoers when the film first hit the theaters back in 2011. I can see why. Josh Dallas, Jamie Alexander, Ray Stevenson and Tadanobu Asano made a first-rate screen team. I do not think they were able to re-capture the same chemistry in future movies as they did in this one. More the pity. Although Rene Russo went from went from leading lady to character actress within a decade, I have to give kudos to her for giving a warm and solid portrayal of Thor's stepmother, Frigga. I was amazed at how Elba managed to convey all of Hemidall's emotions and intelligence with very limited movement. No wonder he became very popular with many of the film's characters. And Colm Feore managed to do something quite similar. He conveyed all of Laufey's malice and secrecy behind a ton of body makeup.

Aside from Hemsworth's foray into slapstick, the New Mexico sequences featured a deliciously sly and humorous performance by Kat Dennings, who portrayed Darcy. And it was great to see Clark Gregg reprise the role of Phil Coulson for the third time (he made two earlier performances in the two IRON MAN movies). Thankfully, the movie's script allowed him to be more complex and increasingly sardonic, allowing Gregg to really show his acting chops. Finally, the movie benefited from solid performances by Anthony Hopkins' majestic portrayal of Odin, Thor's father, Stellan Skarsgård as Jane's dependable and practical mentor, Dr. Eric Selvig and Samuel L. Jackson as S.H.I.E.L.D. director Nick Fury in the movie's post-credits sequence.  Only Jeremy Renner as Hawkeye seemed wasted in this film. In fact, he did nothing at all, except pose with a bow and arrow. Scarlett Johanssen had a bigger role in 2010's "IRON MAN 2". This seemed like a poor introduction of the Hawkeye character into the MCU, considering that he was scheduled to appear in the 2012 film, "THE AVENGERS".

I never thought Anthony Hopkins, of all people, would end up in the a comic book movie franchise. But I am glad that he did. He gave a very commanding performance as Odin, King of Asgard and father of both Thor and Loki. In fact, one of my favorite moments in the film featured Odin stripping Thor of his power and this was due to a powerful performance by Hopkins. Natalie Portman gave a charming and humorous portrayal of Dr. Jane Foster, the astrophysicist who was not only obsessed with her work, but eventually finds love with Thor. Mind you, I did not find her character particularly exceptional. I am glad to say that Portman managed to make Jane a more than interesting personality. One of the best performances came from Tom Hiddleston's portrayal of Loki, Thor's resentful and conniving younger brother. Loki was definitely the movie's main villain. The joke he had played (luring three Frost Giants to the chamber that held the Casket of Ancient Winters) on Thor's ascension ceremony not only led him to the discovery that he was an abandoned Frost Giant infant taken by Odin, but also gave him the opportunity to discredit Thor and take the latter's position as Odin's more cherished son. Mind you, I cannot say that Hiddleston conveyed Loki's mischievous sense of humor effectively. But he did handle Loki's conniving nature, jealousy toward Thor and outrage over the story behind his true nature with great skill and subtlety.

I had been surprised to learn that lead actor Chris Hemsworth was the same man who portrayed James T. Kirk's doomed father in the 2009 movie, "STAR TREK". His George Kirk had been so dull. Fortunately, portraying Thor gave Hemsworth the opportunity to shine in a complex role that developed from an arrogant and over-privileged prince with an aggressive sense of self to a more compassionate and wiser man who had fallen in love. For an actor who only had eight or nine years of acting experience before this film - mainly on television - Hemsworth had more than held his own against the likes of Clark Gregg, Idris Elba, Ray Stevenson; and along with Oscar winners Anthony Hopkins and Natalie Portman.   And the scenes that featured Thor's encounters with Jane's van conveyed Hemsworth's talent for physical slapstick humor.  As an on-screen fighter, he struck me as a bit crude, but he improved with time.

In conclusion, "THOR" proved to be an entertaining movie and another step toward "THE AVENGERS", the big Marvel Cinematic Universe saga for 2012. The movie provided solid direction from Kenneth Branagh and excellent performances from most of the cast. But the movie's conflicting genre(s) and somewhat mediocre story led me to realize that I would never consider it to be one of the outstanding releases from Marvel Studios.

"UNDERGROUND" Season One (2016) Photo Gallery

 

Below are images from Season One of the WGN series, "UNDERGROUND".  Created by Misha Green and Joe Pokaski, the series stars Jurnee Smollett-Bell and Aldis Hodge:

"UNDERGROUND" SEASON ONE (2016) Photo Gallery

"THE CHISHOLMS" (1979): Chapter II Commentary

 

"THE CHISHOLMS" (1979): CHAPTER II Commentary

The first episode of the 1979 miniseries, "THE CHISHOLMS" - otherwise known as Chapter I had focused on the Chisholm family's last year at their western Virginia farm. The episode also explored the circumstances that led to patriarch Hadley Chisholm's decision to move the family west to California during the spring of 1844 and their journey as far as Evansville, Indiana. This second episode focused on the next stage of their journey. 

This new episode or Chapter II focused on a short period of the Chisholms' migration to California. It covered their journey from southeastern Illinois to Independence, Missouri. Due to the addition of a guide named Lester Hackett, who had agreed to accompany them as far as Missouri, the Chisholm family experienced its first crisis - one that led to a temporary split within the family ranks. The family's journey seemed to be smooth sailing at first. They managed to become used to the routine of wagon train traveling. Lester proved to be an agreeable companion who helped with both hunting for game and cooking. He even managed to save Bonnie Sue Chisholm, who briefly found herself trapped in the family's wagon being pulled away by their pair of skittish mules. Eventually, Bonnie Sue and Lester began expressing romantic interest in each other. 

But alas, the family's luck began to fade. A lone rider began trailing the Chisholm party. Lester discovered that he was a friend of someone named James Peabody, who believes Lester was responsible for the theft of some valuables that include a pair of Spanish pistols . . . the same pistols that Lester had claimed he lost in a poker match in Louisville. He and Bonnie Sue enjoyed a night of intimacy together before he abandoned the Chisholms . . . while riding Will Chisholm's horse. Around the same time, Hadley's violent encounter with a drunken Native American at a local tavern fully revealed his deep-seated bigotry towards all Native Americans and foreshadowed the problems it will cause. Then Hadley made one of the worst decisions of his life by allowing Will and middle son Gideon to pursue Lester to Iowa and recover the former's stolen horse. 

Upon their arrival in Iowa, Will made an equally disastrous decision. Instead of requesting information and help from the local sheriff, he and Gideon appeared at the Hackett farm, asking for Lester's whereabouts. The two brothers ended up being arrested for the theft of chicken eggs and trespassing. Although the charges of theft were dropped, Will and Gideon were convicted of trespassing and ordered to serve on a prison work gang for a month. This left the rest of the family to continue on to Independence, Missouri - the jump-off point for all westbound wagon trains. During their journey through Missouri, the Chisholms joined with the Comyns, a family from Baltimore. Upon their arrival in Independence, the Chisholms and the Comyns discover that most of the wagons trains had already departed. However, they managed to form a wagon party with a plainsman named Timothy Oates and his Pawnee wife, Youngest Daughter. Unaware that Will and Gideon have been sentenced to a prison work gang, and aware that they are already behind schedule, the Chisholms have no choice but to head west into the wilderness.

For an episode that began in a light-hearted manner, Chapter II ended on a rather ominous note. You know, I have seen this production so many times. Yet, it never really occurred until recently how the turmoil caused by Lester Hackett in this episode, ended up causing so much turmoil for the family. What makes this ironic is that it all began with the sexual attraction that had sprung up between him and Bonnie Sue Chisholm back in Louisville. The first sign of this turmoil manifested in Lester's abandonment of the family and especially, his theft of Will Chisholm's horse. The horse theft led to the separation of the family at a time when it would have been more imperative for them to be together as a unit.

Hadley did not help matters by allowing Will and Gideon to search for Lester in Iowa. And the two brothers made the situation worse by failing to immediately contact the local sheriff before appearing at the Hackett farm - an act that led them to be sentenced one month on a prison work gang. Will and Gideon's situation made it impossible for them to catch up with the rest of the family on the trail. And as Beau Chisholm had pointed out to Hadley in Independence, they were not in a position to wait for the other two. The Chisholms had no choice but to leave with two other westbound parties - the Comyns from Baltimore and the frontiersman Timothy Oates and his wife, Youngest Daughter. Two families and a couple does not seem large enough for a safe journey on the overland trail. But considering they were all behind schedule, they could either take the risk continue west or hang around Independence until the next year.

But I did notice that despite all of this turmoil, the light-hearted atmosphere of the episode's beginning seemed to have persisted. More importantly, Chapter II seemed to be marked by a good deal of humor. The episode included humorous moments like Hadley's negative comments about the Illinois and Missouri landscapes, Will and Lester's lively debate over using mules or oxen to pull wagon overland, Lester's attempts to win over the family - especially Minerva, and especially his sexy courtship of Bonnie Sue. 

Once Lester had abandoned the family near St. Louis, the humor continued. Will and Gideon's experiences in Iowa were marked with a good deal of sardonic humor. That same humor marked Hadley and Minerva's low opinion of the Comyn family. Even Hadley's quarrel with the Independence saloon owner permeated with humor and theatricality. Looking back on Chapter II, I can only think of two moments that really emphasized the gravitas of the Chisholms' situation - Hadley's violent encounter with the Native American inside an Illinois tavern and that final moment when the family continued west into the wilderness without Will and Gideon.

When the Chisholms left Virginia in Chapter I, their journey was marked with a good number of interesting settings. That episode featured a detailed re-creation of Louisville and travel along the Ohio River. There seemed to be no such unusual settings for Chapter II. The entire episode focused on the family's journey through Illinois, Iowa and Missouri. Not once did the episode featured the family in St. Louis. And a few set pieces (or buildings) served as Independence, Missouri circa 1844. 

The performances from Chapter I held up very well. Robert Preston and Rosemary Harris, as usual, gave excellent performances as the family's heads - Hadley and Minerva Chisholm. I was especially impressed by Preston's performance in the scene involving Hadley's encounter with the intoxicated Native American. In it, the actor did a superb job in conveying both Hadley's racism toward all Native Americans and his poignant regret over the tragic circumstances (Allen Chisholm had been killed by a Native American in a drunken fight over a slave woman from the Bailey plantation) behind his toxic attitude. Both Ben Murphy and Brian Kerwin clicked rather well during those scenes that involved Will and Gideon Chisholm's search for Lester. The episode also featured solid performances from James Van Patten, Susan Swift, Katie Hanley (as the amusingly mild-mannered Mrs. Comyn) and David Heyward (as Timothy Oates). Veteran character actor Jerry Hardin gave an excellent performance the slightly proud, yet finicky Mr. Comyn, who seemed to run his life by his pocket watch. 

But if I must be honest, this episode belonged to Stacy Nelkin and Charles Frank, who did superb jobs in conveying Bonnie Sue Chisholm and Lester Hackett's burgeoning romance. I was impressed by how both of them developed Bonnie Sue and Lester's relationship from sexual attraction to playful flirtations and finally, to a genuine romance that was sadly cut short by Lester's need for self-preservation from a charge of theft.

Overall, I enjoyed Chapter II. In a way, it seemed to be the calm before the storm that threatens to overwhelm the Chisholm family on their trek to California. The episode seemed to be filled with a good deal of humor and romance. On the other hand, Lester Hackett's past and current choices in this episode seemed to hint an ominous future for the family by the end of the episode.

"THE MIRROR CRACK'D" (1980) Review

 

"THE MIRROR CRACK'D" (1980) Review

As far as I know, Guy Hamilton is the only director who has helmed two movie adaptations of Agatha Christie novels. The 1982 movie, "EVIL UNDER THE SUN" was the second adaptation. The first was his 1980 adaptation of Christie's 1962 novel, "The Mirror Crack'd From Side to Side". 

A big Hollywood production has arrived at St. Mary's Mead, the home of Miss Jane Marple, to film a costume movie about Mary, Queen of Scots and Queen Elizabeth I of England, starring two Hollywood stars - Marina Gregg and Lola Brewster. The two actresses are rivals who despise each other. Marina and her husband, director Jason Rudd, have taken residence at Gossington Hall, where Colonel Arthur Bantry and his wife Dolly used to live. Due to Colonel Bantry's death, Mrs. Bantry - who is one of Miss Marple's closest friends - has moved to a smaller home.

Excitement runs high in the village as the locals have been invited to a reception held by the movie company in a manor house, Gossington Hall, to meet the celebrities. Lola and Marina come face to face at the reception and exchange some potent and comical insults, nasty one-liners, as they smile and pose for the cameras. The two square off in a series of clever cat-fights throughout the movie.

Marina, however, has been receiving anonymous death threats. After her initial exchange with Lola at the reception, she is cornered by a gushing, devoted fan, Heather Badcock (played by Maureen Bennett), who bores her with a long and detailed story about having actually met Marina in person during World War II. After recounting the meeting they had all those years ago, when she arose from her sickbed to go and meet the glamorous star, Babcock drinks a cocktail that was made for Marina and quickly dies from poisoning. It is up to Miss Marple and her nephew, Detective-Inspector Dermot Craddock of Scotland Yard to discover the killer.

I surprised to learn that Guy Hamilton was the director of "THE MIRROR CRACK'D". This movie was the first of two times in which he directed an Agatha Christie adaptation that placed murder in the world of show business. Frankly? I am beginning to suspect that he was more suited for this particular genre that he was for the James Bond franchise. Like the 1982 film, "EVIL UNDER THE SUN", I enjoyed it very much. I am not a big fan of Christie's 1962 novel. I understand that the origin of its plot came from Hollywood history, which gives it a touch of pathos. Along with the quaint portrayal of English village life and the delicious bitch fest that surrounded the rivalry between Marina Gregg and Lola Brewster, I believe that Hamilton and screenwriters Jonathan Hales and Barry Sandler in exploring that pathos in the end. There is one aspect of Christie's story that the screenwriters left out - namely the connection between Marina and the photographer Margot Bence. Honestly, I do not mind. I never cared for it in the first place. I found this connection between Marina and Ms. Bence a little too coincidental for my tastes. 

I did not mind the little touches of English village life featured in "THE MIRROR CRACK'D". Although I must admit that I found them occasionally boring. Only when the citizens of St. Mary's Mead interacted with the Hollywood visitors did I find them interesting. On the other hand, the rivalry between Marina Gregg and Lola Brewster was a joy to watch. And I feel that Hamilton and the two screenwriters handled it a lot better than Christie's novel or the 1992 television movie. And to be honest, I have to give Elizabeth Taylor and Kim Novak most of the credit for the venomous and hilarious manner in which their characters' rivalry played out on screen.

The behind-the-scene productions for "THE MIRROR CRACK'D" certainly seemed top-notch. Christopher Challis' photography struck me as colorful and beautiful. However, there were moments when he seemed to indulge in that old habit of hazy photography to indicate a period film. Only a few moments. Production designer Michael Stringer did a solid job of re-creating the English countryside circa early-to-mid 1950s. His work was ably supported by John Roberts' art direction and Peter Howitt's set decorations. Phyllis Dalton did a very good job of re-creating the fashions of the movie's 1950s setting. I especially enjoyed the costumes she created for the fête sequence. The only aspect of the production that seemed less than impressive was John Cameron's score. Personally, I found it wishy-washy. His score for the St. Mary's Mead setting struck me as simple and uninspiring. Then he went to another extreme for the scenes featuring the Hollywood characters - especially Marina Gregg - with a score that seemed to be a bad imitation of some of Jerry Goldsmith's work.

"THE MIRROR CRACK'D" certainly featured some first-rate performances. Angela Lansbury made a very effective Jane Marple. She not only seemed born to play such a role, there were times when her portrayal of the elderly sleuth seemed like a dress rehearsal for the Jessica Fletcher role she portrayed on television. Elizabeth Taylor gave an excellent performance as the temperamental Marina Gregg. She did a great job in portraying all aspects of what must have been a complex role. Rock Hudson was equally first-rate as Marina's husband, the sardonic and world-weary director, Jason Rudd. He did a great job in conveying the character's struggles to keep his temperamental wife happy and the impact these struggles had on him. Edward Fox was charming and very subtle as Miss Marple's nephew, Scotland Yard Inspector Dermot Craddock. I especially enjoyed how his Craddock used a mild-mannered persona to get the suspects and others he interrogated to open up to him.

I was never impressed by Agatha Christie's portrayal of the Lola Brewster character . . . or of two other actresses who portrayed the role. But Kim Novak was a knockout as the somewhat crude and highly sexual Hollywood starlet. Watching the comic timing and skill she injected into the role, made me suspect that Hollywood had underestimated not only her acting talent, but comedy skills. Tony Curtis certainly got a chance to display his comedic skills as the fast-talking and somewhat crude film producer, Martin Fenn. And I rather enjoyed Geraldine Chaplin's sardonic portrayal on Ella Zielinsky, Jason Rudd's caustic-tongued secretary, who seemed to be in love with him. The movie also featured solid performances from Charles Gray, Wendy Morgan, Margaret Courtenay and Maureen Bennett. And if you look carefully, you just might spot a young Pierce Brosnan portraying a cast member of Marina's movie.

Overall, I enjoyed "THE MIRROR CRACK'D". I thought Guy Hamilton did an excellent job in creating a enjoyable murder mystery that effectively combined the vibrancy of Hollywood life and the quaintness of an English village. He was assisted by a first-rate crew, a witty script by Jonathan Hales and Barry Sandler, and a very talented cast led by Angela Lansbury.

"SENSE AND SENSIBILITY" (1981) Photo Gallery

 

Below are images of "SENSE AND SENSIBILITY", the 1981 BBC adaptation of Jane Austen's 1811 novel. Directed by Rodney Bennett and adapted by Alexander Baron, the miniseries starred Irene Richards and Tracey Childs:

"SENSE AND SENSIBILITY" (1981) Photo Gallery