trimmerb1234 Reviews

The Home That 2 Built (2014)

Appalling

[4/10 · 19 June 2020]

Apalling I share all the opinions reviewer, l_rawjalaurence,so well expressed about the content and tone of this series. I cringe at its uninformed one-sided judgements. Having lived through the entire period and remembering it well and having some interest in interior design and architectures, later being a long term member of the Victorian Society I'm not a nostalgic, Such expertise that does appear comes either from self-promoting design gurus such as Lawrence Llewellyn-Bowen or in effect marketing people whose world-leading business it is to sell flat pack cheap and cheerful furniture to a mass market. The clue to ihe programmes uncritical approach is its repetition of that promoted by those with something to promote, that to choose the current dominant style is to "express one's individuality" it is instead to express conformity ie lack of individuality - hence many individual current mega-projects all ending up looking the same - white and minimalist with vast purposeless spaces. "Individuality" means personal choice - whatever that may be. That's the reason for vernacular housing and interior design in all periods. This includes all the whimsical, comfortable or homely, let alone changes make older houses easier to use and maintain, all so derided and pushed aside by the programme. Even that most style-conscious group, the Georgians, got their style from style books. I once knew a bespoke furniture-maker who visited Scandinavia in the late 1940s so became aware of the forward thinking creative furniture designs compared to the backwards designs at that time.I've seen breathtaking modern design, interior and architectural. None though dominant. It's a subject which deserves intelligent independent expert treatment and publication - not that of people with something to sell - either themselves or products.

The Jane Austen Book Club (2007)

"Is not general incivility the very essence of love?'"

[3/10 · 9 June 2020]

This quote appears in the titles, is referred to as being the opening line of Pride and Prejudice and appears in many quotation websites

I am mystified by this because firstly it didnt makes sense, seemed most unlikely that Jane Austen would have written, spoken it or thought it. And finally the famous opening line is: "It is a truth universally acknowledged, that a single man in possession of a good fortune, must be in want of a wife" - exactly in line with the theme of the book and Mrs Bennett's embarrassing very public obsession. It was Jane Austen's sharp comment on a section English society of the early 19th Cent.

What is the explanation?

Wild Wind (1985)

Probably the best english language Yugoslav film about the wartime partisans in the world

[5/10 · 3 June 2020]

And probably the only one. The point being that although quite an important piece of WW2 history, a film written by and with cast mainly of Yugoslavs told from the point of views of Yugoslavs is a rarity. Historical films are not just entertainment but also educational. Reviewers here judge it just on its entertainment value - and it is admittedly not well made. With a $10,000 budget it was not exactly cheap - it mainly appears to have been spent on military vehicles and trains. It stimulated me to learn something of the history.

The Great Interior Design Challenge (2014–2017)

Questionable judging and the second-rate praised

[5/10 · 19 May 2020]

I've watched the Great Pottery Throwdown as well as the Sewing Bee. One of the pottery judges is often overwhelmed by emotion by some pieces - and I always see why and sometimes share the emotion. In Sewing Bee, the judges are cooler but clearly very competent both on design and manufacture. Nobody goes to the next round or is dropped without if being clearly explained and fairly obviously right. On Design Challenge, the judging criteria is inconsistent - a designer who delights the client is dropped yet a designer who gets strong criticism goes through to the next round on the specious grounds of the judge's confidence that the designer will learn from their mistakes and do better better next time. With just two judges there is no-one to arbitrate. Here we have the ferociously forceful former The Appprentice Dragon-Lady Kelly Hoppen MBE teamed with rather limp and eager to fit in, Daniel Hopwood. At last they have brought in a third judge - someone who clearly has an independent mind and complete willingness to fully explain her view. The designer who disappoints her clients has just done it again. Without the new third judge, I think she would have won the series. When a waiter asks a group at a table if they have enjoyed their meals, there is much nodding of heads and "Very nice" comments. As soon as the waiter is out of ear-shot, the group erupts with criticism. "Very Nice" is the polite default, not wishing to offend or spoil the occasion. But voiced criticism means real wont-come-here-again disappointment.

The Pot Carriers (1962)

Comparisons with "Porridge"

[7/10 · 16 May 2020]

This film came first - Porridge came 12 years later and is I think Pot Carriers with jokes and a comic lead - but lacking the intricate and authentic plot and character portrayals of the original. Ronald Fraser is good - if you follow what he's about. He's proud to be a professional thief and is not sitting out his sentence but boosting his "professional" reputation by the neatness of the scams he works inside - to earn him big respect when he comes out. A sunny likable manner, gets on with everyone and apparently keeping his nose clean is earning him maximum remission. Best of all, he and his associates are as they put it "Living like Kings" eating better food than the screws who are themselves being paid off from the proceeds to look the other way. The complicated interlocking barter economy is clever and sounds believable> He's neither Bogart nor Ronny Barker - the part doesnt call for either but he dominates the film. Porridge, having seen this, appears something of a rip-off

This Is Tom Jones (1969–1971)

Two great talents

[8/10 · 10 May 2020]

This show is a tribute to Sir Lew Grade, impressario and boss of ATV. He took top British talent, built a show around them and through his contacts, marketed it in the USA, making the British star an international superstar. Though featuring Tom Jones, it was also variety show and included top international talent as guests. The result was dazzling entertainment equally popular on both sides of the Atlantic unlike anything either had seen before. So feverishly enthusiastic were some of Tom Jones female fans that a few would threw their underwear to him which he used to briefly mop his sweating brow then throw back to them. Ex-bricklayer Jones had a physical vigour which matched his voice, ATV Elstree had early on installed colour TV cameras using the US NTSC system in order to serve the preexisting US colour TV market. Unlike many others, the conversion to the 625 Pal system for European audiences were of the very highest quality. All in all it was win-win - Tom Jones became launched as a global star, and British audiences were able to see big budget shows featuring their very own star. What is more, it was a considerable export-earner for the UK. Neither before or since has British television Light Entertainment had such an expansive, confident and competent impressario. It was ndeed the Golden Age

Georgy Girl (1966)

The talented Miss Redgrave gave this film its centre, heart, soul - and sense

[6/10 · 12 April 2020]

Nicely shot in black and white this is an unsatisfactory mix of the three then overlapping British cinema fashions: Kitchen Sink, Swinging London and the over-cranked style Beatles vehicles here severely afflicting Alan Bates. It conspicuously predates the sexual-liberation revolution of just a few years later - the author lived as a young woman in the pre-pill era. Georgy has little interest in sex, she just wants to be a mum.

Men are exclusively harshly portrayed: first the parody feckless Alan Bates character. Second the ageing money-bags (James Mason) who attempts to employ Georgy under business contract as his mistress. Third, Georgy's father who, as money-bag's butler, is entirely focussed on getting his daughter somehow hooked up to his employers wealth.

The Charlotte Rampling character - petite, perfect, wilful and hateful - is a female monster - an early portrayal of a Sloane-Ranger - children of wealthy upper-class parents. That she is a talented violinist and plays in an orchestra is given no weight or meaning. The writer has packaged her hatred for the character, and by extension the social class, by writing her as an unredeemed 2D monster.

It is Georgy the Good, the large gawky Lynn Redgrave character who is mother courage - doing the right things, never even wanting to do the wrong thing. In a short fantasy? scene, Lynn Redgrave, dressed and made up, demonstrates that she can dazzle. But it is the unassuming, dutiful and modest, bearing ill-will to none which runs throughout. I've not read the book - perhaps it had more to offer than the film

You Will Remember (1940)

The quality of the music saves this film

[6/10 · 10 April 2020]

Out of curiosity and because it was very close to where i once lived, I paid a visit where this film was made: Worton Hall Studios, Isleworth . The original grand Worton Hall remains but is now in the middle of an uninteresting housing estate. Actual film stages of the era were often crude-looking crosses between warehouses and early aircraft hangers so I guess are not much missed.

Robert Morley in later years tended to play rather stereotyped roles - corpulent with an upper class accent. He let himself be frequently cast as, I guess an American audiences' vision of a rather ridiculous type of Englishman, possibly harking back to George lll In The African Queen he played a fat, pompous preachy but ineffectual and flaky colonial missionary. Morley was a very intelligent, talented and witty man yet this was not always used in his roles. Here a young Morley - sleek and corpulent - plays the young struggling down at heel composer Leslie Stuart not modifying in the slightest his native plummy Southern English accent to play Stuart who was of working class Irish origin (Charles Victor plays his father with a strong Irish accent), born in Lancashire. Stuart never, judged from photographs, appeared corpulent. Here Morley was simply miscast, silkily gliding through the role, nevertheless, as always, a pleasure to watch.

To me the redeeming feature and revelation is the quality of Stuart's music - at times very beautiful, at times brisk and stirring (the patriotic Soldiers of the King), and other times quirky taking on various current fads - American minstrel music for one. Others, catchy hit songs, I'm not sure any British composer has had this versatility and success. Is he to be compared to Sir Arthur Sullivan of Gilbert and Sullivan fame? It is surprising to read that he had been the composer of so many still familiar hit songs of his era.

The Long Haul (1957)

Trucking great!

[18 March 2020]

Forget Diana Dors, I want that Leyland Octopus truck! It's the real hero.

For some reason in the 50's there were a lot of British films revolving around trucks. Most creditably 1957's Hell Drivers, 1960's The Highjackers, another where a couple drive overland to South Africa - and get stuck in the middle of a shallow river. This film is literally a composite of all those with a little of Tread Softly, Stranger thrown in. It suffers rather than gains because it has too many subplots so that it lacks focus.

But back to the truck, I guess, as did another reviewer who clearly knows his trucks, that for Leyland this was a great opportunity to showcase their vehicle on a very challenging but very scenic route over the top of a mountain. It is the high point for me at least. .

Triple Cross (1966)

Incredible true story but with a central miscasting.

[7/10 · 30 January 2020]

Wikipedia has an article on Eddie Chapman, the original on whose true life story the film was based. Plus a photograph of him in 1942, and the picture tells a thousand words - it's a face of striking toughness and defiant coolness. One person he didnt remotely resemble was Christopher Plummer who once again gives a smooth rather bland confident performance but very little different to his in another film, as the Duke of Wellington - aristocrat, general and later British Prime Minister, and many other films. Chapman had lived most of his pre-war life either as cracksman in various criminal gangs or in jail.

Unbelievably nearly all of the film is true. Perhaps the most incredible thing about the real Chapman was his death - that he survived so long until his death due to of natural causes aged 83 in 1997 after a generally peaceful and pleasant life - post WW2. Wikipedia has a photograph of Chapman in later life proudly leaning on the bonnet of his Rolls Royce. Quite of substantial amount of his wealth came from a grateful (British) nation for services rendered. Was he proud of his Iron Cross, personally awarded him by Adolph Hitler?

The film is crying out to be re-made - as accurately and as realistically as possible this time with a credible casting of the central character, if a suitable actor can be found - something I think will not be easy. Faces like Chapman are uncommon.

Rumpole of the Bailey: Rumpole and the Show Folk (1979) Season 2, Episode 3

A bit of a revelation

[7/10 · 22 January 2020]

Other barristers as well as judges are, through Rumpole, writer John Mortimer's targets, frequently comically portraying them as rather incompetent to the cost of accused and at the cost of the reputation of legal profession.

Here though the criticism is serious Rumpole is troubled - has he been conned by the performance of his actress client accused of murder? It is though the drunken jolly "circuit" dinner following the trial which is a revelation. Members of the local circuit of judges are in celebratory playful mood - no thoughts of justice only of their profession and their friendly rivalries. Rumpole is disillusioned and ashamed. It was a "Northern" circuit, Rumpoles last line is to the taxi driver's "Where to, Guvnor?" "South!" says Rumpole emphatically. Mortimer's comic mask appears this time to have dropped to reveal a distaste for his profession - in particular how it operates up "North".

The Sleeping Tiger (1954)

Pre-figures director Losey's later "The Servant"

[6/10 · 21 January 2020]

Both starring Dirk Bogarde in a psycho-drama involving role and character reversal. This however deservedly lower rated due to its looser plot, implausibilities, lack of coherence, its cliches and its melodramatic style particularly in the closing stages. "The Servant" in contrast is original, compelling even claustrophobic and very memorable, Unclear if it was intentional that the most psychologically puzzling character was not the criminal, Bogarde, but the psychiatrist: Alexander Knox. Did the writer believe that the psychiatrist was in control and judgement vindicated, succeeding better than he ever expected in getting to the root of the criminals behavior and reforming him? By being persistently supportive to the extent of perjury himself, the psychiatrist is able to bond with his "patient" and discover the source of the criminal behaviour - childhood conflict with his father - presenting it to him and provoking a break-down of the callous criminal and achieving an extraordinary conversion. Bogarde suddenly becomes considerate, tactful, respectful, empathetic and thoroughly decent. The psychiatrist on the other hand suddenly pulls out the gun conveniently but dangerously sitting in his always unlocked desk draw and chases after Bogarde. Bogarde in his evil and manipulative mode has seduced the psychiatrist's younger wife but, post conversion, becomes the decent honourable character, controlled by his hitherto non-existent conscience. Too late though. It was though one of Bogardes performances.

Forbidden (1949)

Blackpool Rock

[6/10 · 17 January 2020]

The similarities to the celebrated 1948 film Brighton Rock could hardly be coincidental - set in that other big seaside holiday town, Blackpool, with the gang of young spivs and hoodlums centered in a funfair rather than horse racing. with a young Kenneth Griffith as a Pinkie figure. Even the same actor playing the identical gang member in both films. But whereas the storyline and script were so tight in Brighton Rock, here in Forbidden they are so sloppy. Mixing Ronald Shiners comic persona with film noir elements is just plain odd. not merely unsuccessful. Whereas the Brighton in Brighton Rock was a very hard place. Forbidden is a strange mixture of sugar and dog's dinner. Douglas Montgomery was an odd actor - half ineffectual sap, half leading man. Here the script perfect;y serves him - half sap, half hero - unfortunately. It is a mess.

Carnival Story (1954)

You know how to whistle? You just put your lips together and blow

[7/10 · 3 October 2019]

The tone of this film is unusual - rather more raw yet more authentic that its Hollywood contemporaries. German screenwriter, director and location and the period, early 1950s is relevant - a broken society before the economic miracle. Willi (Anne Baxter) is a good looking youngish pickpocket who nevertheless is redeemed by retaining a moral compass, she steals to live but yearns for a better life. There must have been many such as her, finding themselves fatherless even orphaned, living however she could. Steve Cochran the handsome heel - and worse= who makes women crave him and casually uses them (the whistling scene makes the passions absolutely clear). Central is the high dive - genuinely scary, the moment at the very top where all is quiet and the lights of other towns can be seen, is memorable - I got a sense of being there. Anne Baxter is particularly good - compare her coyness in All About Eve. Steve Cochran was not so far from playing himself. A memorable film.

Raise the Titanic (1980)

It wasnt an iceberg that sunk this Titanic, it was the script

[7/10 · 26 September 2019]

I wasnt drawn to paying much attention to the film, until the moment not far from the end when the great ship, a vast rust and seaweed encrusted hulk, finally broke through the surface and emerged into daylight after 70 years. It was both awesome and terrifically moving. Mythic as it had remained unseen on the sea bed, enduring tomb to the hundreds unable to escape on lifeboats it; now titanically mythic exhumed from the depths - the sight nobody ever thought they would see. How could you possibly follow this absolute dramatic pinnacle? Unfortunately in Raise the Titanic, 10 minutes where this magnificent ruin was reduced to serving as a backdrop to very very average Cold War hokum. Really the screenwriter and perhaps the author should have gone down with the film. There have been so many excellent films based on the sinking of the Titanic - why was raising it such a downer?

The Terror of the Tongs (1961)

Intense and quite effective

[7/10 · 2 September 2019]

As another reviewer has said, this is unusual Hammer fare - instead definitely action movie. The X certificate was not out of place at the time of its release - it is fairly graphic quite sadistic. One of Christopher Lee better roles as the much feared traditional head of a Chinese criminal cult operating in British ruled Hong Kong. But Geoffrey Toone (Captain Sale)is the brave and undaunted hero around whom the action revolves. The film assumes that the audience will empathise with Sale and admire his great bravery. It's evident that quite a few reviewers were indifferent even finding it funny. I once saw director Anthony Bushell waiting for a bus in Oxford and had a short conversation about his career as I then knew it (Col Breen in Quatermass and the Pit). In WW2 he'd been a tank commander I read later

A History of Scotland (2008–2009)

Ber-Ludd, dripping Ber-Ludd, actual great pools of Ber-Ludd

[6/10 · 21 August 2019]

On other Neil Oliver programmes I thought I noticed and found it rather irritating and distracting that he seemed to have a verbal predeliction for blood, relishing and embellishing its pronunciation extending it to two distinct syllables - Ber-Ludd.

Here, he adds visuals, graphic visuals of blood, pools of blood, even super slow motion of a gobbet of blood falling into pool of blood and raising the familiar crown which collapses back into the pool. I looked away and cut the sound. Resuming watching 10 minutes later again more pools of dripping blood.

I am not squeamish, I can watch any operation on TV. Its a matter of style and emphasis. I am guessing that his fan base likes his Penny Dreadful - sensational graphic lurid illustrated 19th C adult crime comics - verbal and visual style. Obviously he's a fairly serious historian talking about a violent hence bloody age. He is, in his relish for this one topic, without equal or even competitor.

Great Scientists (2004– )

Rather good - fun but 100% educational

[7/10 · 8 March 2019]

Unusually, presenter Allan Chapman happily plays up his white haired "mad professor" appearance and the programmes feature quirky Monty Python style animations as well as jokey illustrative historic re-enactments. But these as with the conventional demonstrations, historic locations, illustrations, books, objects. and explanations, the programmes are very well crafted and entirely to purpose. With the best lecturers and teachers, their spoken words are carefully chosen, memorable and well worth remembering.

Duffy (1968)

Miscast and misfiring

[6/10 · 15 July 2018]

This attempts to combine something of the cool swinging style of "Blow Up" with a James Coburn comedy-heist movie which are anything but cool and stylish. Providing undeserved gravitas is the inimitable James Mason. Its a combination that just doesnt gel, The lovely Susanna York had an innate dignity and class as an actress such as had no place here. It is at least attractively shot in colourful sunny locations. Perhaps the cast regarded it as a holiday rather than something that would advance their reputations

The Last Man to Hang (1956)

Victor Madden: a British Henry Fonda?

[15 July 2018]

As reviewer John Howard Reid has pointed out, there is a section in the film too close for coincidence with the entirely famous and superior 1957 "12 Angry Men! where one juror holds out against the rest

This is a film of two halves, so different in quality as to be quite mystifying. The first half features the rather wooden Tom Conway who is really not up to interpreting his rather poorly scripted role but fairly essential viewing to understand the second half, the murder trial at the Old Bailey. This is well done by nearly all concerned - far better written, acted and directed. This is the engrossing part, the first half just a make weight. Quite a good cast including an impressive young Anthony Newley

The Strange Love of Martha Ivers (1946)

Frankly, my Dear, I dont give a damn

[6/10 · 28 June 2018]

This, one of the most famous lines in cinema history, occurs when one character has exhausted the other by a repeated mixture of emotional demands and exploitation. In Gone with the Wind, this was between just two characters.

Here there four: Lizabeth Scott, Barbara Stanwick, Kirk Douglas and Van Heflin - all stars in their own rights. But it is the director who is the guilty party. Reaching for a gun in the top drawer of the desk - once is enough. Twice is done for effect, comic or otherwise. Here it appears to be lazy indifference. The scene where a couple blaze away at each other verbally, revealing things never revealed before, going from anger to understanding to lurve, is fair enough in any film but never ever repeated both with different pairings and even the same pairing - again if not for (comic) effect.

Another reviewer has pointed to the films stageyness - action repeatedly occurs in the same or similar settings - with similar camera angles

The mood is so variable that the viewer is never clear whether the party with a gun (all at different times) intend to sleep with, slug or shoot the other.

Frankly, after an hour, I couldnt give a damn

Gideon C.I.D.: Fall High Fall Hard (1965) Season 1, Episode 16

A very nasty business indeed

[7/10 · 27 April 2018]

It's an unusual feature of this detective series, fronted by the always likeable John Gregson as Chief Superintendent Gideon, that individual episodes, vary so much in tone. One episode starring Eric Barker reflected the latter's trademark gentle humour

This episode however, deftly directed by Leslie Norman (father of the late Barry) is uncompromisingly nasty, dealing with high level crookery in a largish construction company. Excellent cast including a brace of Hustons, Victor Madden and Gordon Gostelow. I remember the latter as an amusing character actor. Here he displays considerable versatility to an almost terrifying extent. The final scene in the hospital gripping. Corruption in the construction industry was a popular theme in the 1950s (Hell Drivers) and 1960s crime dramas, perhaps fictionalised exposes of true stories,. Not though in recent decades for some reason.

Gideons Way has been a really excellent find by Talking Pictures TV - consistently good, sometime as in this case, impressive.

Condemned! (1929)

"You aint heard nothing yet"

[8/10 · 10 April 2018]

This was produced just a year after those famous words - the first words in the first talking picture. What is amazing is how creative it was with sound - techniques that rarely appeared in theatre and some that were entirely new.

First there is the overlaying of the sound of the prisoners "choir" over sound and pictures inside the governors house cutting with continuity to pictures of the prisoners singing - all in sync. And, entirely novel the sound of the governors voice as he looks in the mirror - we are hearing the voices in his head. The sound of drums in sync with the guarding soldier's walk.

It was not until after WW2 that magnetic tape recording - with multitracks was available. I can only guess that this film was all done with gramophone discs.

I was for a while a videotape editor in the earliest days so appreciate how revolutionary and sophisticated was the use of sound just one year after it started. Had radio pioneered this or was it entirely the work of the new talkie movies?

Seen on Talking Pictures TV - yet another overlooked historic film with exceptional qualities.

Horror Maniacs (1948)

A generous slice of ham horror

[7/10 · 25 March 2018]

Surprising to find this was filmed in 1948, it has that same very slow pacing of the pre-war classic horrors such as the incomparable Dracula in 1936. It is very much in the tradition of Victorian stage melodrama and there was no greater exponent and resurrectionist of the genre than Todd Slaughter, florid theatrical actor-manager and famous ham who here makes his last film outing. Surrounded by some excellent character actors - Henry Oscar and Aubrey Woods, the normally OTT Slaughter is more confined but perhaps more effective. In a way this is a film noir - for reasons perhaps of economy, exteriors are all studio bound at night but in portraying the dingy canyon like lanes of Edinburgh works very well. The production is rather stagey - but stage melodrama was Slaughter's speciality. The plot is wordy but quite involving and genuinely grim

Not exactly a must-see but for those interested in the more curious British films certainly well worth watching. Thanks yet again to Talking Pictures TV for screening it

A 6.5

The Edgar Wallace Mystery Theatre: Never Back Losers (1961) Season 2, Episode 6

Better than average B feature with strong points. Series being shown on Talking Pictures TV

[6/10 · 20 March 2018]

Strongest is unchallenged master of menace, Patrick McGee as a racing gang boss. The film seems an unflattering but knowledgable portrait of British horse racing, here portraying a jockey menaced to win by one crooked bookmaker but menaced to lose by a rival outfit. The appearance is typical budget B but the plot and dialogue rise above the average. Its more inventive and harder hitting than than expected for a British B. Jack Headley, still with us, didnt convey the gritty qualities of a former Marine who insists in persisting after a receiving a warning beating and a credible death threat.

The ending was a bit of a let down - the Patrick McGee character turns out to be a bit of an old softie.

A 6.5

I think this is strong enough to be remade now. Perhaps set in those times, the early 1960s.