Review: Wings (1927)

USA/Silent/B&W-144m./Dir: William A. Wellman/Wr: Hope Loring & Louis D. Lighton/Cast: Charles “Buddy” Rogers (Jack Powell), Richard Arlen (David Armstrong), Clara Bow (Mary Preston), Jobyna Ralston (Sylvia Lewis), El Brendel (Herman Schwimpf), Gary Cooper (Cadet White)

Wings,the winner of the first Academy Award for Best Picture, can barely be considered a “Booze Movie.”  It only contains one extended soused sequence in which World War I pilots enjoy a drunken leave in Paris.  However, that small, 20-minute slice from the 144-minute film is so bizarre and memorable that I would be remiss not to mention it.

The movie itself is the story of two young men from the same small town, speed demon Jack Powell (Charles “Buddy” Rogers) and rich kid David Armstrong (Richard Arlen), that are both in love with the same woman.  Sylvia Lewis (Jobyna Ralston), the girl in question, truly loves David, but through a mix-up that could only happen in the movies, Jack gets the impression that Sylvia shares his affections.  To further complicate the melodrama, Jack’s neighbor, Mary Preston (Clara Bow), harbors a Godzilla-sized crush on the boy next door, but her not-so-subtle wooing goes unnoticed by the dim-witted Jack.

When war is declared, both Jack and David volunteer for the Air Service to become fighter pilots.  Due to their romantic rivalry, they begin as adversaries, but they soon forge a fast friendship.  That bond becomes even stronger as they dogfight with German biplanes in the skies above France.  The women are marginalized as the story basically morphs into a love story between the two men, punctuated by impressive aerial photography.

The soused sequence appears midway through the running time.  Jack and David awarded R & R in Paris for exceptional valor in battle; and coincidentally, Mary Preston is also in the city doing her part for the war effort.  When Mary overhears that leaves are being cancelled due to a major offensive, she goes searching for the boy next door.  She finds Jack at the Folies Bergere with David and another soldier, guzzling champagne and cavorting with loose women.  At this point, the scene goes cuckoo bananas.  Jack begins to hallucinate, envisioning cartoon bubbles rising from the champagne.  Soon he is seeing bubbles everywhere.  The sequence is second only to the “Pink Elephants on Parade” number from Dumbo (1941) when it comes to hallucinogenic drunk scenes.

Mary tries to convince Jack to return to the front, but he is so enamored with the bubbles, he doesn’t acknowledge or recognize her.  Eventually, Mary resorts to donning a sparkly dress to lure Jack away from scene, boasting that she has better bubbles than the French girls.  The scene ends with Jack passing out in a hotel room, while Mary gets caught changing her clothes (an excuse for a blink-and-you’ll-miss-it topless scene from Clara Bow).

While Wings is the only silent film to receive the top Oscar until 2011’s The Artist, it isn’t a very good example of silent drama.  The movie is excessively melodramatic and corny, the performances are often over-the-top, and the comedy relief is generally unfunny.  Still, the film is worth seeing for its aerial battle scenes.  In this age of CGI action, it is thrilling to see real people in real planes performing death-defying stunts.  The flight scenes are even more electrifying when you realize that the actors had to fly the planes themselves during much of the action.  The aerial action and bizarre booziness, make the film well worth a view.

Drinks Consumed--Extremely bubbly champagne and unnamed cocktails

Intoxicating Effects--Hallucinations, blurred vision, brawling, destruction of property, harmonizing, staggering, passing out, and memory blackouts

Potent Quotables--JACK (commenting on the champagne): H’ray for bubbles!

 
Video Availability--Wings is available in a wonderfully sharp transfer on Blu-rayand DVDfrom Paramount.

Similarly Sauced Cinema--A baby elephant has similar alcohol-related hallucinations in Dumbo (1941). 

Trivia--While Wings is considered the first “Best Picture” Oscar winner, in reality, two films were awarded top prize at the 1927/1928 Academy Awards.  Wings was awarded “Outstanding Picture” and F.W. Murnau’s Sunrise was awarded “Best Unique and Artistic Production.”  The latter category was phased out the following year, while “Outstanding Picture” was later renamed “Best Picture.”

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Booze News: Take a trip to THE WORLD'S END

Greetings, fellow inebriates,

I've returned from a trip to The World's End,and it is a journey that I highly recommend for soused cinephiles (and for anyone that enjoys smart comedy).  I'll post a full review when this sudsy gem makes its way to blu-ray, but be assured that the team that gave us Shaun of the Dead and Hot Fuzz have served up another slice of fried gold.

If you only make one trip to the multiplex this year, The World's End is the movie to see.  Edgar Wright is the best director working today with a scheduled release in 2013 (Most of the other directors in his league had releases in 2012).  The writing is as sharp and witty as in the previous Wright/Pegg/Frost collaborations.  The action set-pieces are expertly staged (Nick Frost hulking out and rampaging Sammo Hung-style is worth the price of admission alone).  Best of all, The World's End is the most emotionally resonant and mature of the films in the Three Flavors Cornetto trilogy.

There have been a lot of substandard movie releases this summer.  Expertly crafted entertainments deserve to be rewarded, so vote with your wallet for more quality productions like The World's End.  I know I'll be returning for a second round.

Cheers,
garv

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Booze News: Happy Dipsomania Week!

Attention, fellow inebriates!

Joe Dante and his merry movie gurus at Trailers From Hell have proclaimed this 1/52 interval of the calendar year to be "Dipsomania Week," and as thus, their website will be featuring audio commentaries to accompany the original advertisements for three of the greatest booze movies of all time.

First up, and available now, is the trailer for Barfly (1987), featuring running commentary by A History of Violence screenwriter Josh Olson.  That will be followed on Wednesday by producer/director Dan Ireland’s take on The Days of Wine and Roses (1962).  And on Friday, Joe Dante will cap off the fest by providing his thoughts on the promo for Harvey (1950).

If you are unfamiliar with Trailers From Hell, click on the link and go to the site immediately.  You are in for a real treat.  The site is a treasure trove of cinematic trivia and a great way to discover catalog titles of which you were not previously aware.  Adding booze to the mix is just icing on the cake. 

However, be warned, the day after I discovered Trailers From Hell, I was pretty much useless due to sleep deprivation.  I just couldn't pull myself away from the site.

Thanks TFH gurus for giving soused cinema enthusiasts another reason to celebrate (not that we need much of an incentive to lift a glass)! 

Cheers,
garv

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Booze News: DRUNK HISTORY is back!

Greetings, fellow inebriates,

Like the phoenix of Greek myth and X-Men fame, Drunk History never dies.  It merely disappears for long intervals.

The brainchild of Derek Walters and Jeremy Konner, Drunk History began as a popular series of short films on the Funny or Die website, in which soused storytellers passionately recounted historical anecdotes while actors and comedians re-enacted the tales.  After a prolonged absence, Drunk History reappeared briefly as a segment on HBO's short-lived Funny or Die Presents.  Now the concept returns yet again--this time as an eight-episode, weekly series on Comedy Central, beginning July 9th at 10pm Eastern (a rerun throughout the week).

Each episode of the new show will feature multiple history lessons centered around a particular U.S. city.  For example, episode 1 is Washington, D.C. themed, and features dubious accounts of the Watergate investigation (with Fred Willard as Deep Throat), the rivalry between John Wilkes Booth (Adam Scott) and Edwin Booth (Will Forte), and the epic encounter between Richard Nixon (Bob Odenkirk) and Elvis Presley (Jack Black).  If you can't wait until July 9th, the first episode is available now in its entirety on Comedy Central's site.  Here's the link--> Drunk History Episode 1

The return of Drunk History is most welcome.  I greatly look forward to future episodes, which promise the participation of Kristen Wiig, Connie Britton, Winona Ryder, Aubrey Plaza, Bradley Whitford, Owen and Luke Wilson, and many others.

Summer TV just got interesting.  Set your DVRs and chill your cocktails. 

Cheers,
garv

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Review: Pie-Eyed (1925)

USA/Silent/B&W-18m./Dir: Scott Pembroke & Joe Rock/Wr: Tay Garnett (titles)/Cast: Stan Laurel (Stanley), Glen Cavendar (Jack Tinney, nightclub manager), Thelma Hill (Girl in club)

Stan Laurel first journeyed to America in 1910 as part of the Fred Karno comedy troupe, the same British theatrical company that featured Charlie Chaplin.  Laurel was both Chaplin’s roommate and understudy, and he continued in the shadow of his former roommate when Chaplin left Karno for motion pictures.  Stan continued on the stage (mostly vaudeville) for four years, performing as a Chaplin impersonator, until making his own leap to the movies in late 1917.

While Chaplin found his enduring Tramp character and rose to fame with his second cinematic short subject, Laurel spent nine years churning out mediocre short comedies before latching onto the comic persona and partnership that would endear him to mass audiences.  During those nine years, Stan experimented with different characters and styles of comedy, flip-flopping between manic oafs and slow-witted boobs, often borrowing from Chaplin, the most popular comedian of the silent era.

Pie-Eyedwas Laurel’s attempt at making the type of soused slapstick two-reeler that propelled Chaplin to success.  In the short Stanley plays a drunken reveler at a night spot known as the Firewater Club.  After guzzling wine, Laurel passes out at his table.  Later he awakes to try his hand at directing the band, as well as dancing with the showgirl wife of the owner, and getting into scuffles with various employees and patrons.  The nightclub manager, an ex-boxing champion, tires quickly of Stanley’s antics.  He roughs up the nuisance and kicks him out of the establishment, after giving Stan his business card, should he ever want boxing lessons.  

Staggering along the street in the early morning hours, Stanley attracts the attention of a beat cop; and the remainder of the short consists of the policeman’s attempts to drag the drunk off the street and into what he believes to be Stanley’s apartment.  In reality, the cop plants Stanley in the domicile of the nightclub manager, having read the address off the business card.

Pie-Eyed plays like a mash-up of Chaplin’s drunken shorts.  The nightclub scenes are reminiscent of The Rounders (1914) and A Night Out (1915), while the street gags (especially those involving Stanley’s overcoat) in the second half of the picture are lifted from Pay Day (1922).  Unfortunately, none of the gags in Pie-Eyed are as fresh or funny as those in the earlier Chaplin shorts.  What’s more, the character of a drunken lout is an ill fit for Stan Laurel.  The most interesting aspect of the short is that it occasionally utilizes animation.  Hand-drawn lines and stars appear on screen whenever Stan experiences a shock or blow (much like one would see in a comic strip).

As a glimpse into Stan Laurel’s development as a comedian, Pie-Eyed has historic value.  However, without Stan’s later achievements, there wouldn’t be much reason to revisit this unexceptional slapstick short.

Drinks Consumed--Wine (possibly Champagne)

Intoxicating Effects--Staggering, stumbling, hiccups, seeing things, harmonizing, passing out, public disturbance, bickering, brawling, and bar tossed

Potent Quotables--STANLEY (after being punched by the nightclub manager): Have you anything that strong with alcohol?

Video Availability--This particular short is available in several video compilations, including The Stan Laurel Collection 2 (Slapstick Symposium) (2 disc)and Slapstick Encyclopedia (Image).

Similarly Sauced Cinema--For Grade-A, booze-fueled comedy from Stanley, check out the classic Laurel and Hardy short, Them Thar Hills (1934).

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Booze News: When Rupert Pupkin speaks you better listen!

Greetings, fellow inebriates,

This is slightly off-topic, but I wanted to make you aware that I submitted a guest post today for the Rupert Pupkin Speaks film blog.  If you are unfamiliar with the Rupert Pupkin Speaks site, please take this opportunity to check it out.  This phenomenal film blog is all about keeping older movies in the public consciousness.  In addition to short reviews of Warner Archives releases and other unique video offerings, the site regularly features "favorite film lists" from a variety of contributors, including film bloggers and critics.  I recently discovered Rupert Pupkin Speaks, and it has quickly become one of my favorite destinations on the Internet.

In recent weeks, Rupert Pupkin Speaks has been featuring curated lists of "Favorite Underrated Comedies."  As a lover of both classic film comedy and "top ten" lists, this was a party that I just couldn't resist.  And I have to admit that I enjoyed the freedom of pontificating on films that weren't necessarily alcohol-centric.  Click on the link below to view my humble submission; and while you're at it, stick around to check out some of the other posts.  You're sure to discover some obscure and wonderful titles that you never knew existed.

Garv's post on Rupert Pupkin Speaks

Cheers,
garv

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Review: Treasure Island (1990)

USA/TV/C-132m./Dir: Fraser Clarke Heston/Wr: Fraser Clarke Heston/Cast: Charlton Heston (Long John Silver), Christian Bale (Jim Hawkins), Julian Glover (Dr. Livesey), Richard Johnson (Squire Trelawney), Oliver Reed (Billy Bones), Christopher Lee (Blind Pew), Isla Blair (Mrs. Hawkins), Michael Halsey (Israel Hands), Nicholas Amer (Ben Gunn), Pete Postlethwaite (George Merry)

"Fifteen men on the dead man's chest--
...Yo-ho-ho, and a bottle of rum!
Drink and the devil had done for the rest--
...Yo-ho-ho, and a bottle of rum!"

That little ditty, invented by Robert Louis Stevenson for his adventure novel, Treasure Island,is the primary reason why we associate pirates with rum to this day.  Sure, the alcoholic buccaneers featured in Stevenson’s story were not without historical precedent.  Eighteenth century privateers traded rum and sailors of all sorts certainly drank it; but after the publication of Treasure Island it was impossible to disassociate pirates from their drink of choice. 

Rum plays a central role throughout Treasure Island.  When ex-buccaneer Billy Bones takes lodging at the Admiral Benbow Inn, he spends his evenings swilling rum and singing the seafaring song printed above.  Overindulgence in the drink leads to Bones’ death and in turn fuels the plot, as Jim Hawkins, the inn-keeper’s son, discovers a treasure map amongst the dead man’s possessions.  When the boy hero takes to sea in search of pirate gold, he discovers that most of his crewmates are old shipmates of Bones with plans of mutiny, larceny, and murder.  Hawkins is nearly discovered overhearing the mutineers’ plans, but his neck is saved when the pirates are distracted by their thirst for rum. Rum continues to serve as Hawkins’ ally for the remainder of the book, as the dim-witted buccaneers are defeated at nearly every turn by their weakness for the drink. 

Not only is Treasure Island the most important of all pirate tales; it is also the most often filmed.  The story has been adapted for film and television more than fifty times, including multiple silents, iconic MGM and Disney classics, animated shorts and features, and a Muppetized version.  However, the most faithful and in my opinion the best of all of the Treasure Island movies was a 1990 made-for-television production, produced, written, and directed by Fraser Clarke Heston (the son of the most forceful of all ham actors, Charlton Heston).

Don’t let the fact that the picture was produced for basic cable stop you from seeking out Fraser Heston’s take on the oft-filmed tale.  The production values are excellent (with the tall ship from the 1962 version of Mutiny on the Bounty standing in for the Hispanola), the cinematography is lush, and the soundtrack by The Chieftains is appropriately seaworthy.  Best of all is the cast.  A teenage Christian Bale makes an admirable Jim Hawkins; noted drunkard Oliver Reed is perfectly cast as the boozy Billy Bones; and Christopher Lee is wonderfully slimy as Blind Pew.  Finally, in the pivotal role of Long John Silver, Heston has cast his dad.  I’ve never been a big fan of the over-actor I like to call “Cheston.”  However, Cheston makes one of the best movie Silvers, capturing both the ruthlessness and the folksy charm that the part requires.   

Heston the younger wisely chooses not to try to improve upon a classic.  The dialogue is more than 90 percent Stevenson, and the story sticks close to the text, with the exception of a few judicious cuts.  Consequently, if you are a fan of the book, the 1990 movie version will be the one you'll treasure.  It is a film that can be enjoyed with the whole family, or better yet with a bottle of rum. 

Drinks Consumed--Rum (with water and straight), port wine, and ale

Intoxicating Effects--Harmonizing, staggering, slurred speech, bickering, brawling, physical violence, passing out, and death

Potent Quotables--DR. LIVESEY (to Billy Bones): I have only one thing to say to you, sir.  If you keep on drinking rum, the world will soon be quit of a very dirty scoundrel.  

Video Availability--DVD (Warner Brothers)

Similarly Sauced Cinema--Cheston, Oliver Reed, and Christopher Lee also co-starred in the best adaptation of Alexandre Dumas’ swashbuckler with The Three Musketeers (1973) and The Four Musketeers (1974).

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