October Review: Abbott & Costello Meet Frankenstein (1948)

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When I was a kid, my dad raised me on a steady diet of Abbott and Costello. Some of my fondest memories of the two of us include him popping in a tape of the classic duo’s capers after many of our intense Mario Kart sessions. Bud Abbott and Lou Costello contributed a lot to comedy in their thirty years together, most notably the famous “Who’s On First” routine, but for many they reached their peak with 1948’s Abbott and Costello Meet Frankenstein. The meeting of the two teams sounds like something wouldn’t work in theory but does gangbusters in practice. Bud and Lou’s career needed a boost right around the time Universal’s famous movie monsters were dwindling in popularity, so it was decided to bring the two together. Though some, even Lou Costello, had their doubts, the film was so successful that kicked off a whole series of Abbott and Costello running into other notable monsters and characters (with varying levels of quality). It’s arguably the first mainstream horror-comedy and it’s easy to see why it was such a big hit. It’s a loving homage to Universal’s golden age of horror that knows how to poke fun at the cliches it’s wrought and when to inject terror to up the suspense. Even the contrast between our creature actors’ melodramatic, haunted delivery and Bud and Lou’s rapid-fire responses when played against each other provide just as much laughs as suspense.

Faerie Tale Theatre Reviews: The Tale of the Frog Prince

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“Oh! A horrid toad!” “Oh! A nasty princess!” – Our princess and titular amphibian upon first meeting

Ah, our very first episode of Faerie Tale Theatre. Where to begin…the beginning, obviously.

The story of the Frog Prince is one of a long line of folktales sharing the concept of an animal bride or bridegroom. The plot of these stories usually goes likes this:

1. The protagonist is given an impossible task, must be married before a certain deadline, or just needs something done that they can’t be bothered to do themselves.
2. A talking animal appears to offer aid in exchange for marriage. The protagonist agrees, even if they’re not exactly onboard with the concept of bestiality.
3. Surprise! The animal was really a gorgeous human under a spell the whole time! The protagonist is rewarded for not letting appearances deceive them and they all live happily ever after.

You’ll find stories with this motif all over the world with the animal in question ranging from cats, dogs and mice to monkeys, wolves, bears, and of course, frogs. The oldest known recording of The Frog Prince comes from a Latin translation of a German tale dating back to the 13^th century, though some sources say a version from Scotland was what made its way to the Brothers Grimm’s ears. Some variations, such as “The Well at the World’s End” have the royal amphibian be part of a larger story. In fact, the Brothers Grimm retelling comes with the alternate title of “Iron Henry”, named after a servant that appears in the last few sentences who previously had his heart bound with iron bands so it wouldn’t break over the Prince’s fate (that in and of itself sounds like a great side story, why is this guy always left out of the adaptations?)

The Frog Prince holds an important place in the fairy tale pantheon, no doubt thanks to the iconic image of a beautiful woman kissing a frog in the hopes of finding a handsome prince – something which was a much later addition to the story. The original ending in the Brothers Grimm version does NOT in fact have the princess break the spell with a kiss, but by hurling the frog against the wall in a fit of anger! Later editions made by the Grimms changed it to what we know today; it’s not clear why, though considering the brothers’ penchant for patriarchal rewrites in their later years, it may be to give the moral that women will be rewarded if they are obedient and docile and do everything that’s demanded of them even if it crosses personal boundaries. If you don’t want to give this story a chance on that basis, I completely understand, but what if I were to tell you that in the right hands, The Tale of the Frog Prince is a will-they-won’t-they battle of the sexes with witty banter bordering on raunchy but still fun for the whole family?

New Review Schedule!

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Hi everyone! I hope you’re having a great summer so far! You’ve told me about what movies you want me to finally take a look at yourselves, so we’ll be taking a break from the voting system and celebrating six years of Up On The Shelf with a pre-chosen review party that’s going to be over a year long! I want to thank everyone who’s supported the blog for this long by sharing how the new review schedule looks for the time being, as well as who requested what. Mark your calendars and rev up your streaming service/media player of choice, because here’s how things are going down:

August: Song of the Sea (gordhanx)

September: An American Tail: Fievel Goes West (John Dailey)

October: Abbott and Costello Meet Frankenstein (The Animation Commendation)

November: Bedknobs and Broomsticks (Amelia Jones)

December: Christmas vote!

January ’22: Who Framed Roger Rabbit (Tristan Petty)

February ’22: The Incredibles (Mr. B)

March ’22: Toy Story (Rhapsody)

April ’22: The Ten Commandments (Samuel Minden)

May ’22: Twice Upon A Time (julayla)

June ’22: The Adventures of Tintin (Cup Of Joe)

July ’22: Seventh Anniversary Review

August ’22: Jurassic Park (MrXemnas1992)

September ’22: The Triplets of Belleville (Sam Flemming)

October ’22: Halloween vote!

November ’22: Aladdin (MichaelSar12IsBack)

December ’22: Christmas vote!

January ’23: The Little Mermaid (Ben Walderberger)

I’d like to add that in addition to these film reviews, I’ll be posting a review of every episode of Shelley Duvall’s Faerie Tale Theatre each month. Expect the first shortly after this August’s review is done. See you then!

Christmas Shelf Reviews: Home Alone (1990)

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See that face smack dab in the middle of the poster there? That’s the face I made when I found out I’d be reviewing one of my favorite Christmas movies (and also when I realized I wouldn’t be publishing it on time; Happy Valentines Day!) Because, honestly, what can I say about Home Alone that hundreds before me already have?

There’s an argument to be made that Home Alone shouldn’t count as a Christmas movie because it’s a story that can be done on any given day of the year – except that Christmas is tied into this film’s very identity. Kevin’s house is full of reds, greens and whites, the soundtrack is stuffed with Christmas tunes, even beloved classics like It’s A Wonderful Life, How The Grinch Stole Christmas and Miracle on 34th Street are playing whenever a TV is turned on. Add themes of family and togetherness and a magical score by John Williams, and you’ve got a movie with Christmas in its DNA.

While Home Alone didn’t impress critics upon release, it made enough bank that it held the title of highest-grossing comedy of all time until 2011. It’s entered the pop culture lexicon not just here in the states but abroad. The film’s release in most former Soviet-occupied countries aligned with the fall of the Berlin Wall, and is so tied to that feeling of holiday cheer and nostalgia for a monumental positive change that it’s broadcast with the same heartfelt frequency as It’s A Wonderful Life in America. “It’s not Christmas without Kevin” has become something of a popular slogan for most stations that air it. But why does this simple story retain so much of its appeal 30 years later?

May Review: The Great Race (1965)

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“Push the button, Max!”
– Professor Fate, usually before a catastrophe of his doing strikes

To say things have gotten tumultuous since the last review would be a gross understatement. But we’re not here to discuss today’s upheavals, important as they are. Let’s just take a moment to reflect and laugh. Lord knows we could use a good one right now.

Directed by esteemed comedy director and Hollywood bad boy Blake Edwards, The Great Race is a loving pastiche and send-up of silent comedies and melodramas from the early days of cinema (classic Laurel and Hardy in particular; the film even opens with a dedication to them). Thankfully the movie itself is not silent. What kind of genius madman would try to make a silent comedy in the late twentieth century?

Believe it or not, The Great Race was inspired by a real automobile race from New York to Paris that took place in 1908. Some of the more outlandish elements of the race like floating on icebergs across the sea were even based on genuine ideas that were proposed for the race but wisely ruled out. Despite its star power and a huge budget, The Great Race was a flop on release and quickly fell into obscurity. Critics assumed it was trying to ride off the popularity of Those Magnificent Men And Their Flying Machines, another big-budget all-star comedy with a similar premise. I’m more inclined to believe that its failure was due to the roadshow phenomenon that boomed in the late ’50s dying out at this point. It would be several more years until the epic format of a three-hour film with an overture and intermission faded from theaters completely, but audiences were already losing interest, and that rung The Great Race’s knell. Regardless, it’s garnered something of a cult fanbase from automobile aficionados (the original cars are still displayed at conventions), fans of classic cinematic comedies, and it even inspired the wildly popular Hanna-Barbera cartoon Wacky Races.

So if it wasn’t for this –

– we wouldn’t have this.

September Review: School of Rock (2003)

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There are some beloved movies you watch and think “Why the hell did it take me this long to see this?” I can officially count School of Rock as one of them. I once caught some of it on tv during a babysitting gig that was more long ago than I care to remember, but this was my first time seeing it in full. Like Mean Girls, I’ve heard a lot of the lines before I got around to seeing the movie itself, so it’s interesting to see them in their original context. And of course, it stars Jack Black in the role that made him America’s sweetheart. So let’s get to it!

And no, I have not listened to or seen the musical version yet, so I apologize for not making a lot of comparisons throughout.

Fourth Anniversary Review: March of the Wooden Soldiers/Babes in Toyland (1934)

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We all have our good years and our bad years that we can recall. For me, 2013 was not a very good year. To make a long story short, everything from February onward culminated in a deep depression that lasted through most of the fall. What helped me out of it? Well, Team Starkid released what is to date their best show, Twisted, for starters. But that same Thanksgiving weekend Twisted premiered online, I rediscovered a piece of my childhood almost untouched by time. A movie that, despite its age and subject, wore down the walls of cynicism, made me forget the troubles of the outside world for 75 minutes, and had me smiling genuinely for the first time in months.

That movie is what I’ll be reviewing today.

Babes in Toyland began life as an operetta/pantomime by Victor Herbert in 1903, and you’ll never find a straight adaptation or production of the original libretto put on today. Why?

There’s gruesome murders, convoluted schemes, love octagons, too many characters to keep track of, needlessly dark subplots, and I’m not even touching the random fantasy elements thrown in. If you want some idea of what the story is supposed to be, then by all means read Jay Davis’ Babes in Toyland retrospective (coincidentally written in 2013). Despite this, the show was tremendously popular and led to many theatrical reimaginings of magical family-friendly stories like The Wizard of Oz and Peter Pan. In the former’s case, it was those stage adaptations that paved the way for the classic 1939 movie. But because Babes in Toyland was first and foremost a musical, a film adaptation had to wait until silent pictures became talkies. And when it did come to the big screen, it took a turn that few expected.

Enter Hal Roach, famed producer of comedy vehicles for stars of the 20s and 30s such as Will Rogers, Thelma Todd, the Little Rascals, and of course, Stan Laurel and Oliver Hardy. Once movie rights for Babes in Toyland were made available, Roach saw the comic potential for Laurel and Hardy and snagged ’em. His initial treatment didn’t impress Stan Laurel much, though. Few know that Laurel took his craft very seriously and was prone to rewriting scripts to milk as many laughs from it as possible. While this might sound like the workings of a control freak prima donna, he actually knew what he was doing. This Babes in Toyland, later re-titled March of the Wooden Soldiers to differentiate it from the others, is full of entertaining comic setpieces, lines, and characters, and has a tight plot that ties them all together. It is very much Stan Laurel’s movie more than it is Hal Roach’s.

And in hindsight, we have him to thank for the grand tradition of rewriting Babes in Toyland so it’s almost nothing like the operetta and no two versions are the same. That’s something I’m also grateful for.

But perhaps the greatest contribution Laurel might have made to March of the Wooden Soldiers is how naturally he and Hardy step into the role of main character. See, the leads in all the other takes on Babes in Toyland are love interests usually named Tom and Mary, and they are so mind-numbingly boring. If Angelina Jolie and Halle Berry hooked up with Kevin Costner and Robert Pattinson, their non-existent chemistry wouldn’t be half as dull as the parade of Toms and Marys doing nothing but pining for each other. They take time away from the characters who have real personalities and make those other Babes in Toyland far less interesting or fun to watch.

March of the Wooden Soldiers, on the other hand, does something radical when it comes to naming its leads – it takes the funny side cast we want to see more of and makes them the focus while putting the traditional romantic protagonists in the background. Normally handing over the spotlight to the comic relief characters is a bad idea (COUGHMINIONSCOUGH). But when those side characters-turned-leads are played by the most iconic comedic duo of all time, well, let’s just say we’re in good hands.

My Top 21 Favorite Donald Duck Shorts

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Last November we celebrated a milestone for one of Disney’s most iconic characters. Today we gather for another – Happy 85th Birthday Donald Duck!

There’s a certain irony to Donald’s popularity: in the theme parks or shows like The Mickey Mouse Club or House of Mouse, Donald is portrayed flagging behind Mickey in fame and adulation if not outright forgotten. But in the real world so many people prefer Donald over Mickey, and I can see why. Mickey’s status as the company’s mascot rarely allows him to be a mischievous rascal like in the old days. Donald on the other hand has always been the feisty fowl generations could relate to due to how much he’s put through the wringer and his resulting temper flares.

Because he’s not on as high a pedestal as The One That Started It All, he’s given more freedom of personality, and, as a result, much more to do. Donald’s worn a variety of hats throughout his five-and-fourscore-long career. This also expands beyond traditional media. You’d be hard pressed to find a Donald Duck video game that isn’t at least a little fun to play. Getting to bash things with his trademark temper tantrums is a treat, and Disney always takes full advantage of it. In fact, before Sora was created to be the protagonist for Kingdom Hearts, Tetsuya Nomura imagined Mickey as the main character, but Disney wanted it to be Donald! They’re well aware that no matter how bad the scenario, Donald can take a licking and keep on ticking, and that’s done him well these past 85 years.

So to mark the special occasion, I’m counting down my Top 21 Favorite Donald Duck Shorts. Why that many? Because I like to go eleven steps beyond.

The rules from before apply: I’m not counting segments from or complete feature films like Saludos Amigos or The Three Caballeros. Donald has to be the main focus of the entire short feature, and not just “Mickey’s name is in the title though Donald takes up 90% of the action but it’s totally a Mickey short, you guys, for reals”.

But par the course for this blog, a few Honorable Mentions first:

• Pomp and Circumstance – This highlight from Fantasia 2000 has Donald assisting Noah before the flood then reenacting An American Tail with Daisy on the ark.
• Trick or Treat – A Halloween classic where Donald falls victim to a witch’s tricks after he deprives his nephews of their treats.
• Donald and the Wheel – Two spirits of innovation try to inspire caveman Donald to invent the wheel, but it doesn’t quite stick. Meant to be educational, but the music is unbelievably catchy.
• Drip Drippy Donald/Early to Bed – These shorts featuring Donald being robbed of a good night’s rest would be hilarious if they weren’t so relatable.
• Donald’s Dilemma – The title’s a bit of a misnomer; Daisy’s the focus and there’s barely a dilemma. But it reveals a darker side to her romance and shows just how far she’d go to hold on to him.
• Orphan’s Benefit – While an ensemble piece for Mickey and Friends, it’s Donald who steals the show as usual.
• Commando Duck – Horribly blatant anti-Japanese sentiment aside, this World War Two-era short of Donald behind enemy lines has a fun chase at the climax.
• Cured Duck – Donald tries to cure his temper once and for all with an insult machine.
• Slide Donald Slide – Another one of Donald’s quarrels with Spike the Bee wins points for mirroring the World Series game playing on the radio, but winds up here because Spike is technically in the wrong this time around.
• The Wise Little Hen – The one that started it all.
• Donald’s Double Trouble – Donald hires an inexplicable doppelganger with better manners and English to win back Daisy only for it to backfire terribly.
• Donald’s Golf Game – Donald goes golfing with his nephews and their usual amount of mischief.
• Donald’s Valentine Dollar – Donald must retrieve his last dollar from all sorts of shenanigans in order to purchase a valentine for Daisy. It’s completely silent, but that repetitive piano music can get grating.
• Donald’s Camera – Donald’s attempt to shoot wildlife with a camera instead of a gun goes as well as you’d expect. Interestingly, I never knew about the original ending for years since they abruptly cut it off whenever they aired it on tv.
• Sleepytime Donald – A sleepwalking Donald takes Daisy out on a late night date, and it’s up to her to make sure he doesn’t wake up in a precarious situation.
• Mickey’s Philharmagic – Yes it’s a 3D show in the Disney parks and Mickey’s name is in the title, but don’t be fooled. Donald is the star of the show, and seeing him interact with some of the most iconic musical moments of the Disney Renaissance in stunning CGI animation for the time is astounding.

November Review: A Night at the Opera (1935)

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“And now, on with the opera – Let joy be unconfined! Let there be dancing in the streets, drinking in the saloons, and necking in the parlor! Play, don.”
– Otis B. Driftwood, aka Groucho Marx opening a new opera season

Hi there, I hope everyone’s had a Happy Halloween, and I’d like to welcome back any and all newcomers who discovered this blog through Prydain On Film, which highlighted my two-part review of The Black Cauldron on their blog the same day I posted it. I’m happy to have you here.

Stick around, check out the other movie reviews I’ve done.

Be sure to read my retrospective on Gravity Falls too.

Please don’t leave.

Anyway, I’m especially excited – and more than a little daunted – for this month’s review, as I finally get to talk about some of my favorite comedians of all time, The Marx Brothers.

Julius, Leonard, Herbert and Adolph Arthur – aka Groucho, Chico, Zeppo and Harpo – were sons of Jewish immigrants who discovered they had quite the knack for making people laugh as well as making music. Since their parents were already in the entertainment business, they had almost no trouble making a name for themselves. Groucho grew infamous for his quick biting wit, Chico for his fast-talking, womanizing and heavy faux-Italian accent, and Harpo for his childlike mischief and mute pantomiming (when not communicating through whistles and horn honks). Zeppo could be just as hilarious as his siblings onstage – for some performances he even stood in for Groucho and nobody could tell the difference – though he was often relegated to playing the straight man to his brothers’ antics. While already a hit on the vaudeville circuit and Broadway, the brothers made the leap from stage to screen with the advent of talkies and their fame quintupled overnight.

The Marxes’ unique brand of humor continues to influence comedians to this day; you can see them (especially Groucho) in the likes of Alan Alda, Lucille Ball, Judd Apatow, Bugs Bunny, Mystery Science Theater 3000, and the cast of Animaniacs. If you were to watch their films – their early ones in particular – you could say the threadbare plots were only there for them to hang jokes on. Cliché stories surrounding college football, high-class parties and traditional Hollywood romances were not safe from the brothers’ brand of anarchic humor; they poked holes in conventions of society and film, often breaking the fourth wall with the force of a sledgehammer to remind the audience how much of a farce even the most serious of scenarios really are. Their “us vs. them” antics helped America laugh through the Great Depression and World War 2, however not all of them were complete successes in their day.

After their ahead of its time war satire Duck Soup nearly bankrupted Paramount, the Brothers were cut loose from the studio and set adrift in Hollywood. Luckily they had an ardent admirer in Irving Thalberg, big shot producer at MGM, who quickly signed them on. Fortunate as this was, it didn’t come without a few changes to the Marxes which to this day angers certain die-hard fans:

First, Zeppo followed in forgotten Marx brother Gummo’s footsteps by quitting acting and reinventing himself as a successful agent, thus whittling the comic quartet down to a trio.

Second, their method of taking shots at anyone in their path was altered to karmic trickery; mess with them or their friends and only then do the gloves come off.

Third, in an effort to appeal to more women, a romance subplot would be added to their films wherein the brothers would help whatever couple was the focus hook up and achieve their dreams.

But does this warm touch and loss of one sibling mean the famous brothers have lost their edge? Will the inclusion of the opera, which was perceived as highbrow art for the upper class back then as much as it is today, serve as an excellent backdrop for the Marxes’ shenanigans or is it merely a musical distraction? And more importantly, can I actually make with the funny in this review as good as the Marxes did in their own film? Let’s find out.

So…About The Three Caballeros’ New Show…

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If you’re as die-hard a Disney fan as I am, then you’ve already heard the news about a certain new avian-centric animated series produced by the mouse house; One that hasn’t been officially announced yet but has fellow Disneyphiles riled up nearly as much as when the Ducktales reboot was launched.