Tag Archives: lillian gish

Hambone and Hillie (1983)

By Richard Winters

My Rating: 2 out of 10

4-Word Review: Dog reunites with owner.

Hillie (Lillian Gish) is a 90-year-old grandmother returning to Los Angeles from her stay in New York. In order to board the plane she must put her dog Hambone in a cage, so that he can be transported separately. Unfortunately a young girl opens the cage and allows Hambone to escape, but only after the plane carrying his owner has already taken off. Hambone then goes on a cross-country trek to reunite with Hillie and has many adventures in-between.

Most dogs that are abandoned from their owners become strays and live on the streets, in rescue shelters or are taken in by a new owner, but they are definitely not homing pigeons that can somehow smell their owners scent from thousands of miles away. They also can’t read maps or road signs or even tell direction making this film’s premise totally ridiculous. Also, dogs, like with most animals, have very short attention spans, so the idea that this mutt is harboring a long-term ‘strategy’ even as he meets other people is absurd. Yes dog/owner reunions do sometimes occur but they almost always require another person getting involved in order to bring the pet back.

The film also cheats things by having the dog in Philadelphia during one scene and then in the next shot he is in Chicago, but without showing how he did it. His ability to survive on his own is also highly questionable. Since he is a domesticated pet he’d have no hunting or foraging skills especially when he goes through the forest and desert. We sometimes see strangers giving the dog water during his trek, but never showing him eating anything. After he crosses the desert you’d expect him to be at a near starving state with his ribs showing, but they aren’t. What’s even crazier is that after walking through the desert he then spots Hillie in a car driving away and he runs after the vehicle at full speed even though after what he’s been through he should barely be able to walk at all.

The acting is pretty bad too with O.J. Simpson and Candy Clark, whose birthing contractions become almost comical, giving the two worst performances. I also chuckled at how Timothy Bottoms gets listed in the opening credits as having a ‘special appearance’ even though there’s absolutely nothing special about it unless you count the moment where he refers to Gish, a woman who was 90 at the time and 60 years older than him, as a ‘young lady’.

The two children (Marc Bentley, Nicole Eggert) who take in the dog for a while are so squeaky clean that they become Stepford-like. The fact that their mother (Nancy Morgan) had brown hair, but they were blonde didn’t make sense either. Granted the father is never shown and maybe he did have blonde hair, but darker hair is the stronger gene, so unless they were adopted that’s what they should’ve had.

The only interesting bit is when a handicapped girl (Sidney Greenbush) puts a cross around the neck of a dog that was traveling with Hambone and tells this dog that the cross will help protect her, but then later this same dog gets hit by a car and dies, which was odd since the movie seemed pro-Christian and even has a scene where the girl’s grandfather (Alan Hale Jr.) reads from the Bible, so you’d think they’d show the dog that wore the cross not getting hurt, or miraculously escaping a close-call, but it doesn’t. What’s even more revealing is that when the dog gets buried the cross is then hung on the grave marker and the camera does a close-up on it that seems to be pushing a subtle pro-secular message by reminding the viewer that wearing the cross did nothing to help save the dog’s life.

Another odd element is that the dog shown on the movie’s promotional poster is not the same one that was used in the film. This might be because, and I’m only guessing here, that the dog in the movie had a freaky looking pair of eyes– not sure the breed– that made him look almost possessed and the film studio worried that his appearance might scare the children away from seeing the movie.

In either case this schmaltzy family film is a dud and even dog lovers will find it hard to take as only they or the most indiscriminating children could possibly enjoy it. Others should beware.

My Rating: 2 out of 10

Released: April 24, 1983

Runtime: 1Hour 30Minutes

Rated PG

Director: Roy Watts

Studio: New World Pictures

Available: VHS

The Comedians (1967)

By Richard Winters

My Rating: 5 out of 10

4-Word Review: Life under Papa Doc.

Based on the novel by Graham Greene the film centers on Brown (Richard Burton) an emotionally detached British hotel owner residing in Haiti. He has spent years avoiding the political turmoil of the region and the Francois ‘Papa Doc’ Duvalier regime, but finds now that the walls may finally be closing in. He must deal with the suicide of a government official that occurs on his grounds in his pool as well as a visiting American couple (Paul J. Ford, Lillian Gish) with strong political connections. His ongoing affair with the wife (Elizabeth Taylor) of a South American diplomat (Peter Ustinov) risks him further trouble as does his friendship with an illegal arms dealer (Alec Guinness).

The film ebbs-and-flows unevenly and isn’t compelling despite some strong moments here and there. What grabbed my attention was the vivid on-location shooting that gives the movie an interesting visual appeal. Because of the political environment going on in Haiti the producers were not allowed to film there and instead choose the small African country of Benin, which was still called the Republic of Dahomey at the time, as their substitute setting. The contrast of the serene tropical landscape juxtaposed with the abject poverty of its citizens is stunning with the most impactful moment coming when they visit Duvalierville a planned city with expensive buildings and homes being constructed with poor homeless people scurrying around begging for money as the structures go up.

The acting though by Richard Burton is atrocious and a major hindrance. I like Burton and consider him in most productions that he has been in to be a very strong actor, but here he doesn’t seem into the part at all. His presence is quite aloof and conveys little emotion to the point that he seems to be just walking through his role and mouthing his lines.

Taylor on the other hand is quite strong and manages to speak with an authentic sounding German accent. She made many bad film choices later her in career that ended up stigmatizes her acting reputation, but if given the right script and a competent director she could clearly convey an onscreen brilliance, which she does here. Unfortunately she is not seen enough and appears only sporadically throughout. If this is supposed to be a Taylor/Burton picture then the two needed equal screen time and prominent roles instead of one being relegated to what seems like only a minor part.

The supporting cast is excellent and this is a great chance to see up-and-coming African American actors when they were just starting out including: Raymond St. Jacques, James Earl Jones, Cicely Tyson, George Stanford Brown, and Zakes Mokae.  Gish and Ford offer a surprisingly profound moment when they follow a procession of singing happy young children into a forum for what they think will be a religious ceremony only to find to their shock that everyone is there to witness a firing squad execution instead.

The story has its moments, but I would’ve preferred if it had been a little more focused. At times it is compelling, but it drifts back and forth between too many different story threads and never comes together as a whole not to mention a limp ending that leaves no impact.

My Rating: 5 out of 10

Released: October 31, 1967

Runtime: 2 Hours 31 Minutes

Not Rated

Director: Peter Glenville

Studio: MGM

Available: DVD (Box Set), Amazon Video, YouTube

Sweet Liberty (1986)

By Richard Winters

My Rating: 4 out of 10

4-Word Review: Retelling history Hollywood style.

Michael Burgess (Alan Alda) is an historian who writes a book that is purchased into a movie. To his dismay the screenplay is ‘Hollywoodnized’ and looks nothing like the original story. Michael then attempts to get the script corrected while the movie is being produced.

This is a mechanical comedy with situations, characters, and jokes are that quite predictable. There is not one moment that stands out as hilarious and the direction lacks visual flair. Yet when compared to Alda’s other efforts this one fares better. The dialogue is livelier and the story has more energy and conflict, but as satire it is too light.

There are more subplots than are necessary and take away from the main plot. One involves his relationship with a fellow history professor Gretchen (Lisa Hilboldt) and their constant arguing about whether or not to get married becomes tiring. There is also a storyline involving his interactions with his aging mother, which is played by the legendary Lillian Gish. Of course it is always fun to see Gish in a later day role and this is indeed one of her most amusing, but the segment itself is contrived.

Alda always likes to cast fellow performers around his same age, which would explain the miscasting of Michael Caine. Caine is reliable, but having him play a Colin Farrell like leading man seems best suited for a younger actor. A more virile performer would have made the animosity between the character and Alda’s more distinct and intriguing.

Michelle Pfeiffer is cast as a beautiful actress hired to play the leading lady. Her character is interesting because it shows how on her off time how she is completely different person from the one she is playing in the production. This allows for some light insight into the acting process. The film also touches on the politics and behind the scenes maneuverings that go on during a production although it could have gone a lot further with this.

Having Burgess end up sleeping with Pfeiffer seems to be a stretch. Things become even more incredulous when Gretchen, in a fit of revenge, forms a relationship with Caine. The Caine character is a self- absorbed star with lots of beautiful women chasing after him and the chances of him getting excited or even noticing an average looking woman like her seems unlikely.

The Bob Hoskins character is by far the most engaging. He plays the scriptwriter and tries to educate Michael on the ins and outs of the film business. Saul Rubinek as the film’s director runs a close second. He perfectly creates the frantic traits of someone who must act more like a politician than a director.

Overall this is a film that could have done more with the material. It rates slightly better than some of Alda’s other efforts, but it is still just a pleasant time filler that is easily forgettable. I did however like the original music.

My Rating: 4 out of 10

Released: May 14, 1986

Runtime: 1Hour 46Minutes

Rated PG

Director: Alan Alda

Studio: Universal

Available: VHS, DVD