Having Wonderful Crime (1945) – reviewed by George

A murder comedy starring Pat O’Brien, George Murphy, and Carole Landis, this is a fast-paced romp where almost every line is a wisecrack and almost every action has a slapstick element. Right away we learn that our trio of tecs (John J. Malone played by Pat is real, Jake and Helene Justus played by George and Carole are wannabes) has alienated the police department so thoroughly that the police will not respond to Helene’s call to come pick up the hood responsible for the Honeymoon Case. She has the drop on the dude, but he sees his chance when her reaction reveals they aren’t coming, and he throws a vase at her. A slapstick scene follows as first Malone, then Jake, arrive. They leave the bad guy for the cops to find, and split in an attempt to stay out of trouble, and duck into a theater when sirens announce the arrival of the police. They see a magic act where The Great Movel (George Zucco) is supposed to be locked in a cabinet, then reappear in a chair suspended above the audience. A curtain is dropped around the chair and then raised, but the chair is empty. The cabinet is quickly unlocked, but Movel isn’t there either. As the manager alerts everyone that the audience must stay put because he has called the police, people start to flee. The Great Movel’s assistant Gilda Mayfair (Lenore Aubert) speaks briefly with her boyfriend, another assistant, Lance Richards (Richard Martin) as they rush off separately, and the possibility that they might have had something to do with the disappearance is floated about. Malone, Jake, and Helene split too; after all they were hiding from the police in the first place.
Now the newlyweds leave for their honeymoon at the Lenhart Lodge, home of the Water Carnival, and Malone, unwilling to face the cops alone, goes with them! Helene is driving when she runs Gilda off the road, and feeling responsible (she IS responsible!) she insists on taking Gilda and her trunk with them. Helene is nothing if not inventive; she engineers a double suite for the foursome saying that Malone and Gilda are on their honeymoon too.
From there nuttiness prevails as the trunk first has only magic paraphernalia in it, then actually does contain a corpse (the murder is shocking because it’s so real in a day of what I think of as having very primitive special effects), then disappears.
There’s a lovely little continuing gag about one of the Great Movel’s props: a hat which has a potted plant pop out of it, and the film, possibly because it’s only 63 minutes long, sustains its mood of unreality very well. Not the greatest comedy you’ve ever seen, but lots of laughs, so well worth the time it takes to see.
Music by Leigh Harline, Screenplay by Howard J. Green, Stewart Sterling, and Parke Levy,  Original Story by Craig Rice, Directed by Eddie Sutherland.

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Broadway: The Golden Age, By the Legends Who Were There (2004) – reviewed by George

Rick McKay grew up in a small town  in Middle America. There was not a lot to do, and Rick spent a good amount of time in the basement watching old movies, and additional time in the Public Library reading the New York Times. What he saw and read convinced him that Broadway was in a Golden Age. Hadn’t most of the movie stars he admired started on Broadway?
But when he finally moved to Manhattan himself, he found the John Raitt baritones had been replaced by Les Miserables tenors, and that people in cat fur were starring in British imports. So: had there ever really been a Golden Age of Broadway? He set out with a camera, no crew, and over time interviewed the legends of that age. It took five years, but now we all have the result of his quest: this film.
First up: Angela Lansbury: “We didn’t call it the Golden Age, of course, but now I look back I do believe it was.” Kaye Ballard: “When you say Golden Era, I’m not even aware that it was a Golden Era, until you said it. And I think, yes, it was a Golden Era, and there was a camaraderie.”
Many others talk of a camaraderie. Apparently one particular Walgreen’s drug store was a huge meeting place. This would be back in the days when drug stores had lunch counters and you could get coffee and maybe a cinnamon roll and sit in a  booth and talk for as long as you wanted.
Another surprise Rick uncovered is that when he asked people about their acting influences (expecting a variety of answers) most people had a common idol, an actor of such force and naturalness, that you just couldn’t catch her acting: Laurette Taylor. Taylor made three silent movies, and that’s it. But those who saw her on Broadway can still describe the deep impression she made.  Whole performances and single indelible moments have stuck in all of these minds, and yet in Hollywood she couldn’t get arrested. Rick somehow obtained a screen test she did in the 40s, and she seems perfect. But the statement is made that she was so natural, the studio people didn’t believe she was acting at all. Perhaps her greatest triumph was the lead in the original stage production of “The Glass Menagerie” by Tennessee Williams.
Ninety people are interviewed here, and this is a treasure trove of memories and opinions. I wish I could list all ninety, but I think you would only scan the list for people who have had a particular effect on you by creating a special memory for you, and I would much rather you be surprised and pleased by who is included. And even if you don’t know them, what they have to say is significant.
The DVD case says there are 100 stars, and I guess there are. But only ninety are listed in the closing credits. The Special Features are interesting too. Both the New York and Los Angeles premieres are covered and even more stars comment.
This is one documentary that I will keep and watch over and over – only two hours long, but such fun!

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Waltzes from Vienna (1934) – reviewed by George

Alfred Hitchcock’s 17th feature film is his last non-suspense feature. From here on the Master of Suspense really emerges. “Waltzes from Vienna” is not a family melodrama or sketch comedy or a film built around a sport. It’s a musical biography of one small portion of the lives of Johann Strauss the father and Johann Strauss the son. It basically shows the creation and debut of “The Blue Danube” by Strauss the Younger. And near the end of the picture the young Johann conducts his father’s orchestra, and they play “The Blue Danube” in its entirety: 4 minutes and 40 seconds, and it’s a thrill.
Jessie Matthews (top billing as Resi, young Strauss’s girlfriend) was 27 when this film was released. She was a singer/actress and her career was mainly on stage, but she did make movies as well. Edmund Gwenn (second billing) is Strauss the Elder, and Fay Compton (third billing) plays Countess Helga von  Stahl, who is the encouraging force behind young Johann’s finally finishing a waltz in the face of his father’s condescension. And billed fourth, but under the sign “Other Players”, is Esmond Knight as Strauss the Younger.
I really liked this film and consider it the best of Hitchcock’s non-suspense films, with “Elstree Calling’ and “Champagne” at numbers two and three. It’s light and vivacious, and I learned that in the days before sirens, fire engines (at least in Vienna) used a trumpeter to clear the way.
Based on the Great London Alhambra success by Heinz Reichert, Dr. A.M. Willner, & Ernst Marischka, and the Musical Arrangement of Julius Bittner & E.W. Korngold.
The Music of Johann Strauss (Father and Son) Adapted for the Screen by Hubert Bath, under the direction of Louis Levy.
Scenario by Guy Bolton and Alma Reville. Directed by Alfred Hitchcock.

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Number Seventeen (1932) – reviewed by George

Well, this should have been posted last week on Alfred Hitchcock Tuesday, but I had to watch it multiple times, because I was confused. I got three DVD versions of this film and I watched a little bit of each to get the best picture and soundtrack. When I had done that the best picture was a little cloudy and fuzzy and the best sound was really hard to understand in places. There were captions, but they were Spanish, Japanese, and Chinese. At any rate, whether I got it or not, here goes.
This is Hitchcock’s 16th film, and his 4th suspense film after “The Lodger”, “Blackmail”, and “Murder!”. There are comic moments scattered throughout, but not enough of them to qualify this as anything but a thriller with comic overtones.
Leaves are blowing down a sidewalk followed by a man’s hat. The man appears, retrieves the hat, dusts it off a bit, puts it on his head, and sees this sign: “For Sale – or Would Let”. He slowly approaches the house, and as he arrives at the door, it opens. No one is there. He moves to the stairs, and as the upper floors are lighted but the staircase is not, he strikes a match and starts up. A man appears above with a candle, and as they start toward each other they somehow reverse positions so that when they meet over a dead body, the first man is coming downstairs and the second is going up. At sight of the body they both scream. It takes a while, but they introduce themselves: the going up man (match) is Forsythe (John Stuart) and the coming down man (candle) is Ben – just Ben (Leon M. Lion). Ben is a Cockney and about 50% of his dialogue was lost on me. Next someone walking on the roof crashes through and lands at their feet. It is a girl, Rose Ackroyd (Ann Casson), and when she comes around, she is frantic about her father, who preceded her on the roof (they live nest door at # 15). Ben goes to the roof to look for Mr. Ackroyd and he crashes through the ceiling. Rose shows them a telegram that has come for her father: “To Ackroyd – Have traced Suffolk Necklace to Sheldrake – expect him to make getaway tonight – watch No. 17 – will arrive later – Barton.” Well, Ben takes that to mean that Sheldrake is on his way to Number Seventeen, so he hurries to return the gun to the dead man, whose body has disappeared.
It is half past midnight and the doorbell rings. Ben goes down and lets in a married couple. They seem surprised to see him and say that the agent said they could look at the house. They enter and Ben is shutting the door when another man puts his foot in the door and says, “May I come in too? Uncle?” The couple is not married; they are Nora, a deaf-mute (Anne Grey) and Brant (Donald Calthrop) her “friend”, and they are part of the gang of thieves. The extra thief is actually Ann’s father, a police officer (Henry Caine). Ben tries to shoot them, but hits Forsythe in the wrist instead. As the thieves lock Ben in the bathroom and tie up Forsythe and Ann, she winks at her father and he acknowledges the wink. As more of the gang arrive, Sheldrake (Garry Marsh), who was the dead body from earlier, goes to the bathroom and as privately as possible, retrieves the necklace from the water tank of the toilet. Does anyone else know he has it? I don’t think so, but I could be wrong. And now we learn why this house was chosen for the rendezvous – it stands over a train track for the short trains that drive right onto special ferries in order to take their passengers across the channel to France. Now the thieves make their getaway, with Forsythe (who we now know is actually Barton, Ackroyd’s detective partner, who sent the telegram) chasing them, but unable to get on the train. He flags down a bus and pretends to be a passenger, but then very carefully, so as not to alarm the passengers, he shows the driver his gun, and tells him where to go. The trip is fast and funny, with the passengers reacting to the speed and the bumps in unison. Chasing a train in a bus seems just inherently funny, except for the fact that one of the train’s engineers is murdered by the gang when he refuses to cooperate.
Now: none of this may be a correct abbreviation of the plot. With practically all the cast pretending to be someone else, and with the speed of the comings and goings, I got lost, and even after multiple viewings I have stayed lost. The film is good, but could certainly be better. The toughest thing, I think, is the number of people pretending to be in the gang, especially the number of people who could be Sheldrake. Obviously Mr. Ackroyd is not in the gang, and Henry Doyle (Barry Jones), whom I have refrained from mentioning so far, could be either good or bad – I don’t know!
See it only because you’re curious, and then write a comment to let me know what really happened.
By J. Jefferson Fargeon from the play, Scenario by Alma Reville, Alfred Hitchcock, and Rodney Ackland. Although how effective this would be on stage without the bus chasing the train I don’t know.
In searching through the internet for clues to this film, I found that Francois Truffaut also thought it confusing. Hey, I’m in very good company!

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Interstellar (2014) – reviewed by George

This film is an involving, suspenseful deep space adventure, with a healthy dose of emotion in the form of a father’s love for his daughter, but ultimately it’s too engineerish for me. Lots of technical terms, discussions of dimensions (third, fourth, and fifth), using gravity to send messages – so far over my head that it wound up in my attic.
Matthew McConaughey, Anne Hathaway, David Gyashi, and Wes Bentley are part of the crew sent out to slingshot around Mars and end up near Saturn, where there is a small Black Hole they must enter to find teams of scientists who blasted off years before, to gather data so that a decision could be made as to which planet to transfer Earth’s population to. Why? Because the Earth is dying from overfarming. And the planets these people ended up on after their trips through the Black Hole are so far from Earth that one day (or was it an hour?) spent there is like 27 years on Earth.
Because McConaughey is an incredibly talented pilot they end up going to all three base stations, even though they should not have enough fuel to do that. At the second station they find a lonely Matt Damon, who seems okay but is actually a crafty victim of cabin (or space station) fever.
Anything more is telling too much, although I would definitely get all the science stuff wrong anyway, because most of it sounded completely improbable to me.
McConaughey’s daughter is played by MacKenzie Roy, Jessica Chastain, and Ellen Burstyn. His son is played by Timothee Chalamet and Casey Affleck. Michael Caine plays Hathaway’s father and John Lithgow plays McConaghey’s father-in-law.
Not a waste of time at all, but too complicated for this kid.
Written by Jonathan Nolan and Christopher Nolan, Directed by Christopher Nolan.

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Nicol Williamson is Sherlock Holmes in “The Seven-Per-Cent Solution” (1976) – reviewed by George

Most Holmes movies and TV shows are taken from Conan Doyle’s stories and novels, so when someone opts to do an original I’m always intrigued. This one is not a comedy, or satirical, or sarcastic; it’s a serious effort with a totally new central conceit; namely that Homes’s addiction to a 7 % preparation of cocaine (mentioned in the canon and in a few films) is out of control, and Holmes (Nicol Williamson) is excessively paranoid and going mad. So Watson (Robert Duvall) takes him to Europe to be cured by Dr. Sigmund Freud (Alan Arkin)! Yes, there is some humor, but not enough to change the movie’s type from thriller/adventure.
The final problem that makes up Watson’s mind is his meeting with a simple English teacher, a Professor Moriarty (Sir Laurence Olivier), who is far from a criminal mastermind, as Holmes maintains. He comes to Watson begging for help, because the continual hounding from Holmes has now made him fear for his wife’s safety. Watson tells his wife Mary Morstan Watson (Samantha Eggar) of his plan to get Sherlock to Europe, and she replies that Holmes will never go, because he is so convinced that Scotland Yard cannot function without him. Then Watson refines his plan: tell Holmes that Moriarty is going abroad. Watson then asks Mycroft (Charles Gray) for help, and Mycroft convinces Moriarty to decoy Holmes to Europe.
Freud cures Holmes, and this section of the film is a convincing argument for never trying  drugs in the first place: withdrawal is UGLY!
After the cure there is a wonderful tennis game between Freud and the anti-Semite Baron von Leinsdorf (Jeremy Kemp), the villain of the piece. And a really exciting train chase I’ll not forget anytime soon.
Some of the others in the large cast: Vanessa Redgrave as Lola Deveraux, a cured addict; Joel Gray as Lowenstein (the credits say “There is reason to believe this character is totally fictitious”); Georgia Brown as Frau Freud; Regine as Madam, a Polish madam; Anna Quayle as Freda, the Freuds’ housekeeper; Alison Leggatt as Mrs. Hudson; and Jill Townsend and Leon Greene as Sherlock’s parents, Squire and Mrs. Holmes.
The film begins with this sign: “In 1891 Sherlock Holmes was missing and presumed dead for three years. This is the true story of that disappearance. Only the facts have been made up.”
The score by John Addison is wonderful throughout, but is incredibly good behind the opening and closing credits and during the train chase. The Screenplay is by Nicholas Meyer from his novel of the same name. The title drawings are by Sidney Paget, first published in the Strand Magazine by George Newnes Limited. And this really fine film, which I enjoyed a lot, was Directed by Herbert Ross.
NOTE: Anita reviewed this film a couple months ago, and boy, do we bicker on this one! She said it turns into a comedy/adventure, Watson was wimpy, and she was embarrassed for Nicol Williamson. Man! I thought she got a legitimate degree in film, and now to discover that it’s from Jones and Jones Tech in Venezuela! Well, Dear Reader, all I can say is see it for yourself, and then write to tell us who YOU think has a better handle on this movie, and remember how I’m always excited to find a Holmes story not taken from Conan Doyle, but original, and I’ve really reviewed a lot of those lately, and this is a really good one. Check out those reviews as well. Every Friday is Sherlock Holmes (by George) Day!

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Broadway: The American Musical (2004) – Episode 6 “Putting It Together (1980-2004) – reviewed by George

Hosted by Julie Andrews, Written by Michael Kantor and Laurence Maslon, Directed by Michael Kantor.

“The Producers” (2001): Mel Brooks brought his 1968 film to Broadway. Which gives the creative team on this program an opportunity to examine producers for an hour.

David Merrick: The Abominable Showman, producer of “Hello, Dolly”, “Oliver”, “Promises, Promises”, “I Do, I Do”, “Breakfast at Tiffany’s”, and more. In the interviews the great caricaturist Al Hirschfeld says he did what he considered a vicious drawing of Merrick holding a bell, book, and candle, and dressed like Santa Claus – and Merrick bought the drawing and used it on his Christmas cards that year. In 40 years Merrick produced dozens of shows, of which six were directed and choreographed by Gower Champion, including the “seismic” hit “Hello, Dolly”. In 1980 Merrick hired Champion to helm “42nd Street” starring Jerry Orbach. The show was one of the first Broadway versions of a film musical. As you know, the movement is usually in the opposite direction, and the cast was more than double that of most Broadway shows. And on opening night, just hours before curtain, Gower Champion died of a rare blood cancer. Stunning news, kept from reporters and delivered by Merrick after the curtain calls with the cast still on stage. The show ran for over 8 years on Broadway.

“Cats” followed “42nd Street” into the Winter Garden Theater and played for an amazing 18 years.. The producer was Cameron MacIntosh and during the ’80s he redefined the formula for success in musical theater. “Cats” was so totally unconventional that many theater people did not understand it, but audiences loved it. Here I become for a moment a critic rather than a chronicler and say that I have never liked anything about “Cats” except Betty Buckley’s big number “Memories”. And though this segment of the program is basically about MacIntosh, Andrew Lloyd Webber wrote the music, Tim Rice wrote the lyrics, and Trevor Nunn directed. “Cats” was only the beginning for MacIntosh. It was followed by “Les Miserables”, “The Phantom of the Opera”, and “Miss Saigon”. In 2004, when this program was made, these four shows had grossed over eight billion dollars worldwide: more than “Star Wars”,  “Raiders of the Lost Ark”, “Jurassic Park”, and “Titanic” combined.

“Merrily We Roll Along” was the sixth collaboration between director Hal Prince and song writer Stephen Sondheim. It was a flop and closed after 2 weeks, and the partnership that had revolutionized Broadway with “Company”, “Follies”, “A Little Night Music”, “Pacific Overtures”, and “Sweeney Todd” came to an end. Sondheim was contemplating retirement when director James Lapine told him that he thought they could come up with something p;popular. So Sondheim’s next show did not open on Broadway, but off-Broadway in a 150-seat theater called Playwright’s Horizons. That show was “Sunday in the Park with George”.

“La Cage aux Folles” starred George Hearn (from “Sweeney Todd”) and Gene Barry (from “Bat Masterson”) as what bookwriter Harvey Fierstein calls “a couple, a real loving couple, together for 27 years”. The director Arthur Laurents says, “The show began with a drag number, and the men who had been dragged there by their wives covered their faces. At the end of the show they were standing and cheering two men dancing off into the sunset. I thought that was quite an accomplishment.” Jerry Herman won the Tony for Best Score.

The AIDS Epidemic: Among those who died were Michael Bennett, Ron Field, Larry Kert, Edward Campbell, Michael Shawn, and Sam Stickler. Harvey Fierstein says, “We lost our children.” And Stephen Mo Hanan says, “So many people from the ranks. AIDS didn’t just get the generals; it got the privates, the guys in the trenches.” In response to the AIDS crisis the company of “La Cage aux Folles” and others from the Broadway community created “Broadway Cares: Equity Fights AIDS” which in 2004 had raised over 65 million dollars to help people suffering from the disease.

The Corporate Influence: Often attributed to the success of the Walt Disney Company, but before Broadway was resurrected by Disney, Disney was resurrected by the Broadway musical. After some lackluster years Disney had a string of animated musicals, most scored by Broadway veterans composer Alan Menken and lyricist Stephen Schwartz, but also by Menken and Howard Ashman, and Menken and Tim Rice after Schwartz’s death from AIDS. Michael Eisner, head of Disney in 2004, says that critic Frank Rich reviewed the movie “Beauty and the Beast”  as the “best musical on Broadway”. The New Amsterdam Theater had been Ziegfeld’s crown jewel, but was now a wreck. Eisner wanted it, but first needed assurance from Mayor Rudolph Giuliani that the neighborhood (Broadway and Times Square) would be safe for families. Giuliani said, “They will be gone.” (referring to all the sleaze merchants). The New Amsterdam was magnificently restored, and for the first time in 75 years a major corporation was interested in the area. In the fall of 1997 “The Lion King” moved into the New Amsterdam. Julie Taymor, the show’s director, discussing the doubters who didn’t think the audience would know where to look (large puppet or operator, human face or face of smaller puppet), says that the audience in a live theater know they’re in a theater and finish your sentences for you. She also says that the musical is about “a future where there won’t be any racism at all.”

Jonathan Larson and “Rent”: Larson quit his job as a waiter (a 9 year gig) because an off-Broadway theater had committed to producing his rock opera “Rent”. During rehearsals Larson was admitted to the hospital twice. The night before the first preview he died of an undiagnosed heart problem. He was 35. Eventually “Rent” moved to Broadway where it played 3000 performances. Larson was awarded the Pulitzer, and his family used the profits from the show to fund a foundation for young artists.

9-11: Susan Strohman, director of “The Producers” (both play and film), says, “At first it seemed inappropriate to go to the theater, but in fact it became almost like medicine… A little relief from the grief.

Costs: “Hairspray” was the best of the 2002 crop, and like many others was based on a film. With musicals costing over 10 million to produce, it is a good example of producers going for fewer originals and more recognizable titles. Hal Prince says, “In 1954, my first show as a producer, “The Pajama Game”, had a budget of $250,000 and they only spent $169,000. By the time I did “Follies” – that was 1971 – it cost #800,000.”
“Wicked” was the biggest show of 2003, and was a 40 million dollar gamble, the second production backed by Universal Studios. During the eight weeks before the opening in San Francisco (which they called the “Preview Opening”) scenes were cut, new dialogue and songs were written, and four parts were recast, including the part of the Wizard of Oz, with Robert Morse out and Joel Grey in. On to New York and critics were divided, but it broke box office records. According to producers (remember, in 2004) the show will recoup its 40 million dollar investment in one and a half years – if each performance sells 1300 tickets.

Summary: In June of 2003 the world of Broadway gathered to honor Al Hirschfeld. For over 75 years he had captured the spirit of musicals, and this episode includes some of his wonderful drawings of various musicals and musical performers.
So this has been a pleasant way to learn some of the history of Broadway. Now from 2004 to the present day, I guess we’re on our own. Incidentally, there are scads of wonderful clips in this episode, but I just don’t have room to list them. Sorry!

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Douglas Wilmer is Sherlock Holmes in “The Adventure of Sherlock Holmes’s Smarter Brother” (1975) – reviewed by George

This film stars Gene Wilder as the Smarter Brother, Sigerson Holmes. Wilder also wrote the script and directed. Further, he cast the other starring roles with buddies Madeline Kahn and Marty Feldman. Douglas Wilmer and Thorley Walters play Sherlock and Watson, who appear off and on throughout the film, in disguise, and start the plot by supposedly leaving the country for Europe and turning over all case work to Sigerson. This work includes the problem of the Redcliff Document, which has been stolen and MUST be retrieved within a time limit.
While we and the three stars think Sigerson is working fairly well on his own, it turns out that Sherlock is in the background pulling strings and making sure that little bro succeeds, accompanied by Watson, of course. Actually Sigerson needs less and less help as he muddles through.
Kahn plays Jenny Hill, a music hall entertainer who is also taking singing lessons from the opera star and impresario Gambetti (Dom De Luise, looking wonderfully young). Gambetti is a partner of Professor Moriarty (Leo McKern), and is the actual thief of the document. Now their problem is how to pass the paper without being caught, and Gambetti’s idea is to have Moriarty’s assistant (Roy Kinnear) sing a specific (and incorrect ) line in his new opera which is to open very soon. This will identify him to Gambetti, who will give him the document, on stage. What could be more foolproof? Well, as it turns out, almost anything.
Feldman plays Orville Stanley Sacker, Sergeant, Records Bureau, Scotland Yard. And he comes to Sigerson, thinking him Sherlock. They band together to recover the Redcliff Document as Sherlock has requested.
The film is wildly funny in places, many times because of what is supposed to be impromptu dancing. The Kangaroo Hop as done by Wilder and Kahn is a great example, and leads me to crediting the choreographer right here, without waiting until the end of the review. He is Alan Johnson and he is a major player in making this movie so funny. Gambetti’s new Italian opera (sung in English) is incredibly hysterical, mainly because of the choreography. In fact. the opera sequence is the highpoint of the picture. The opera’s conductor (Tony Sympson) deserves credit here also, because of his reactions to the ad libbing going on so frantically on stage.
Others who must be mentioned are John Le Mesurier as Lord Redcliff, Susan Field as Queen Victoria, and Nicholas Smith, who plays Hunkston, all muscle and no brain and trying hard to help Sigerson, without ever quite understanding what is needed. And William Hobbs, who was the Fight Arranger and Adviser.
If you haven’t seen this, find it right away. I envy you for seeing it for the first time!

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Dumb Caption #41 – Murdoch Mysteries, Season 9, Episode 7 – “Summer of ’75” – November 23, 2015

Murdoch (Yannick Bisson): “Edwin had been researching these weapons. Most recently, this Bowie knife.”
Caption: “Most recently, this buoy knife.”

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TV Quote # 65: Episodes – Season 5, Episode 5 – 9-24-17

Matt, Beverly, and Sean (Matt LeBlanc, Tamsin Greig, and Stephen Mangan, respectively) are still trying to come up with a sitcom idea that Matt likes, which is nothing that Sean and Beverly have suggested so far. When they try to pin him down and eliminate some whole categories of comedies, Matt says, “I still like “Whores”. So Netflix is doing it. So what? There were two Capotes. Two Steve Jobs.”
Beverly: “Are your really comparing Truman Capote and Steve Jobs to “Whores”?”
Matt: “No, you’re right. I’d WATCH “Whores”.

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