King Kong needs no introduction, but we’ll try to summarise the plot anyway. In depression era New York, evil David Attenborough Carl Denham (Armstrong), is preparing for a journey to find a mythical beast. He has the ship and the crew ready to go, but for some reason he has trouble finding an actress willing to travel on an isolated ship with several strange men to an unknown destination. Girls used to be so picky.
This being the depression, there is no shortage of unemployed actresses and one night on the streets of New York is enough to find a suitable girl with nothing to lose, Ann Darrow (Wray). Once at sea, Denham reveals their destination – an uncharted island known as “Skull Island” which is rumoured to be the home of a mythical creature known only as “Kong.”
When they arrive at the island the locals are in the middle of a ceremony wherein a girl is sacrificed to be the “bride of Kong.” However, when the local chief spots Ann among the men, he decides “the golden woman” is a more suitable offering. That night, tribe members sneak aboard the Venture and kidnap Ann, and by the time the crew realise what has happened, she is already tied up and the beast is being summoned.
Denham, Ann’s love interest Jack Driscoll (Cabot), and several disposable crew members chase Kong and Ann into the jungle, and on the way they run into several other “monsters” such as Nessie, a couple of huge lizards and a freaking T-Rex.
Eventually, Jack manages to save Ann with the help of an unwitting pterodactyl and they get back to the surviving crew members. However, Kong is quite smitten with Ann and not ready to let her go, so he follows them to the village where he eats (well, chews) a few villagers before Denham gas bombs him and transports him to New York. Because that seems like an excellent idea.
Then, on opening night, a whole Young Frankenstein-thing happens with the flash photography of the reporters and Kong is on the loose. He finds Ann and climbs the Empire State Building with her for the climactic and iconic final scene of the film.
This film is another old favourite and we still love it. Sure, the effects might seem a little bit dated, but they are still impressive and it’s a lot of fun trying to figure out how each shot was done. (Yes, we’re aware that there are probably hundreds of articles and documentaries on exactly how each shot in King Kong was done, but it’s much more fun to try and analyze it yourself with limited knowledge of film making.) We heartily recommend it!
What we learned: it was Beauty killed the Beast. Also, buy a girl an apple and a cup of coffee and she’ll be in your film, no questions asked.
“This picture is an indictment of gang rule in America and of the callous indifference of the government to this constantly increasing menace to our safety and our liberty. Every incident in this picture is the reproduction of an actual occurrence, and the purpose of this picture is to demand of the government: “What are you going to do about it?”. The government is your government. What are YOU going to do about it?” So opens the most violent PSA of the ’30s, Scarface.
The man f’ing things up is Tony Camonte (Muni), ambitious strong-arm for the mafia and part-time overprotective brother. After being interrogated for the murder of his old boss, he teams up with new boss Johnny Lovo (Osgood Perkins) to run the Chicago underworld. Tony is simultaneously very smart and very stupid, and his ruthlessness, charm and excellent beer ordering system help him climb to the top, gradually taking over the territory as well as the boss’ girl.
Gang war ensues and Tony spirals and grows gradually more insane, more ambitious and more ruthless. Despite everything though, he is very charismatic and strangely likeable at times, up until the point he completely ruins his sister’s life which effectively ends his operation.
Despite the violence, there’s a lot of comedy in Scarface as well, especially in the form of Tony’s “seckertary” Angelo. There’s great use of shadows and we loved the “shooting the days away”-bit. We also liked the women in this; Poppy and Cesca were great, and Tony’s mother was no fool, unlike some of the other mafia mums we’ve seen.
Another one we’ll recommend if you like action, great clothes, cool characters and the absence of father figures (seriously – none of these gangster types in any of these movies have (good) fathers). The ending made us sad, though not so much for Tony as the ones around him. We’re now looking forward to rewatching the 1983 film of the same name!
What we learned: Killers sure liked to whistle back in the day. Also, never get attached to the comic relief.
In this rollercoaster ride, the exquisite Buster Keaton portrays a slightly creepy hair-sniffing tintype photographer who falls instantly in love with a charming young lady played by the beautiful Marceline Day. He finds out that she works for MGM News Reel and promptly decides to get a job there as a cameraman. Which is kind of stalkery, but he is so nonthreatening that he gets away with it. He is also adorably uncoordinated with the camera, and slapstick ensues.
The characters are very likable. Probably for the first time (in terms of films we’ve watched for this project), the hero has fallen for a lady worth making good for. Sally is sweet and kind, and she tries to help him and give him advice when he accidentally double exposes all of his footage. She does not seem to care that he has very little money, and she appears to genuinely enjoy his company. No wonder, considering all the other douches creeping on her. At least Buster can do magic tricks!
The physical comedy is this film is wonderful. There’s an amazing one-man baseball scene, a hilarious stair-running bit, a brilliant scene on a bus and a very enjoyable running gag with a police officer. As well as a delightful scene in a dressing room, which I’m sure we would have enjoyed even if he didn’t get undressed…
Among its many merits, The Camerman has a shoot out scene which rivals that of Spaced (1999-2001), and there’s a bit with a monkey. It is considered by many Keaton’s last masterpiece as he lost creative control of his movies around this time and eventually descended into alcoholism. Which is not funny. But the film is. So if, like us, you have developed a major crush on Buster Keaton, this is a definite must-see.