Absolutely lovely early '60s kitchen-sink comedy-drama starring a radiant pre-Carry On Barbara Windsor and almost every future '70s sitcom star you can think of. The first time I've seen it in donkey's years and just as great as I remembered it.
Visually, the film is excellent and Edward Norton is really good in this however, I was underwhelmed by this film. To heavy on the dialogue and too many flashbacks and imaginary flashforwards that at times I got confused if something was really happening or not.
I had low expectations for this film but liked it much more than I thought I would. It was Liberace's first film and he's not the best actor in the world but he does a decent enough job and his natural charm and talent more than make up for his limited acting chops. The film wasn't just a series of set pieces of him playing the piano that are linked together by a weak storyline but it had a real plot.
I always thought Liberace was little more than a famous cabaret performer but this showed that he was a very accomplished pianist and included his very good rendition of Tchaikovsky Piano Concerto No. 1, which is a very difficult piece of music to play, and a crowd pleasing version of Boogie Woogie.
The 1949 Batman and Robin serial was shown here on TV a number of times in the wake of the popularity of the Adam West show but this earlier one was said to be "lost" - obviously not, since both are now out on DVD.
You can see where producer William Dozier got a lot of his inspiration - the logo for one thing is almost identical - but it's played somewhat straighter and the fight scenes somehow don't seem right without the Nelson Riddle/Neal Hefti score.
Kind of Muriel's Wedding meets Made In Dagenham meets East Is East. With a dash of Mamma Mia and Adrian Mole thrown in for good measure.
I loved it, and I'm by no means a Springsteen fan.
A few slight misfires with the style of language and delivery occasionally veering a little too much towards the contemporary. And for some reason the young teacher didn't work for me.
But the pure joy and heart of the film overcomes the minor shortcomings. It has a terrific cast: the young lead actor is incredibly endearing. And the Eightiesness made me feel very nostalgic. From the soundtrack to the recreation of those Eighties shopping centres and all the old BL and Vauxhall cars. I think @Ome would love it.
I can't say I fully understood it, but it kinda blew me away. The performances are so raw and electrifying. It's unpredictable and original, quite an experience. And the flying scene around New York was wonderful. I never particularly enjoyed Michael Keaton, but his performance here in nothing short of astounding. As is Edward Norton's.
I was a little apprehensive when I saw Bryan Singer was the director. I like his style, but feared a non-British director wouldn't get it. Mostly needlessly, I'm glad to say. I do think it pulled its punches and wasn't as dark or gritty as it could have been. It is a definite crowd-pleaser though, and has more feelgood rewatch value than I'd have expected. The Live Aid section was mind-blowingly perfect.
Having watched it a couple of days earlier, I feel Blinded By The Light had more emotion and also captured the tone of Eighties Britain more authentically (both perhaps, in large part, because it's also about "us" rather than "them").
Brian May saying "counterclockwise" in one of his first lines was rather jarring; as was Roger Taylor asking "are we done" (both of these from Brits in the early 1970s). Still, overall Bohemian Rhapsody had fewer language anachronisms or Americanisms than expected.
The Yearling (1946)
I first watched this film over 30 years ago and I thought it was time for a second viewing. It took me all this time to realise the yearling in the title of the film wasn't the pet deer that Jane Wyman's character shot, but her son who was moving from the first years of his life into young adulthood. A good film.
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