Bulldog Drummond's Road to the Wedding: Introduction

There are eight films that make up the Bulldog Drummond series produced by Paramount Pictures between 1937 and 1939. It's a highly entertaining string of action/adventure/comedy films that are undeservedly obscure. (They are, for example, better on just about every level than the better-known "Mr. Wong" films from the same period.)

The “Bulldog Drummond” films are based on a popular British boys’ adventure book series by H.C. "Sapper" McNeil. (I've no idea how faithful they are to the source material, but based on what little I know about the original books, I think they're pretty far afield. But no matter. Fans of classic comedy and action will enjoy them... and I hold they're "must-see" for fans of Indiana Jones, because I suspect these films were among George Lucas' inspiration for those movies.


The Bulldog Drummond Films from Paramount Pictures
A wealthy man of noble heritage, Captain Hugh “Bulldog” Drummond was a combat pilot in WWI and when he returned from the war, he found life too boring. So, he became an adventurer and amateur detective. His faithful manservant Tenny was always ready to join him, as was his life-long friend, Algy Longworth. Tenny was the perfect gentleman’s gentleman (despite the roguish ways of his youth, and his love of motorcycles), and Algy was the very model of the typical upper-class twit (but with a strong sense of right and wrong). Later, the trio was joined by Phyllis Clavering, Drummond’s fiancé who sometimes showed herself to be Drummond’s equal in resourcefulness and spririt. They were further assisted by a mutual friend of Drummond and Clavering, Colonel Nielsen of Scotland Yard.

The title role of Bulldog Drummond was first played by Ray Milland. As of the second film, that role was taken over by John Howard, and I think he made a far better Drummond; Milland’s Drummond seems somehow more fey than Howard’s version, more upper-class playboy than adventurer.

The part of Drummond’s ladylove, Miss Clavering, was also played by two different actresses over the course of the series. In the first film, she was played by Heather Angel, who left the series for a while, but resumed the role later. In the intervening features, Phyllis Clavering was played by Louise Campbell. Both actresses did a fine job in the role, but Angel is not only prettier than Campbell, but she presents a more energetic Clavering, so I prefer her in the role.

The part of the long-suffering Colonel Nielsen, who wanted nothing more than for Drummond to stay out of official police and military business, was initially played by Guy Standing, and then by H.B. Warner in the final installments. In between, the part was played by John Barrymore, who, in the twilight of his career by the late 30s, had been relegated to B-features. However, Barrymore’s presence elevated the entire series, as he brought a level of talent, energy, and comedic timing that isn’t evident until you watch an episode in which he appears and follow it immediately with “Bulldog Drummond’s Bride.” Warner isn’t a bad actor, but his performance seems pale and lifeless when compared to Barrymore. I believe it’s a testament to Barrymore’s talent that he brought so much to the series, without being a scene-stealer; his contribution wasn’t fully noticeable until he was no longer making it.

Out of the cast of regulars in the series, only E.E. Clive and Reginald Denny appeared in each installment.

E.E. Clive played Tenny, Drummond’s perfect gentleman’s gentleman, who was both a loyal servant and a valuable resource in assisting Drummond and his companions with their adventures. It’s evident in the series that Tenny and Drummond are close friends as well as servant and master, and the chemistry between Clive and Howard on-screen make this bond even more real.

Reginald Denny portrayed Drummond’s best friend Algy with an ever-present twinkle and goofy physical comedy. The character was the official “comic relief” of the series (although every character and actor had their downright silly moments in this lighthearted adventure series). Although dumb as a post, and a bit on the cowardly side, Algy is ever loyal to his friends and ultimately reliable when push comes to shove. The character rounds out the cast nicely, and his happy marriage is probably one of the reasons Drummond and Clavering are constantly trying to tie the knot.

A running subplot/gag through most of the films is the fact that Drummond and Clavering are ALWAYS on the verge of marriage when some dangerous adventure disrupts the wedding plans. Even the extreme measures taken Drummond and his friends in “Bulldog Drummond in Africa” and “Bulldog Drummond’s Secret Police” can’t keep the wedding on track. However, in “Bulldog Drummond’s Bride” not even a mad bomber can stop the nuptials from taking place... even if it ends up being one of the oddest weddings on record!

Look for the first four reviews tomorrow!

Sherlock Sunday: Ronald Howard in 'Sherlock Holmes'

Sherlock Holmes (39 half-hour episodes, produced 1954-1955)
Starring: Ronald Howard, Howard Marion Crawford, Archie Duncan and Kenneth Richards
Directors: Steve Previn (25 episodes), Sheldon Reynolds (9 episodes) and Jack Gage (4episodes)
Rating: Six of Ten Stars

From 1954 through 1955, Ronald Howard starred as Sherlock Holmes, with Howard Marion-Crawford as Dr. Watson, in a 39-episode series that was produced in France with a British cast. The half-hour episode were mostly original stories, with some drawing heavily on some of Doyle's original tales (like "The Case of the Red Headed League," and "The French Interpreter," which was almost a straight adaptation of "The Greek Interpreter").

The series is more lighthearted than most Holmes adaptations that don't bill themselves as comedy, with Watson, Holmes and Lestrade taking turns at being the focus of humor, the butt of jokes, and even solving the mysteries at hand.

Ronald Howard's Holmes is a flighty, playful man possessed with an almost juvenile sense of humor. While he is every bit the genius one finds in the Conan Doyle tales, he comes across more like an overgrown child than a man who grows erratic when bored. But he is also probably far more fun to be around than Holmes would have been as he was written by Watson (and portrayed in most other adaptions). In fact, the boyish nature of Holmes as we find him here makes the cluttered rooms at 221B Baker Street seem almost like a clubhouse where he and Watson hang out after school. It's a sense that is enhanced by the good humor and comedy running through nearly every episode.


The comedic touches in the episodes is a nice addition to the Holmes tales, but an even nicer touch is the fact that Watson is repeatedly shown to be smart and capable. On more than on occasion, he even manages to out-do Holmes, primarily because Watson is more down-to-earth and less prone to flights of fancy. Another refreshing aspect to Watson's character is that he more than once stands up to Holmes rather fiercely, refusing to be the brunt of his jokes and on more than one occasion getting Holmes to apologize. In fact, the relationship between Holmes and Watson seems more real in this series than in several other versions, despite the buffoonery and antics.

Another interesting aspect of the series is the way Archie Duncan appears as several different characters throughout. His main role is as Inspector Lestrade, but he also appears as Lestrade's cousin and even one of the villains as the series unfolds.

Like all television series, this one is a mixed bag. Of the 39 episodes produced, a handful are excellent (like "The Case of the Jolly Hangman" where Holmes helps a widow by proving her husband didn't commit suicide, "The Case of the Perfect Husband" where Holmes must save an innocent woman from her psychopathic husband while attempting to prove that he has murdered half a dozen women previously) or "The Case of the Belligerent Ghost" where Watson is repeated assaulted by a dead man), a few are absolutely awful (like "The Case of the Texas Cowgirl" which has a nonsensical plot and a lame mystery, while "The Case of the Thistle Killer" was so weak that Holmes should hang his head in shame for taking so long to solve it), but most are decent little mystery tales. Some have darker tones than others--"The Case of the Perfect Husband" and "The Mother Hubbard Case" are chillers that deal with deadly serial killers, while "The Christmas Pudding" sees Holmes under real threat of death for perhaps the only time in the whole series--but the series can be a great introduction to Sherlock Holmes if you have young kids who are getting into mysteries.

There are a couple of different DVD packages that contain the entire series. I viewed the one issued by Mill Creek. The quality of the source tapes varies from episode to episode, but the sound is generally clear and the picture is only occasionally washed out. It's not perfect, but the three-disk set is very reasonably priced.

'The Bank Job' is a fine caper flick

The Bank Job (2008)
Starring: Jason Statham, Saffron Burrows, Stephen Campbell Moore, Michael Jibson, Daniel Mays, Richard Lintern, David Suchet, James Faulkner and Gerard Horan
Director: Roger Donaldson
Rating: Seven of Ten Stars

When a childhood friend (Burrows) approaches smalltime conman Terry Leather (Statham) with the perfect scheme for a bank robbery, he assembles a crew and goes for it. The end result is that they pull off the bigest bank heist in British history... but then find themselves hunted by serious criminals and even the British intelligence agencies.


"The Bank Job" is based on a number of true events that happened in and around 1971, such as the robbery of the Baker Street branch of Lloyd's Bank; the arrest of a murdering drug-dealer and extortionist pimp who hid his operations behind the cloak of a black power movement; the sudden resignation of a number of long-standing members of Parliment; and the quick and extensive purge of entrenched corruption in London's police department. How many of the details of the film are true, and whether all the events depicted as related are truly related we won't have even an inkling of until 2057, as much of the documents relating to the case have been sealed as government secrets until then. Whether the details are accurate or not, the film itself should entertain any fan of caper movies.

At least it should entertain any fan of caper movies once it gets going. The first half hour or so is a bit messy as a whole raft of characters and plotlines are introduced and no seeming connection exists between them; the connections become clear later, but as they are introduced you'll find yourself wondering why we're bothering with them. Some of the characters are actually so minor that I think the film had been stronger if they had been left out entirely in the interest of stream-lining the start of the movie. However, when things coalese and the robbery gets underway, any trying of the viewers patience at the film's beginning is richly atoned for.

"The Bank Job" gets off to a shakey start, but it ends up in a very cool place. It's definately worth checking out.

What is the deadly truth behind 'Charade'?

Charade (1963)
Starring: Audrey Hepburn, Cary Grant, Walter Matthau, James Coburn and George Kennedy
Director: Stanley Donen
Rating: Nine of Ten Stars

'Reggie' Lampert (Hepburn), a quirky young American living in Paris, has her world turned upside down when her husband is murdered and she learns that he wasn't all who she believed him to be. Worse, three thugs (including Coburn and Kennedy) are stalking her, insisting that she has the $250,000 that her dead husband stole from them. Only the charming Peter Joshua (Grant) and the mysterious Paris CIA Station Chief (Matthau) can help her... but will they? When a quarter of a million dollars are up for grabs, can anyone be trusted?


For many years, I would catch pieces of "Charade" on television, and I was convinced that it had to one of Alfred Hitchcock's movies--one of his best, in fact. It isn't, of course, but it is a far sight more "Hitchcockian" that the vast majority of films that critics like to apply that label to. Its fast-patter dialogue, its mixture of intrigue, mystery, comedy, and romance is very reminicent of great Hitchcock movies like "The 39 Steps" and "The Lady Vanishes".

Hepburn is as gorgeous and energetic as ever as 'Reggie' Lampert, and her acting skills are on fine display here. Cary Grant is likewise up to form in an excellent performance, even if this film was made during the twilight of his career; his ability to be charming and menacing at the same time comes into play nicely in a couple of scenes here, and keep your eyes open for the moment when he mokcingly mimics Hepburn's "surprised look". (Another very remarkable thing about Grant's part in this movie is the acknowledgement that he is old enough to be her father, and that he initially keeps her at arm's length when she aggressively persues him in a romantic way. 'Reggie' clearly has a thing for older men, but Peter Joshua has enough class to respect their age difference. How many other Hollywood leading men would accept a role like that? Given what is standard fare in movies, not many!)

In addition to great performances by its stars, the film sports a spectacular supporting cast, with George Kennedy as a hulking, hook-handed maniac, and Walter Matthau's quirky American agent being particularly noteworthy, and an intelligently constructed story full of sparkeling dialogue, clever twists, lots of laughs and thrills, and a climactic chase and confrontation that definately makes this "the best Hitchcock movie that Hitchcock never made."

Rounding out this perfect package is the score by Henry Mancini. The 'Charade Theme' is perhaps the best tune he ever wrong, and its heard in many different and clever permutations throughout the film.

"Charade" is a true classics, and it's a film that should be required viewing for anyone who thinks they can properly mix comedic and thriller elements in a film. (The blender they show in the beginning of the original 1963 preview for the film is a great analogy... the elements of a romantic comedy and a thriller have been blended together here in a seamless, perfect whole. Movies like this are all too rarely made these days.)

It's also more than worth seeing for an excellent performance by Hepburn, one of the most beautiful women to ever grace the silver screen.

Corpulent Seagal faces 'Black Dawn'

Black Dawn (aka "The Foreigner 2") (2005)
Starring: Steven Seagal, Tamara Davies, Nicholas Davidoff, and Timothy Carhart
Director: Alexander Gruszynski
Rating: Four of Ten Stars

When CIA agent Amanda Stuart (Davies) sees her supposedly dead mentor Jonathan Cold (Seagal) show up with a armsdealer meeting with a crazed Muslim rebel (Davidoff), she knows something very big and very bad is coming down. But little did she know that soon she and Jonathan would be battling both terrorists and renegade CIA agents bent on detonating a nuke in downtown Los Angeles.


"Black Dawn" is absolutely, totally predictable; it's decently acted, with okay stunts, but there's nothing you haven't seen done better elsewhere. What's more, the cast is too small for there to ever be any doubt as to the identitiy of the traitor within the CIA. Then, to add insult to injury, we don't even get treated to decent fight scenes.

I don't know if Seagal is too old or too fat (and I know I'm not one to criticize someone for packing on the pounds come middle-age... I've turned into a true porker over the past five years) or if he may have been sick during the two-week schedule I assume this cheap quickie must have had, but not only were all three of the potential fight scenes over virtually before they started, they were done using stand-ins!

Yes, iconic Akido tough guy Seagal--the guy who in an interview on the DVD of "Black Dawn" talks about how he was in hundreds of fights before he lost one--doesn't do a single one of his fight scenes in this film. In fact, the stand-ins aren't built like Seagal (one doesn't even have similar hair, and we're treated to several seconds of the back of his head!) and there doesn't even seem to be an attempt to match the style he used when he DID do his own fight scenes.

I wonder if "Black Dawn" spells the end of Seagal's career. He's not really much of an actor, and if he can't do his own fight scenes, what's left? Maybe it's time for him to move behind the cameras and let others star in films that he produces? (On the other hand, he could well have been sick. There are several scenes where he seems to be carrying himself strangely, particularly with the way he crosses his arms.)

Sheesh... I seem to be going on about Seagal... but that's because I ran out of things to say about the movie in the second paragraph, and because I think he's done some pretty good action flicks (like "Hard to Kill", "Under Seige", "Half Past Dead" and even "The Foreigner"), and it's a bit sad to see him go out on such a pathetic note, if that is indeed what's happening.

If you want to see a fairly generic, relatively low-budget action flick with some sorry blue-screen shots, you want to pick up "Black Dawn." If you're looking for a good Steven Seagal flick, stay away from this one. You'll be very dissapointed.

Sherlock Sunday:Peter Cushing as Holmes, 2.0

In 1957, Peter Cushing starred as Sherlock Holmes in the first color film featuring the character. It was an adaptation of "The Hound of the Baskervilles" from Hammer Films, and it was sexed up as one would expect a Hammer film to be.

Ten years later, Cushing was tapped to play Holmes again, taking over the part from Douglas Wilmer in the BBC-produced television series "Sherlock Holmes." The third and fourth episodes he appeared in were an adaptation of "The Hound of the Baskervilles," bringing him face-to-face with the ghostly creature of the moores for a second time.

Although believed lost for nearly 20 years, a few episodes have been rediscovered in BBC archives and brought to Region 1 DVDs by American cable network A&E.


These surviving episodes are presented on three DVDs, along with a quirkly Holmes documentary produced by A&E. Peter Cushing once again makes a fine Holmes and these few surviving episodes show that his portrayal of the character got better and better as the show unfolds. He's great in the early shows, but in the last two episodes (on Disc Three of the set, adaptations of "The Sign of Four" and "The Blue Carbuncle") he is absolutely spectacular.

I'm going to be posting reviews in the order the episodes appear in the set.

THE SHERLOCK HOLMES COLLECTION: DISC ONE
The Hound of the Baskervilles, Pt. 1 and Pt. 2 (1968)
Starring: Peter Cushing, Nigel Stock and Gary Raymond
Director: Graham Evens
Rating: Six of Ten Stars

Sherlock Holmes (Cushing) and Dr. Watson (Stock) are called upon to solve the mystery of a spectral hound that seems to be visiting very real death upon the Baskerville family. Will they solve the mystery before Sir Henry Baskerville (Raymond) joins his forebearers in the most gruesome of fashions?

Although "The Hound of the Baskervilles" is the famous and most-often adapted Sherlock Holmes story, it seems odd choice to lead with in this DVD collection, as the earliest chronological episode included in the set is "A Study in Scarlet" and Cushing/Holmes is absent for the second half of the first episode and about 2/3rds to second part. Most consumers of this set will almost certainly be buying it for Cushing, and even if they weren't, his absense is felt. While Nigel Stock and the rest of the cast are talented and give admirable peformances, they don't have Cushing's presence.

As an adaptation of "The Hound of the Baskervilles," it's as faithful as can be expected and features production values on par with similar BBC productions from the 1960s. It is even better in many areas, as there are no pathetic attempts at day-for-night shots and most of the sets are well-constructed. On the downside, though, there seems to be a timidity against showing violence that goes beyond even typical television avoidance. For example, when Watson tustles with an escaped convict on the moor, all we get to see is the convict preparing to strike and then Watson stumbling backwards the next scene. The blow happened somewhere during the reversal of angles, but we didn't get to see any action. There are two or three instances like that in the film. The hound is also dissapointing. We don't really get to see anything as far as what it looks like.

However, despite not showing us the hound (and barely showing us the characters' reactions to it), the BBC director and editors did get the ending exactly right. It is suspenseful, with Holmes and Watson rushing through the fog along a nearly invisible path through deadly quicksand pits, the hound howling somewhere nearby, and Henry Baskerville walking blindly toward doom.

While the 1950s Hammer adaptation is more exciting and colorful, this version is more in keeping with Doyle's original story. I prefer the Hammer version, but this one is also well done, and Cushing is, once again, absolutely magnificent as Sherlock Holmes.

'Perfect Stranger' should remain unknown

Perfect Stranger (2007)
Starring: Halle Berry, Giovanni Ribisi, and Bruce Willis
Director: James Foley
Rating: Three of Ten Stars

An investigative reporter (Berry) goes undercover at a top ad agency to prove that its face man Harrison Hill (Willis) murdered her best friend. But can the truth be discoverd when the investigation is mired in hidden agendas?


"Perfect Strangers" is a thriller that is completely devoid of tension, partly because the viewer is never convinced that the supposed murderer is all that dangerous and partly because we're not given a reason to like any of the characters enough to care whether they too get poisoned with an overdose of belladonna.

To add insult to injury, the films lazily written--to the point where every character on screen even sounds alike--and it's got one of those annoying, unnessecary twist-endings that in a desperate attempt to breathe some life and excitement into the film only manages to underscore how haphazard and badly executed it is. (I will grant that it's an ending better supported by what has gone before than in other films, but it's still false, hollow and a bit of a cheat. It's made more of a cheat because of the audience-manipulating flashbacks that appear throughout the film; I despise this movie even more for its refusal to play fair with the viewer and provide ligitimate clues so we can "play along" in solving the mystery at its core and instead feeding us distortions.