Movie Number 59: The Neptune Factor Aka The Neptune Disaster (Daniel Petrie, 1973). Bearing An Uncanny

Movie number 59: The Neptune Factor aka The Neptune Disaster (Daniel Petrie, 1973). Bearing an uncanny resemblance to Hanna-Barbera’s 1972 animated tv series Sealab 2020, The Neptune Factor is a underwater adventure with an all star(ish) cast.

Subsurface research base Oceanlab is hit by an undersea earthquake, damaging the lab and leaving crew members stranded. Project head Walter Pidgeon enlists the help of submarine captain Ben Gazzara and chief diver Ernest Borgnine along with scientist Yvette Mimieux to survey for damage and rescue any survivors. However, the Oceanlab now lies at the bottom of an ocean trench and all manner of menacing sea creatures stand (swim?) between it and the rescue team.

Although partly filmed in the sea off Nova Scotia and in the Caribbean, it would appear that most of the trick photography was achieved in a studio; the effects are a mix of obvious model work and blown up footage of marine life. Edited in such a way that it is never completely convincing that men and monsters inhabit the same plane, as such, any sense of excitement that these sequences should have generated is lost.

Despite which, I feel it would be unfair to label the movie a total wreck. The earthquake scenes are impressive and Ernest Borgnine is always worth watching. As a whole, I did enjoy it but found parts of it rather dull, largely due to Daniel Petrie’s uninspired direction and a Jack DeWitt script which is short on thrills. This, more than anything, proves to be the movie’s undoing.

In an attempt to cash in on the then current craze for disaster movies the film was retitled The Neptune Disaster in some territories. However, it feels much closer to schlocky 70’s sci-fi than to the disaster genre. Sadly, The Neptune Factor is one of those movies where the poster art is more impressive than the actual movie; an ambitious underwater sci-fi ultimately waterlogged by a pedestrian screenplay and average special effects.

DR NO (Terance Young, 1962).

NOTE: The following is an edited version of a review available in full on my blog JINGLE BONES MOVIE TIME. Check it out! Link below.

The film that launched the longest running franchise in movie history. Sean Connery stars as Ian Fleming’s James Bond 007 in this adaptation of the sixth novel in the series.

Investigating the disappearance of fellow MI6 operatives, Bond heads to Jamaica and is soon on the trail of the titular Dr No, an underground dwelling, Nemo-esq scientific genius with plans to wreck the US space programme. Fist fights, shoot-outs and car chases ensue!

In many respects, Dr No is Bond in its purest form. Before the over reliance on gadgets, before the campy, double entendre laden humour, before the over the top action set pieces. Connery is perfect in the role: suave yet cool, a lover and a fighter. He is surrounded by a classy supporting cast. As Island girl Honey Ryder, Ursula Andress set the standard for Bond girls, emerging like Venus from the ocean in a two-piece swimsuit and creating one of the most iconic images of the entire series. Jack Lord and John Kitzmiller make appealing allies for Bond, while Bernard Lee and Lois Maxwell make their first appearances as Bond’s MI6 boss M and his flirtatious secretary Miss Moneypenny, respectively.

Director Terance Young never lets the pace flag. Dr No is one of the shorter Bonds but Young never wastes a second as he delivers a gripping, intelligent thriller.

Rewatching the movie almost 60 years after release it is fascinating to see how much of what we associate with the series is already present. Refinements were made to the formula over the coming films but I don’t think this series opener was ever bettered. Equalled maybe, but it has a certain economic, raw, unpolished appeal that box office success and bloated budgets would not allow for in the future. Six decades on this is still a fantastic piece of popular cinema. Intelligent in a way action movies rarely are today, shot through with streak of sardonic humour. If you are only familiar with later entries than this original classic should really be next on your Bond viewing list!

100+ movie reviews now available on my blog JINGLE BONES MOVIE TIME. Link below.

jinglebonesmovietime.blogspot.com

Dr No (1962)

Dr No (Terance Young, 1962) The film that launched the longest running franchise in movie history and made a star of Sean Connery

DUMBO (Dir: Tim Burton, 2019).

Being of the opinion that Walt Disney’s Dumbo (Ben Sharpsteen, 1941) is one of the greatest movies ever made, I was not entirely thrilled at the prospect of a remake, in spite of my admiration for director Tim Burton. But, ever the open-minded film enthusiast, I watched it anyways!

Dumbo is, of course, the story of the circus elephant born with oversized ears who silences his naysayers when his ears provide him with the ability of flight.

The first half of Burton’s movie roughly follows the original, while the second half continues Dumbo’s story after the events of the first movie, chronicling his tenure as the star attraction of an early amusement park and a daring rescue attempt of his imprisoned mother.

Predictably it is the first half which suffers most in comparison with the original. While the original movie runs little more than an hour, its basic story is retold here in about 40 minutes. The result of which is the narrative beats all fall a little off the mark. For example, Dumbo’s ability to fly is established within the first 20 minutes of the movie, rather than at the climax. The introduction of an antagonist who is swiftly dispensed with roughly halfway through is also slightly jarring.

Absent are the crows and Timothy Mouse, replaced by elephant wrangler Colin Farrell and his children Nico Parker and Finley Hobbins. The relationship between Dumbo and his only friend Timothy is sorely missed and as a result the emotional core of the movie seems sadly lacking. The tragic-comic original contains both moments of great joy and great sadness, while this Dumbo is content to coast along without reaching such emotional depths.

That said, being a Burton production it looks fabulous and has an appealing cast including a neat turn from Danny DeVito as the circus ringmaster. The Climactic rescue attempt does have some genuine moments of excitement.

By all means watch and enjoy Tim Burton’s Dumbo, especially it’s superior second half. Just don’t expect it to soar to the same thrilling heights as Walt Disney’s masterful original.

Read a longer, more in-depth version of this review on my blog: jinglebonesmovietime.blogspot.com

7 FACES OF DR LAO (Dir: George Pal, 1964).

George Pal first came to prominence in the 1930s with his series of animated Puppetoons shorts. Switching to live action, first as producer and then director he was responsible for a series of special effects heavy sci-fi and fantasy films, including The War of the Worlds (Byron Haskin, 1953) and The Time Machine (Pal, 1960) which are now rightly deemed classics of their genres. His 5th and final feature as directed was 1964’s 7 Faces of Dr Lao, based upon Charles G Finney’s 1935 novel The Circus of Dr Lao.

Tony Randall stars as the titular Lao, an aged (7322 years!) Chinese gent and owner of a fantastical, magical travelling circus. When the circus stops at the dusty Arizona town of Abalone the townsfolk are taught some valuable life lessons from the highly unconventional exhibits include the mythical soothsayer Apollonius, Merlin the Magician, Pan the God of Love and the fabled Gorgon Medusa. All of whom are portrayed by Randall in a truly mesmerising performance. Aided by some outstanding make-up from William Tuttle who rightly won the Academy Award for his efforts.

Some would rightly question the casting of white American Tony Randall as the Chinese Lao. Yet while the performance does exhibit elements of racial stereotyping it is not malicious. Right or wrong, such casting was perfectly acceptable in the era the movie was made and it would be unfair to castigate it for being out of step with more enlightened viewpoints more than 50 years after release.

7 Faces of Dr Lao is an unusual movie; mixing elements of the western genre with gently moralistic Bradbury-esq fantasy, it is probably fair to say it is a little bit of an acquired taste. If you are a fan of Pal then this movie needs no recommendation. For others, a philosophical fantasy aimed at family audiences might be a hard sell. However, it’s status as one of Pal’s lesser known features is entirely unwarranted. The excellent performances, top quality make-up and effects and feverish, almost surrealist atmosphere of the movie make for a heady mix. In my opinion 7 Faces of Dr Lao is one of the finest fantasies ever committed to celluloid.

Visit my blog: JINGLE BONES MOVIE TIME! Link below.

Movie number 64: There Ain’t No Justice (Pen Tennyson, 1939).

A lightweight drama from Ealing’s early years, There Ain’t No Justice stars Jimmy Hanley as mechanic turned boxer Tommy Mutch. After a promising start to his career Mutch quits fighting on learning his bouts are fixed. He later returns to the ring in order to pay a family debt but refuses to take a dive as demanded by a corrupt manager.

Hanley made a career from playing amiable types but is woefully miscast here. As a fighter he is unconvincing in both his physicality and his performance. This unfortunate casting is detrimental to an already dramatically weak picture. It is further hampered by the broad ‘cockerney geezer’ stereotypes of the supporting characters.

Directed by Alfred Hitchcock’s former Assistant Director Pen Tennyson, it is for the most part, not up to the standard of even Hitchcock’s weakest efforts. However, one scene depicting an attempted suicide displays a brilliant use of editing to create tension and is so good it feels like it belongs in a different film. This sequence alone makes the movie worth watching.

Tennyson directed two further, more distinguished movies: The Proud Valley (1940) and Convoy (1940), both at Ealing. He was tragically killed in a plane crash in 1941, ending a career which showed much early promise.

Released the same year as the pugilist classic Golden Boy (Rouben Mamoulian), There Ain’t No Justice is nowhere near as good a movie. Indeed, it’s not very good at all. It lacks the authenticity to appeal to boxing fans and the dramatic impetuous to appeal to movie fans. Worth a look for Ealing completists or for any admirers of Mr Hanley but markedly less rewarding for casual viewers.

Movie number 74: The Gilded Cage (Dir: John Gilling, 1955).

There are shades of The Maltese Falcon (John Huston, 1941) to this low budget British thriller set in the murky underworld of art forgery.

The film stars Alex Nicol and Michael Alexander as brothers embroiled in murder and an attempted art heist. Punch-ups ensue as the pair endeavour to solve the crime and clear their name.

The Gilded Cage is a decent enough crime thriller from the era of the second feature; solidly, if a mite unimaginatively, directed by John Gilling, who would later direct some noteworthy movies for Hammer Film Productions including Plague of the Zombies (1966) and The Reptile (1966).

With American actors in the lead and a mix of mid-Atlantic accents throughout, presumably in an attempt to appeal to US audiences, its hoped for ‘hard-boiled’ style is a little underdone. It does benefit from use of the actual London locations on which it is set, including Tower Bridge with its pre-Jubilee paint job and a fascinating but all too brief glimpse of St Katherine Docks when it was still a working dock.

The Gilded Cage is no masterpiece but it is a well paced, entertaining flick. Worth a watch, especially for fans of vintage British cinema.

Originally produced by Tempean Films, it would presumably have fallen into obscurity were it not for film archivists Renown Pictures and their dedication to preserving such overlooked works which collectively form an important part of Britain film history.

Read this review and more on my new blog: jinglebonesmovietime.blogspot.com