HORSEFEATHERS: If you ever come to my house on Superbowl Sunday, we will start with You Gotta Be a Football Hero (Popeye cartoon) followed by the short subject Three Little Pigskins (The Three Stooges). The feature presentation will be the Marx Brother’s Horsefeathers. Horsefeathers gets off to a good start with Groucho’s song “I’m Against It.” It also includes the “Swordfish” sketch shortly after that, but I didn’t enjoy Horsefeathers quite as much this time around as I did Monkey Business.
I really enjoyed Shazam! DC has encountered a few difficulties with (1) handling Fawcett's characters and (2) movies. They get both right this time.I'm stealing from my own review, elsewhere, but this adaptation has the heart of its source material:
Pure wish fulfillment, the superhero stripped to its essence.
That doesn't mean his movie can't take some dark turns. Parts of Shazam! turn very dark for what is ostensibly a kid's movie. Dark as a fairy tale. You think kids don't understand that? But they also want the goofy, grinning guy with muscles and superpowers and a lightning bolt on his chest having fun and saving the day. This is a hero, who, to quote Jules Feiffer "could be imagined being a buddy rather than a hero, an overgrown boy who chased villains as if they were squirrels"3. Yes, I wish they had softened a few of the film's edges, because some of them feel unnecessary, but they're not fatal to the tone. Approach this movie with caution, but know that things will turn out all right.
In the comic, the wizard, Shazam, chose Billy because, despite the death of both parents, he endured, and represented the best in humanity. Fawcett Comics' Billy was a walking Citizenship Award.
The movie's Billy, at first, is kind of a dick, in the way early adolescent boys tend to be, especially when life has kicked them around. He has a good heart. He just has to find it. Along the way, he also finds his new family. The interpretation may be new, but it develops from the source material....
...Of course, darkness has its champion, and it takes the form of the evil Dr. Sivana, played with real menace by Mark Strong. He's used science to corral magic, and given himself powers that rival Billy's.
Despite his very dark backstory, Sivana gets the single funniest supervillain monologue in the history of superhero films. For my money, Sivana has Mike Myers's Dr. Evil beat, because Sivana is no mere cartoon parody of evil. As presented here, he's actual cartoon evil. For a character in a family film, this guy engages in some disturbingly dark activities. Making him look like a total tool pays higher dividends. As for the monologue trope itself, it has been so entirely worn out that even children get the joke.
The film also features a twist, rooted in the character's history, that may be the most satisfying thing I've seen in a superhero movie in quite awhile. You know that, when things are looking darkest for our absurdly-dressed hero, he'll come up with something. Faced with a super-powered psychopathic genius and his seven sinfully disturbing associates, Billy Batson comes up with something spectacular. It's a D-Day moment. The battle hasn't been won yet, but we know and, in his dark, demented heart, our villain knows, that he's going to lose. The ten-year-old inside me wanted to punch the air and yell, "yeah" but I didn't want to steal that moment from the actual ten-year-olds.
I've also seen Annihilation (great, strange, enigmatic SF), Sorry to Bother You (an uneven but often brilliant comedy that goes increasingly dark and satiric), and The Tale (a film about sexual abuse and the stories people tell to make sense of their lives. It is not for all tastes, but thoughtful and very well acted).
A few I haven't commented on:
"I'm a bit surprised there wasn't more discussion about it here in the Comics Cave."
DUCK SOUP: This movie ranked #1 online. It’s the one I watch least often these days simply because I have seen it so many times on weekend matinees in my local market growing up. It has a reputation of being a strong anti-war film, yet Freedonia goes to war only in the last 15 minutes of the film. I think an equally steong case could be made for it being a spoof of bureaucracy, government, even business. Still, Duck Soup and the television show M*A*S*H both collided upon my consciousness at roughly the same time. On their first date, my brother took his future wife to a showing of Duck Soup. Like Dick Cavett, I became familiar with Groucho first from the quiz show (my local PBS station showed reruns of You Bet Your Life) then from the movies. Those of us of a certain age may recall the Scholastic magazine Dynamite. The first one I ever got had an article of Groucho’s one-liners from the movies. I read that article until the pages fell apart. Oddly, Duck Soup doesn’t feature a Harpo harp solo or a Chico piano solo; I don’t think I ever noticed that before. Years after the movie, Harpo performed the “missing mirror” scene with Lucille Ball on I Love Lucy. If I had to rank their five early films from best to worst based on my reaction this time, I think it would be…
1. Monkey Business
2. Duck Soup
3. Animal Crackers
5. The Cocoanuts
I posted a Captain Marvel column -- anybody who wants to can comment there.
For my part, I liked Captain Marvel well enough -- I found it about Ant-Man and Wasp level. But I don't have much else to say. It felt kinda generic to me.
My wife, on the other hand, really loved it, and every once in a while will tell me that she likes it more as time passes. I think I sometimes forget how few times women see themselves represented as anything other than sidekicks or arm candy in movies. My wife thrills to seeing a woman as the unabashed star of a heroic movie, and loved both Wonder Woman and Captain Marvel profoundly.
I have two more Marx Brothers movies to review, but I’m to post about Groucho’s “solo” movies first. I was going to save these until last, but Tracy was out of town last weekend so I thought I’d get them out of the way and save two of the best for last. I’ve been too busy all week to write them up, so I thought I’d better post something soon before the details (such as they are) begin to fade from my mind.
COPACABANA: Back in the ‘90s, knowing of my life-long fondness for the Brothers Marx, my mother picked up a colorized copy of Copacabana on VHS. Brief aside: my wife’s sister doesn’t think too highly of me, and believe me, the feeling is mutual. Years ago (before I knew better), upon finding out she liked “You Bet Your Life” I offered to loan her my Copacabana tape as a gesture of… I don’t know, whatever. I had seen it only once at that time, and when I requested its return she said she had “misplaced” it. WTF? I eventually bought a b&w DVD copy to watch. One, day, three years after she had borrowed it, she returned it, acting as if she were doing me a favor. But I digress…
Groucho and Carmen Miranda have an act that isn’t doing so well, so Groucho quits to become the manager of Carmen’s solo act. In order to appear as if he has more than one client, Groucho invents the fictional “Mademoiselle Fifi.” The club owner wants to hire them both, and hijinks ensure.
DOUBLE DYNAMITE: In this one, Groucho shares the bill with Jane Russell and Frank Sinatra. I saw this movie for the first time last weekend. It hasn’t even been a week since I saw it and already the details fade from my mind. All I remember is that, at some point, hijinks ensue.
A GIRL IN EVERY PORT: In his last feature role, Groucho co-stars with William Bendix who are sailors who come into possession of a racehorse. Their horse can’t run, but its identical twin sibling can. Marie Wilson plays the movie’s love interest. She owns the fast horse and hijinks ensue.
None of these movie is really worth watching unless you are a completist.
NEXT UP: A Night at the Opera and A Day at the Races.
Make that three hardboiled eggs.
I decided to end my look at the Marx Brothers’ films on a high note, with Groucho’s two favorites, the first two made at MGM, under the aegis of Irving Thalberg.
A NIGHT AT THE OPERA: This one is ranked #2 online (behind Duck Soup). Everything I know about opera I learned from this movie and “What’s Opera, Doc?” This movie features the “contract” scene and the classic “stateroom” scene.
A DAY AT THE RACES: Of the two, I think I prefer this one. It’s not “just” about horseraces (as A Night at the Opera was “just” about the opera; it’s romantic plot was centered arount a sanitarium (a private hospital; the word didn’t have the connotations then it has now). The classic scene in this one is the “Tootsie-Fruitsi ice cream” scene in which Chico cons Groucho into buying a series of codebooks to place a bet on the winning horse.
After Thalberg died, Groucho rubbed Mayer (one of the M’s of “MGM”) the wrong way, and less effort was put into subsequent films. The movies declined in quality from this point, although each of them had classic moments. I prefer the five Paramount films myself, but these follow close behind.
The one spoiler everyone should know in advance:
There's no mid-credit or end-credit sequence! No, some audio from an earlier movie doesn't count!
Unless you really like protracted credit sequences, just head to the washroom.
Otherwise, it's an impressive film, a great "season finale" to this stage of the MCU.
Watched Jurassic World: Fallen Kingdom. Except for the dinosaurs, it was pretty boring. So by-the-numbers that my wife and I were both accurately guessing what would happen next, because it had happened repeatedly in other movies. However: dinosaurs! I love me some dinosaurs. I'd watch these movies with the sound off and not care.