Month: April 2020

#446) Harold and Maude (1971)

OR “My Old Lady”

Directed by Hal Ashby

Written by Colin Higgins

Class of 1997

The Plot: Harold Chasen (Bud Cort) feels isolated living in a large manor with his superficial mother (Vivian Pickles), and has developed a morbid outlook on life, staging suicide fake-outs and attending funerals. At one funeral he meets Maude Chardin (Ruth Gordon), a free-spirited woman pushing 80. Despite the vast age difference, Harold and Maude connect with each other, and spend time together every day. Through his time with Maude, Harold learns how to truly live and love, all with an incessant Cat Stevens soundtrack.

Why It Matters: The NFR cites the film’s “warm humor and big heart that lies beneath the darkness” and traces the film’s cult following.

But Does It Really?: “Harold and Maude” can be a bit divisive, but thankfully I was charmed by it, thanks to the work of Cort and Gordon, who find a convincing balance between the film’s dark comedy and lighter sweetness. Time has been kind to “Harold and Maude”, aided by the onslaught of quirky indie rom-coms inspired by it. “Harold and Maude” isn’t an untouchable classic, but it is an influential movie with a devoted cult following, and that’s good enough for a place in the Registry.

Everybody Gets One: Colin Higgins became interested in making movies after seeing a film exhibit at Montreal’s Expo ’67. His master thesis at UCLA would serve as the inspiration for “Harold and Maude”. Higgins wanted to direct “Harold” once it was optioned by Paramount, and shot a “screen test” to get the job, but Paramount opted for Hal Ashby, fresh off his directorial debut “The Landlord”. Ashby hired Higgins as a co-producer so that Higgins could be on set and learn how to direct.

Wow, That’s Dated: “Songs composed and performed by Cat Stevens”. Other than that, be alert for references to the sexual revolution, wife-swapping, and then-President Nixon.

Seriously, Oscars?: “Harold and Maude” wasn’t successful with critics or audiences (with a few exceptions, see “Legacy”), and was completely ignored by the Oscars. Cort and Gordon did, however, manage Golden Globe nominations for their work, losing respectively to Topol for “Fiddler on the Roof” and Twiggy for “The Boy Friend”.

Other notes

• Bay Area residents like myself should enjoy spotting all the local spots used for filming “Harold and Maude”. Look out for San Francisco’s Sutro Baths, Colma’s Holy Cross Cemetery, San Bruno’s Golden Gate National Cemetery, and the Santa Cruz Beach Boardwalk.
• Bud Cort somehow looks both 12 and 40 years old at the same time. For the record, he was 22 during production.
• Shoutout to Vivian Pickles as Harold’s appropriately distant mother. A veteran of English cinema, this was Vivian’s only American-based film.
• In yet another case of Hollywood casting a younger woman, 73-year-old Ruth Gordon played 79-year-old Maude. Very disappointing. That being said, it’s fun watching Ruth Gordon’s natural feistiness being put to use for something other than helping sire the spawn of Satan.
• Technically there’s a 51-year difference on the Michael Douglas scale, but there’s definitely a double standard at play.

• Cat Stevens’ soundtrack will forever be associated with this movie, but for me, “Tea for the Tillerman” belongs to “Extras”.
• This film may include the first instance of computer dating. Even back then it was the worst.

• The chase between Harold & Maude and the motorcycle cop is certainly one of filmdom’s most unique car chases. Fun Fact: The cop is played by Tom Skerritt, credited as “M. Borman”, a riff on ex-Nazi Martin Bormann.

• Extra Fun Fact: Ruth Gordon couldn’t drive in real life.
• “L-I-V-E, Live!” Maude is a walking Facebook post.

• Unsurprisingly, this film is well edited. Ashby got his start as the editor for such films as “In the Heat of the Night” and “The Thomas Crown Affair”. This film’s editing team was William A. Sawyer and Edward Warschilka, Ashby’s associates from “The Landlord”.
• My favorite shot in the movie is Harold’s reaction to the question, “What’s hari-kari?” Bud Cort takes a comic pause that would make Jack Benny proud.

• Director Hal Ashby makes a cameo as the long-haired bearded fellow mesmerized by the train set on the boardwalk.
• Cort and Gordon are lovely together, but the implication of their last night together is more than enough. Any more visuals and I would have sided with the priest on this one.

• And Ashby leaves us with an ambiguous ending that still leaves them guessing 50 years later. I say it’s no different than having your lead walking on water.

Legacy

• “Harold and Maude” turned most people off on its initial release (Vincent Canby called it “creepy and off-putting”), but it was a surprise hit in Detroit and Minneapolis, playing for several years and developing a cult following. Screenings continued throughout the ‘70s, and by 1983 the film had turned a profit.
• Post-“Harold”, director Hal Ashby helmed a string of successful ‘70s character studies including “Shampoo”, “Bound for Glory”, “Coming Home”, and future NFR entry “Being There”.

• Colin Higgins spent the ‘70s and early ‘80s as a successful screenwriter, and eventually director. His filmography includes “9 to 5”, “Silver Streak”, “Foul Play”, and “The Best Little Whorehouse in Texas”.

• Higgins had plans for a sequel called “Harold’s Story” (which would have ruined this movie’s ambiguous ending), as well as a prequel in which Maude teams up with Grover Muldoon, Richard Pryor’s character from “Silver Streak”. What could have been if the Higgins Cinematic Universe had gotten the green light.
• A 1973 stage adaptation by Jean-Claude Carrière became an unexpected hit in Paris for ‘30s film star Madeleine Renaud, who later toured the U.S. as Maude. An American adaptation starring Janet Gaynor opened and closed on Broadway in February 1980 after four performances.
• Among the filmmakers influenced by “Harold and Maude”: Wes Anderson, Cameron Crowe, and Judd Apatow, who named his daughter after Maude.
• As for Harold and Maude themselves; Ruth Gordon spent her remaining years playing variations of Maude on film and TV; and while a car accident in 1979 threatened to derail Bud Cort’s career, he has continued to work steadily. He even had his own courtroom show around 2006!

Listen to This: There’s no Cat Stevens/Yusuf Islam on the National Recording Registry? That seems like an obvious oversight.

#445) Road to Morocco (1942)

OR “Bad Harem Day”

Directed by David Butler

Written by Frank Butler and Don Hartman (with assists from Bob and Bing’s writers)

Class of 1996

The Plot: After a freighter explodes out at sea, the ship’s stowaways Jeff & Orville (Bing Crosby & Bob Hope) wash ashore on the generic Middle Eastern set piece Paramount calls Morocco. In an attempt to get money, Jeff sells Orville to a mysterious buyer, who turns out to be the beautiful Princess Shalmar (Dorothy Lamour). Orville becomes engaged to the Princess, but her jilted betrothed Sheik Kasim (Anthony Quinn) has other plans. And that’s about it plot wise; the rest is Hope & Crosby’s trademark banter, a couple of songs, and lots of low-key racism.

Why It Matters: The NFR gives a brief rundown with no superlatives, but there is a much more appreciative essay by Bob Hope expert Richard Zoglin.

But Does It Really?: I wanted to like “Road to Morocco”, and while Hope and Crosby’s natural chemistry led to some laugh-out-loud moments, ultimately the film’s massive appropriation of Middle Eastern culture spoils any modern viewing. The “Road” movies were popular enough and have a long enough legacy to warrant NFR inclusion, but at this point the film is being held up on its reputation.

Shout Outs: Quick asides from Bob Hope referencing both “Wuthering Heights” and “Uncle Tom’s Cabin”.

Everybody Gets One: Director David Butler’s career spanned 40 years, helming two Shirley Temple vehicles (“Bright Eyes” and “The Little Colonel”) as well as previous solo vehicles for Bob Hope and Bing Crosby. Despite their past experience, “…Morocco” was Butler’s only “Road” movie. This is also the only NFR appearance for Dorothy Lamour, who, despite her European heritage and New Orleans upbringing, was often cast as the exotic “Sarong Queen” character, a typecast her work in the “Road” movies is spoofing.

Wow, That’s Dated: Where to begin? First of all, my apologies to the country of Morocco, its citizens, people of Moroccan descent, and anyone who has ever been to Morocco. This movie is 90% brownface and white washing. Massive cultural appropriations aside, the movie references such ‘40s culture as the movie “Here Comes Mr. Jordan”, the radio series “Hobby Lobby” (not the chain), organized crime syndicate Murder, Inc., and a “Ball of Fire” level of ‘40s slang.

Title Track: We have a title song! Like the rest of this movie “(We’re Off on the) Road to Morocco” is fun, but bogged down by its datedness.

Seriously, Oscars?: “…Morocco” was one of the biggest hits of 1942 (and the most successful of the “Road” movies). The film received two Oscar nominations and lost both to other NFR fare: Best Sound Recording to “Yankee Doodle Dandy” and Best Original Screenplay to “Woman of the Year”.  Neither the title number nor “Moonlight Becomes You” were up for Best Song.

Other notes

• “Morocco” was the third of Bob & Bing’s “Road” movies, following 1940’s “…Singapore” and 1941’s “…Zanzibar”. Dorothy Lamour always played the woman the boys fought over, hence her shoutout in this movie before she has appeared on screen.
• The previous two Road pictures were based on pre-existing stories, “Morocco” being the first tailored specifically to Bob Hope and Bing Crosby. Much of their dialogue was punched up on set by the writers of their respective radio programs. Despite the pair’s breezy repartee, none of the “Road” movies were improvised.

• My first LOL moment: “When they’re dead, they’re dead.” “Not Aunt Lucy; she’s a Republican.”
• And then the movie officially loses me. In an attempt to get free food in the Moroccan marketplace, Crosby suggests that Hope pretend to be “an idiot”, complete with stereotypical developmental disability and speech. I am still speechless at this level of insensitivity. There are still some enjoyable moments in this movie, but it never fully won me back. On the plus side, if Hope mocked the developmentally disabled today, he could be our president.
• Dorothy Lamour is about as Moroccan as Morocco Mole from “Secret Squirrel”. Meanwhile, Warner Bros. is making “Casablanca” across town…
• This movie confirms my suspicion that both Bob Hope and Bing Crosby work best in short spurts (“Going My Way” being the exception). The two of them together are fun, but this movie runs out of momentum sooner than it should.
• As always, I’m surprised when a classic song was written for a specific scene in a specific movie, in this case “Moonlight Becomes You”.

• Tonight on “What Nationality Are They Making Anthony Quinn Play This Week?”: Mexican-born Quinn is playing an Arab sheik, and it won’t be the last time.
• As previously stated, this was the third “Road” movie, which explains why there are so many jokes about all of this happening again. The one thing that doesn’t come across is the boys’ “patty-cake” routine, in which they would play patty-cake to distract the bad guy and then sucker punch them. “Morocco” changes up the bit, which doesn’t play if you’ve only seen this movie.

• Best fourth-wall break in the film: Crosby, upon learning that some moviegoers showed up late to their movie: “You mean they missed my song?”
• Things get real weird at the end. A wishing ring turns Hope into a monkey, there’s a lot of slapstick in the finale, and to top it all off; talking camels. This movie’s trying too hard to win me back.

Legacy

• “Morocco” was a hit, and while both Bob Hope and Bing Crosby saw their stars continue to rise, there wouldn’t be another Road movie until 1946. “…Utopia” was followed by “…Rio”, and eventually “…Bali” and “…Hong Kong”. An attempt to revive the series in the ‘70s (the aptly named “Road to the Fountain of Youth”) was cancelled following Crosby’s death in 1977.

• “Moonlight Becomes You” has become a Great American Songbook standard, but it’s Bing’s recording that is still the best known.

• Many later comedies have attempted to emulate the laid-back fun of the Road movies. Sometimes you’d get “Spies Like Us”, and sometimes “Ishtar”.

• “Family Guy” has done several “Road” episodes centering around Brian and Stewie. The first one even has a parody of the “Road to Morocco” song. As of 2016 the show has done more “Road” episodes than there were “Road” movies.

#444) Blacksmith Scene (1893)

OR “Forging a New Medium”

Directed by W.K.L. Dickson

Class of 1995

The Plot: A blacksmith (Charles Kayser) and his two assistants (John Ott & Unknown Actor) strike a metal rod on an anvil with their hammers. The three pause for a sip of beer, and then resume their work. The film is brief and uneventful, but don’t stop reading; it’s on this list for a good reason.

Why It Matters: The NFR gives a rundown of the film’s historical significance: as far as we know, “Blacksmith Scene” was the first film to be shown publically, and was the first film in which the action was staged for the camera, rather than simply occurring in front of it. The write-up also quotes a Brooklyn newspaper that reported the film would “excite wonderment”.

But Does It Really?: Edison’s early experiment films always seem inconsequential on their own, but the aforementioned historical significance of “Blacksmith Scene” is enough to secure its place in the Registry. Dickson was one of the first to recognize that film could be used to record planned action, rather than sheer reportage. Without this seemingly simple idea, the movies wouldn’t exist. Not a bad legacy for a 30 second film.

Everybody Gets One: All three of the actors in this film were employees of Thomas Edison’s at the time, and this is the only surviving film appearance for any of them. Fun Fact: John Ott’s younger brother Fred also worked for Edison, and is immortalized in “Edison Kinetoscopic Record of a Sneeze”.

Wow, That’s Dated: Blacksmiths mainly. Sure they’re still around, but blacksmithing as a profession is not as prominent as it was during the Industrial Age.

Other notes

• At the time of its induction, “Blacksmith Scene” was the oldest film on the National Film Registry. Today it is second only to 1891’s “Newark Athlete”.
• Well, it’s been 10 seconds; time for a break. I’m glad Edison et al felt the need to document these guys loafing around. And for crying out loud, don’t all drink from the same beer bottle! That’s how germs spread!
• If these guys are actors, then who supplied the blacksmith supplies? What, no “Special Thanks” section in the end credits? Or end credits at all?
• “Blacksmith Scene” premiered at the Brooklyn Institute of Arts and Sciences (now the Brooklyn Museum) on May 9^th, 1893; mere weeks after it was filmed. Attendees lined up to view the film on Edison’s Kinetoscope one at a time. “Blacksmith” was the first half of history’s first double feature, with a second short film about horseshoeing now lost to the ages.

Legacy

We can go ahead and give “Blacksmith Scene” credit for motion pictures as we know them today, because why the hell not?

#443) Taxi Driver (1976)

OR “Mr. Scorsese’s Wild Ride”

Directed by Martin Scorsese

Written by Paul Schrader

Class of 1994

The Plot: Travis Bickle (Robert De Niro) takes a job as a New York City taxi driver to combat his chronic insomnia. His increasing isolation causes him to become unhinged, leading to violent thoughts and stalking political campaign organizer Betsy (Cybill Shepherd). After an encounter with child prostitute Iris (Jodie Foster) and her pimp Sport (Harvey Keitel), Bickle starts purchasing firearms, planning to become the metaphorical rain that will “wash all this scum off the streets”. If you dare to follow Bickle as his mental health deteriorates, be sure to make clear that you are, in fact, talking to him.

Why It Matters: The NFR write-up mostly assumes you know why the film is a classic, giving a brief synopsis and a rundown of the major creatives. They do, however, state that Schrader’s screenplay creates “one of American cinema’s most European in artistic style.”

But Does It Really?: My name is Tony and I’ve never seen “Taxi Driver”. With that out of the way, man alive does this movie live up to the hype. The subject matter is dark and unsettling (and unfortunately still relevant), but Scorsese masterfully draws you into this underworld, to the point that you feel unsafe just by watching this movie. The entire cast is great, with De Niro giving a performance worthy of its continued praise and parodies. Scorsese et al elevate “Taxi Driver” to an unforgettable film experience, but we’ll see if a movie about a white gunman continues to be one of filmdom’s untouchables.

Shout Outs: Paul Schrader has cited “The Searchers” as a major influence on his screenplay. As for references within in the film, Travis wears a King Kong patch on his jacket, and a “Nashville” poster briefly appears in the background.

Wow, That’s Dated: First off, taxi drivers (“Uber Driver” doesn’t pack the same punch). Secondly, this film is a thorough encapsulation of the hellhole that was 1970s New York, aided by the real-life garbage strike during production. Also of note: porno houses, a nod to Kris Kristofferson, and un-inflated cab fares ($1.35!? That’s highway robbery!)

Seriously, Oscars?: A critical and commercial hit, “Taxi Driver” received four Oscar nominations, but was the only Best Picture nominee that year to go home empty-handed. Bernard Herrmann’s posthumous score lost to “The Omen”, De Niro and Foster lost their acting bids to the cast of “Network”, and the film lost Best Picture to “Rocky”. Neither Scorsese nor Schrader were nominated, a trend of Oscar abuse that would continue for both men for decades to come.

Other notes

• It’s a bit concerning, but Paul Schrader has called “Taxi Driver” autobiographical. In the early ‘70s, Schrader was unemployed, divorced, and depressed. Like Travis Bickle, he developed insomnia, visited porno theaters, and started researching guns. In the midst of all this, Schrader theorized that he could be a taxi driver, and inspiration struck. To better understand his protagonist, Schrader studied the diaries of Arthur Bremer, the man who attempted to assassinate Governor George Wallace.
• Robert De Niro man. Robert Fucking De Niro. This is the performance that solidified De Niro as his generation’s best actor. He so fully inhabits Travis Bickle, forcing you not only to witness his deep disturbing attributes, but also to recognize how similar you may be to this guy. If forced to choose, this is the single best De Niro performance.

• One of my notes simply reads “Could Not Be Made Today”. The film is brilliant, but the days of sympathizing with a white male loner are over.
• Cybill Shepherd is quite good as one of Scorsese’s first angelic blondes. I’m more familiar with Shepherd’s later work (like her sitcom), but she is equally good joking around with Albert Brooks as she is reluctantly engaging with Travis Bickle.

• The camera is constantly moving in this film; gliding over scenes that would normally be covered in static close-ups. I think it’s to symbolize Travis as a modern-day angel, but mostly it’s distracting. Other than that, great movie.
• The brilliance of the movie’s structure is that the danger element creeps in incrementally. By the time you figure out just how dangerous Travis is, you’re already past the point of no return.
• After actor George Memmoli was injured during another film shoot, Martin Scorsese cast himself as “Passenger Watching Silhouette” in one of filmdom’s creepiest director cameos. Even when acting, Scorsese keeps directing De Niro (“You see that light up there? The window?…Are you blind? Do you see the light? Yeah, yeah you see it. Good.”)

• Peter Boyle is so underrated as an actor. He’s best remembered for his comedies (“Young Frankenstein” and “Everybody Loves Raymond”), but the man was also capable of impressive, naturalistic performances, such as his work here as fellow cabbie The Wizard.

• Respect must be paid to legendary composer Bernard Herrmann, who died the day after the final recording session for “Taxi Driver”. Side note: Shoutout to Ronnie Lang for the film’s saxophone solos.
• All accounts agree that De Niro improvised “you talkin’ to me?” on the day. It’s another iconic movie quote that still works in its original context, despite the repeated homages.

• Travis’ showdown at the liquor store is our first glimpse at the film’s unrestrained violence. It’s a disturbing moment, which makes me wonder just how intense this all was for an audience in 1976.

• Even at 12 years old, Jodie Foster was the most intelligent adult in the room. Any actor who can pull off this movie and “Freaky Friday” in the same year has my lifelong respect. To ensure that she would not be traumatized from playing a child prostitute, Foster underwent psychological counseling, and had all of the violent effects explained to her in detail so nothing surprised her. Foster’s older sister Connie also served as a body double for her more evocative scenes.

• Like a car accident on the side of the road, the film’s violent finale is gruesome, yet simultaneously compelling. And if the color seems a little off, you’re not imaging things: Scorsese brightened the film’s last reel to make the blood look less realistic and avoid receiving an X rating.

• Everyone has their own take on the last scene. Mine? Real life doesn’t always reward the good and punish the bad, or even successfully differentiate the two. Travis’ “heroics” will be forgotten, and I suspect his life will continue unchanged by the events of the film.

Legacy

• “Taxi Driver” has one of the most unfortunate cultural impacts of any film. In the early ‘80s, 26-year-old John Hinckley Jr. became obsessed with the movie and formed an unhealthy fixation on Jodie Foster, to the point of stalking her while she attended Yale. To prove his love for her, Hinckley shot President Ronald Reagan, mimicking Bickle’s assassination attempt in the movie. Reagan survived, and although Hinckley was declared not guilty by reason of insanity, he ended up serving 35 years in a psychiatric hospital. The team behind “Taxi Driver” rarely, if ever, comments on this situation.
• On a lighter note, “Taxi Driver” was the film that launched Scorsese into the roster of A-list directors. His follow-up film, 1977’s “New York, New York”, was less successful, but he bounced back with “Raging Bull”.

• Paul Schrader continues writing and directing films, and received his first Oscar nomination for 2017’s “First Reformed”. Other career highlights include the screenplay for “Raging Bull”, and this iconic George C. Scott turn in “Hardcore”.

• De Niro and Scorsese planned on making a sequel to “Taxi Driver” in the mid-2000s. The film was scrapped, as was an experimental remake in the 2010s, which Paul Schrader publicly called “a terrible idea”.
• But of course, this film’s main takeaway is “You talkin’ to me?” Everyone, EVERYONE, has spoofed this to death. But its official demise came in 2000, when De Niro himself repeated the phrase while playing Fearless Leader in “The Adventures of Rocky and Bullwinkle”.

Listen to This: Only tangentially related to the film, sound designer Tony Schwartz made the National Recording Registry in 2003 with his 1959 album “The New York Taxi Driver”, comprised of actual recordings with real drivers. Thankfully, none of them possess any parallels to Travis Bickle.

#442) Lassie Come Home (1943)

OR “All Dogs Go to England”

Directed by Fred M. Wilcox

Written by Hugo Butler. Based on the novel by Eric Knight.

Class of 1993

The Plot: Lassie (Pal) is the well-behaved, unbelievably camera-friendly collie of Joe Carraclough (Roddy McDowall). Facing economic hardship, Joe’s parents (Donald Crisp & Elsa Lanchester) sell Lassie to the wealthy Duke of Rudling (Nigel Bruce). Lassie attempts several escapes, but is always returned to the Duke, eventually to his home in Scotland. The Duke’s granddaughter (Elizabeth Taylor) senses Lassie’s sadness, and helps her escape. The rest of the movie is Lassie’s incredible journey back to England, facing nature’s pitfalls and MGM’s roster of contract players.

Why It Matters: The NFR cribs from Bosley Crowther’s New York Times review, which praised the film’s “poignance and simple beauty”. The movie’s “rich color cinematography” is also highlighted.

But Does It Really?: How can I say no to a Lassie movie? “Lassie Come Home” is still a sweet, enjoyable film almost 80 years later, and Lassie has maintained an iconic status to this day (though that’s mostly thanks to the TV show). No film history would be complete without Lassie, and “Lassie Come Home” is the one that started it all.

Everybody Gets One: Rough Collie Pal was originally rejected for the role of Lassie (the character is female, Pal is male), but was hired as the original Lassie’s stunt double. Director Fred Wilcox was so impressed with Pal (and his trainer Rudd Weatherwax) that the original female Lassie was replaced shortly after filming began. Ever the professional, Pal successfully performed his stunts and tricks with few or no retakes. Good boy.

Wow, That’s Dated: The only obvious giveaway is the film’s prologue: a tribute to original “Lassie” author Eric Knight, who was killed in a plane crash nine months before the film’s release. The opening text hails the England-born writer as “a man of two countries”, but makes sure to emphasize that he died while serving for America in WWII.

Title Track: The title is a reference to the then common phrase “a come-home dog”; a dog that is trained to come home after it is sold so that the owners can collect more money. That’s why the film is “Lassie Come Home” and not “Lassie, Come Home!”

Seriously, Oscars?: “Lassie” received one Oscar nomination for Leonard Smith’s cinematography, losing to Universal’s remake of “Phantom of the Opera”. Smith would eventually win for another MGM movie about a boy and the animal he bonds with: 1946’s “The Yearling”.

Other notes

• Although the film is set in England and Scotland, the beautiful on-location footage is from California, with a little bit of Washington State. The rapids scene was filmed on the San Joaquin River, allegedly near my hometown of Stockton.
• I’m not familiar with Roddy McDowall’s early work as a child actor. In addition to being an endearing lead in a thankless role, he can really turn on the waterworks. It’s like a faucet was turned on behind his eyes.
• That’s 10-year-old Elizabeth Taylor – in only her second movie – as Priscilla. Through no fault of her own, all I can think of when Liz is on the screen is the tabloid figure she would become in her adult years. Also, this clip, which is kind of appropriate for this movie.

• Other casting notes: Priscilla’s grandfather the Duke is played by Nigel Bruce, best known as Dr. Watson to Basil Rathbone’s Sherlock. Veteran Disney voice actor J. Pat O’Malley plays the Duke’s antagonistic dogkeeper Hynes. Fun Absolutely True Fact: O’Malley was Dick Van Dyke’s dialect coach in “Mary Poppins”. Think about that as you listen to O’Malley’s accent in this movie.
• Wow, Lassie does not want to be in that kennel. She is the Paul Muni of dogs.

• Shoutout to Leonard Smith; that cinematography is beautiful. Even the drabbest of scenes pops out in Technicolor.
• I’m having fun imaging all of Lassie’s scenes performed by that “Call of the Wild” guy.
• Everyone’s good in this, but Dame May Whitty is the MVP. Even when her scene partner is a dog, she is not phoning this in. Side Note: Whitty’s on-screen husband is played by her real life spouse Ben Webster.

• Edmund Gwenn is best remembered for playing Kris Kringle in “Miracle on 34^th Street”, and his work in “Lassie” is another charming performance. Gwenn is the anti-W.C. Fields: he’s great with animals and kids.

• This movie made me wonder if dogcatchers still exist. They do, they’re just called “animal control officers” now. Also, it’s not an elected position, so the phrase “You couldn’t be elected dogcatcher” makes no sense.
• As with “Clash of the Wolves”, this movie knows to end with a shot of puppies. It makes a bad movie tolerable and a great movie even greater!

Legacy

• “Lassie Come Home” was a hit, and MGM made six more Lassie movies over the next eight years. Only the second film – 1945’s “Son of Lassie” – was a direct follow-up to “Come Home”. Heck, in some of the later ones her character wasn’t even named Lassie!

• In lieu of back payments owed to Rudd Weatherwax for the films, MGM gave the trainer ownership to the trademark and name of Lassie. Although Weatherwax initially used this trademark to tour Pal/Lassie throughout the country, he eventually agreed to a television series about the dog. “Lassie” ran on CBS for 19 seasons and is still one of the longest-running TV shows in primetime history. Side Note: Although several seasons centered around a boy named Timmy, he never once fell down a well.

• Pal starred in all of the original Lassie movies, the TV series’ two pilot episodes, and even a radio series in the late ‘40s! After his retirement, Pal’s son and grandsons assumed the role of Lassie. Modern remakes and revivals meet with fan protests whenever a direct descendent of Pal does not play Lassie.
• There have been several follow-up Lassie movies over the years, but the only true remake of “Lassie Come Home” came in 2005. The British made “Lassie” features (among others), Peter O’Toole and Peter Dinklage!

• MGM kinda-sorta remade “Lassie” in 1954 with “Gypsy Colt”. Aside from this new movie being about a young girl and her horse, the two are remarkably similar.