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

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.

POKÉMON: DETECTIVE PIKACHU (Dir: Rob Letterman, 2019).

Part of the phenomenally successful Pokémon franchise, Detective Pikachu is the first movie in the series to combine live-action with CGI Pokémon. The somewhat convoluted plot finds insurance salesman and former Pokémon trainer wannabe Tim Goodman (Justice Smith) teaming up with Pikachu (voiced by Ryan Reynolds) to investigating the mysterious death of Tim’s detective father. Tim is the only human who can understand the amnesia suffering Pikachu who has some previous link with the detective.

Visually Detective Pikachu is a highly satisfying film, narratively it is less so. The CGI Pokémon are beautifully realised creatures that integrate believably with the humans and real life surrounds; thankfully there are a wealth of these fabulous beings on display. Main man Pikachu has the requisite level of cuteness while Mr Mime makes a very effective and amusing cameo as a police informant; an encounter with oversized Torterra is visually stunning, as is the climatic battle with it Avengers-level of structural decimation! The film noir-like cityscapes that form the story’s backdrop are also highly impressive.

Where the movie falters is in its narrative which somehow manages to be both predictable and confusing. With a tidier and tighter script Detective Pikachu might have been a modern day Who Framed Roger Rabbit (Robert Zemeckis, 1988); a family friendly infusion of 40’s film noir detective thriller and 2019 high-tech blockbuster. Dedicated Pokémon fans will probably be more forgiving of Detective Pikachu’s short comings. For casual fans and those less familiar with the franchise, it should prove to be a bewildering yet entertaining 105 minutes. For its amazing eye candy alone Pokémon: Detective Pikachu is well worth catching.

Visit my blog JINGLE BONES MOVIE TIME for more movie reviews! Link below.

RIP Cameron Boyce.

Movie number 61: The Feminine Touch aka The Gentle Touch (Pat Jackson, 1956). A late period Ealing drama, variously retitled The Gentle Touch and A Lamp is Heavy in international markets; The Feminine Touch follows a group of student nurses as they embark on careers with the greatest of British post-war institutions, the NHS.

Unusually for an Ealing Studios production, the main protagonists are female. The narrative focuses largely on nurses Susan Richards (Belinda Lee) and Pat Martin (Delphi Lawrence) through initial training, exams and their inevitable romantic liaisons with doctors.

Told in the pseudo-documentary style often favoured by Ealing, the sense of realism is all slightly undone by the impossibly glamorous nurses who look every inch 1950s starlets and not hardworking medics.

Occasionally the movie threatens to deliver a worthwhile statement on gender inequality, such as addressing the injustice of female nurses having to quit their job when married. However, this important issue is undermined by the pat suggestion that by supporting their doctor husbands they will still be performing a valuable service to the medical profession!

While the idea of movie projecting a positive image of women in the workplace is to be applauded, its ultimate message seems to reinforce the notion that it is a man’s world and a woman’s place within it is to make her hubby happy. Such was the word in 1956. Indeed, even in a film about women top billing is given to man, co-star George Baker.

The Feminine Touch was to be director Pat Jackson’s only film for Ealing. This is probably no loss to Ealing. Where their earlier movies were often seen as promoting socialism and progressiveness, The Feminine Touch seems to be content with looking backwards rather than forwards. As entertainment it is pleasant enough, albeit slightly dull and hopelessly dated. As a tribute to NHS nurses it fails miserably a group of women who deserved so much more recognition than a middling, routine drama.

Happy 85th Birthday Donald Duck!