For, Friday, Feb. 21, 2020

EDITOR’S NOTE: The Harrison Ford movie, ‘The Call of the Wild,’ which opens in theaters this weekend, is a remake of the famous 1903 Jack London novel that has been filmed no less than five times before. The most famous version was the 1935 black-and-white picture that starred Clark Gable. When the Gable film received its first DVD release in 2006, I reviewed it for the Deseret News on Aug. 18, then a week later (Aug. 25) did a column (with a quiz) that was related to it.

THE DVD REVIEW: "Call of the Wild" (1935, b/w). If you want a strong example of Clark Gable's he-man appeal, check out this pre-"Gone With the Wind" adventure, a freewheeling adaptation of Jack London's novel that perfectly casts "the King" as gambler/gold digger Jack Thornton. Gable has great chemistry with Loretta Young and his comic sidekick Jack Oakie — and seems even closer to his dog, Buck, who gets his journey to the Yukon started. This one is lots of fun.

THE COLUMN: If you ever read the newspaper ads for movies, perhaps you, like me, get a kick out of the ludicrous levels of hyperbole used to promote films these days.


A example that just floored me was this line in the ad for "Pulse": "Unlike any horror film you've seen before or will ever see!"


Ahhh, prognosticating publicity.


As wild and weird as such hype can get, however, it's nothing new. Over-the-top declarations designed to get you into theater seats, are as old as the motion-picture industry.


The difference today is that the quotes come from critics. In the olden-golden days, they came from the studio publicity machines.


This occurred to me while watching the DVD of the 1935 Clark Gable-Loretta Young film "Call of the Wild" a few weeks ago. The trailer declares the film as "The mightiest adventure drama of all time." And includes the required "cast of thousands" line, as well.


Another trailer on the same disc, for Gable's 1955 western "The Tall Men," also boasts a "cast of thousands," calling the film "The world's mightiest cavalcade of adventure."


That word "mighty" apparently got a workout for Gable films.


Anyway, this prompted me to go back through some posters of well-known films, to glean a few lines of movie salesmanship.


See if you can guess which vintage movies listed below belong to which of these hyperbolic quotes.


THE HYPE (from poster ads):

1. "Warner Bros. supreme triumph."

2. "The most amazing motion picture of our time."

3. "Gaiety! Glory! Glamour!"

4. "A story as explosive as his blazing automatics."

5. "The entertainment experience of a lifetime!"

6. "Will give you nightmares forever."

7. "Too startling to describe!"

8. "The strangest adventure in history!"

9. "The motion picture with something to offend everyone."

10. "The best picture of any year."


THE MOVIES (alphabetically):

"Ben-Hur" (1959)

"Blood of Dracula" (1957)

"Goodbye, Mr. Chips" (1939)

"I Was a Teenage Werewolf" (1957)

"The Jazz Singer" (1927)

"The Loved One" (1965)

"The Maltese Falcon" (1941)

"The Outlaw" (1943)

"Stagecoach" (1941)

"The Wizard of Oz" (1939)




Trailers often have scenes that are not in the movie, or perhaps show a different camera angle.


When “Who Framed Roger Rabbit was released in 1988 a lot of people asked about a quick scene where Bob Hoskins appears to have an animated pig's head, which was in the trailer but not the movie. (It's on the DVD now.)


But that also happened in the old days. The "Call of the Wild" trailer has a 17-second bit with Gable being lectured by Young at a campfire but it's not in the film. Since it's rare for older films to have surviving bonus elements, it almost plays like a deleted scene on the DVD.


I also noticed in the trailer for "Double Indemnity" that a scene at Fred MacMurray's apartment — with Edward G. Robinson in the hallway and Barbara Stanwyck behind a door — plays from a different angle than is shown in the film itself. In the movie, it's shown from MacMurray's point of view; in the trailer, it's Stanwyck's.


Yes, DVDs offer small joys to obsessive movie buffs.


Answers to the quiz

1. "The Jazz Singer"

2. "I Was a Teenage Werewolf"

3. "The Wizard of Oz"

4. "The Maltese Falcon"

5. "Ben-Hur"

6. "Blood of Dracula"

7. "The Outlaw"

8. "Stagecoach"

9. "The Loved One"

10. "Goodbye, Mr. Chips"

New Movies This Week New Movies This Week



For, Friday, Feb. 21, 2020

A major studio release adapting a popular novel for the umpteenth time leads this week’s new movies, which includes a couple of horror films and an offbeat romantic comedy.

“The Call of the Wild” (PG). In this adaptation of Jack London’s 1903 novel, Harrison Ford takes on the role of John Thornton, an anti-social loner in the Yukon during the 1890s gold rush who takes up with a dog that’s been mistreated. The pooch is primarily a CGI scan of a dog owned by Chris Sanders, the film’s director (making his live-action debut after helming “Lilo & Stitch” and “How to Train Your Dragon”). With Dan Stevens, Omar Sy, Karen Gillan and Bradley Whitford.

“Brahms: The Boy II” (PG-13). A young family moves into the Heelshire Mansion in a remote English village, unaware of the house’s horror history. But when the young son of the family finds an eerie doll it becomes apparent that it’s possessed by something evil. This one’s a sequel to the 2016 film “The Boy.” Katie Holmes stars as the boy’s mother.


“The Lodge” (R). In this horror yarn, an independent effort that made a splash at last year’s Sundance Film Festival, a young woman who is soon to be married finds herself snowed in at a remote holiday village with her new stepchildren-to-be and her past begins to catch up with her. With Riley Keough and Alicia Silverstone.

“Olympic Dreams” (PG-13). Long-distance runner Alexi Pappas (who represented Greece in the 10,000 meters at the 2016 Olympics) stars in this romantic comedy as a cross-country skier who bonds with a volunteer dentist (Nick Kroll). Filmed on location at the Olympic Village of the 2018 PyeongChang Winter Olympics. (Exclusively at the Broadway Centre Cinemas.)

“The Assistant” (Not Rated). A young woman (Julia Garner) lands her dream job as an assistant at a major New York movie studio but soon learns that her boss is a manipulative, bullying womanizer (apparently patterned after Harvey Weinstein). With Matthew Macfadyen. (Exclusively at the Broadway Centre Cinemas.)


“Portrait of a Lady on Fire” (R, in French with English subtitles). In 1760 a young artist is commissioned to paint a wedding portrait, but the subject is reluctant, so the artist surreptitiously observes her during the day and secretly paints the portrait at night, until they begin a lesbian affair. (Exclusively at the Broadway Centre Cinemas.)

“Las Pildoras de Mi Novio (My Boyfriend’s Meds)/” (R, in Spanish with English subtitles). When a mattress salesman (Jaime Camil) strikes up a romance with an upscale tequila rep (Sandra Echeverria) she invites him to her work retreat on a remote island resort in this broad Mexican comedy. But he hasn’t told her about his variety of medical issues that cause him to demonstrate bizarre symptoms and he forgets to bring his meds.

“Emerald Run” (PG-13). An unemployed family man accepts a job from his mobster father-in-law to smuggle emeralds across the Southern Border but, of course, it goes haywire. Soon he and his devout Catholic guide are in the company of a crazed preacher, or possibly a hallucination. The biggest name in this low-budget faith/crime picture is John Schneider, best known for the 1980s TV show "Dukes of Hazzard."

New DVDS/Blu-rays New DVDS/Blu-rays



For, Friday, Feb. 21, 2020

EDITOR’S NOTE: One of my favorite French filmmakers is Bertrand Tavernier and one of his loveliest films, ‘A Sunday in the Country,’ has just earned a Blu-ray upgrade from Kino Lorber. My review was published on April 26, 1985.

The French director whose previous films “Death Watch,” “Coup de Torchon” and “A Week’s Vacation” are marvelous exercises in thought-provoking entertainment, made with restraint and taste yet filled with passion, has come up with another celebration of life in “A Sunday in the Country.”

As the title suggests, the film takes place during one Sunday at a country estate.

The central figure is an elderly artist, a painter, and the film opens as he rises from his bed early one Sunday morning, anticipating the arrival of his son’s family, including three grandchildren.

As the day progresses, a narrator fills us in on some of his thoughts and background, and from time to time the serene figure of his late wife appears, a presence that is ever with him.

The painter’s son is a rather stiff and stodgy sort, his wife likewise very prim and proper, while their children are quite different. Their two boys are hellions, constantly into mischief, and their younger daughter is a sensitive, artistic youngster, more interested in nature and drawing.


Louis Ducreux, Sabine Azema, 'A Sunday in the Country' (1985)

Later in the day, the painter’s daughter unexpectedly arrives, as well. She explains that a luncheon appointment in the city was cancelled so she thought she’d make one of her rare visits.

A gorgeous woman, dressed to the nines, and driving one of those new-fangled automobiles, she is obviously quite successful in her business and exhibits a real zest for life. It becomes apparent after a time, however, that her zeal is designed to hide an inner unhappiness that is never fully explained.

But this movie is not about details in the lives of the people it presents. It is about relationships — with the people who make up our families and with life itself.

“A Sunday in the Country” is a light little dramatic comedy, if you will, a slice of life that includes bits and pieces of character and lifestyles that will be recognizable in one form or another to just about everyone. And there is quite a bit of humor in the mini-dramas that are presented in these rather ordinary lives.

Loaded with various vignettes, but never losing sight of its narrative thrust, the film is about generalities rather than specifics in these familiar characters.


The performances are all excellent, including the children, but Sabine Azema stands out, partially because hers is the most vibrant character. But also because Azema herself is so strikingly beautiful and full of life. Her performance is wonderful, and she tells us a lot about the character by nuance, and shading.

The film also offers some wonderful visual images that compare youth with old age, and may prove to be rather encouraging for those of us who are aging reluctantly.

“A Sunday in the Country” is Tavernier doing what he does best, distinctively examining people and relationships.

I don’t want to make this picture seem like more than it is, because of its simplicity and slender framework it is not meant to come on with power. But it is most effective in achieving its humble goals.

It is in French with English subtitles and is rated G.

Welcome Welcome

Hi. I'm Chris Hicks.

But if you're looking for Chris Hicks the Australian rugby player or the American recording-industry executive or the Major League Baseball player or the author of "Think" or the singer-songwriter or the former basketball player, you're in the wrong place.

I'm Chris Hicks the movie guy from Salt Lake City. If that's who you're looking for, welcome to my website as I enter the 21st century … a little late (May 2013).

This site is all about movies, well mostly, and it's also about me, I guess, but I'll try to keep my ego in check.

My goal, my hope, is that you will be able to browse the pages here and be alerted to or reminded of some great movie you've never heard of or forgotten about. In other words, something that might enhance your movie-watching experience, whether it's by Alfred Hitchcock or Joss Whedon, or stars Audrey Hepburn or Jennifer Lawrence or someone you never heard of. And I've also tried to make it fun.

The bulk of stories and reviews here are gleaned (with permission) from my 40 years of writing about film for the Deseret News, a daily newspaper in Salt Lake City, with side trips here and there to other entertainment forms.

I'm no longer writing for the D-News so this is mostly archival stuff, primarily from the Deseret News but also from my 13 years with KSL Television and Radio, as well as other sundry freelance things I occasionaly come across in my deteriorating hard-copy files.

Hope you enjoy my little site. If you do, tell your friends. If you don't, just say you couldn't find it.

Chris H.

Shameless Hucksterism Shameless Hucksterism


Click here for Deseret News interview.

Click here for Deseret News review.

Click here for Amazon store.

Golden Oldies On the Big Screen Golden Oldies On the Big Screen



For, Friday, Feb. 14, 2020

EDITOR’S NOTE: If you’ve never seen Steven Spielberg’s ‘The Color Purple’ in a movie theater … or if you’ve never seen ‘The Color Purple’ … now’s your chance, as Fathom Events brings it to local Cinemark and Megaplex theaters for one day only, Sunday, Feb. 23, at 1 and 5 p.m. My review was published in the Deseret News on Dec. 20, 1985.

Alice Walker’s Pulitzer Prize-winning novel “The Color Purple” hardly seems like the kind of story that Steven Spielberg, of all moviemakers, could faithfully turn into a film.

But never underestimate the talent of a popular filmmaker. There was a time when Hitchcock suffered from being too popular with the public, as many critics felt movies that appealed to the masses could not possibly be artistic. And I suspect there will be those who also tear down Spielberg’s “Purple,” complaining that it is too slick and looks very Spielbergian, if you will, and therefore cannot be taken seriously.

And after watching the film, I must admit that his stamp is obvious, that there are somewhat self-conscious artful strains in certain scenes, and there may indeed be a surrealistic edge to it all, especially the end. But none of that bothered me.

Whatever else he is, Spielberg is a master storyteller, and if he’s made “The Color Purple” more accessible to a wide audience by making it his own, well, what’s wrong with that?

The raw material here is powerful to begin with, but add to that superb performances from an incredible ensemble cast, gorgeous photography, a fabulous score by co-producer Quincy Jones and Spielberg’s own storytelling expertise, and you have the makings of a great film.

Whether Spielberg has actually achieved that greatness may be debatable — but if he’s missed, it isn’t by much.


Steven Spielberg gives direction to Whoopi Goldberg on the set of 'The Color Purple' (1985).

Alice Walker’s story, set shortly after the turn of the century, has to do with two sisters: Celie goes from an incestuous relationship with her father (during which she bore two children that he sold) to an abusive, repressive marriage — at age 14 — and Nettie goes to Africa with a missionary family, writing letters of encouragement to her sister, only to have them hidden for years by Celie’s husband.

Though the book offers a fairly equal split, telling the stories in full of both sisters, Spielberg has chosen to focus on Celie, a rather brave choice since that means he must take on the story that offers the most cinematic pitfalls, that of a young girl who becomes a miserable, repressed woman and eventually blossoms into an independent, free-spirited individual.

Had this film been made by another filmmaker, perhaps any other filmmaker, it could easily have been an R-rated foray into all kinds of graphic exploitation. But Spielberg is more discreet than that. And true to his word to the ratings board some years ago when “Poltergeist” was under dispute, at which time he said, “Steven Spielberg doesn’t make R-rated movies,” Spielberg has given us all the information we need to know about the tragedy in Celie’s life — that her father takes advantage of her, that her husband’s sexual advances are extremely brutal, that he beats her, that she eventually has a lesbian encounter that proves to be the first time she realizes love can be tender instead of violent. Yet Spielberg shows none of this explicitly on the screen.

It is perhaps a choice that will be complained about by critics who feel it is too old-fashioned an approach. But I suspect movie audiences will appreciate this over the usual — and easier — more literal approach so many other directors take.

There may also be complaints that the story is female chauvinistic, putting all the men in the film in an extremely unfavorable light. But with all the anti-women cinematic tracts these days, it’s probably about time.


The performances here are incredible. In her film debut, Whoopi Goldberg proves herself an enormous talent, and her Celie is one of the most endearing screen heroines to come along in some time. Oprah Winfrey, a Chicago talk-show host in real life, is also a real scene-stealer as Sofia, a woman who knows how to enjoy life but whose spirit is eventually broken in a racial encounter. And Danny Glover, who has already shown what he can do in a variety of roles — the itinerant sharecropper in “Places in the Heart,” the killer cop in “Witness” and the outraged cowboy in “Silverado” — is excellent as Mister, Celie’s husband.

An interesting sidelight here is how all the characters age so believably. There have been recent films (“Back to the Future,” “Once Upon a Time in America”) where makeup and manner have kept young people from projecting age believably but here everyone is utterly convincing.

Despite the makings of fully tragic soap opera stuff, “The Color Purple” ends on an upbeat note, and as with Celie, we are given a feeling of hope about the future. There’s a lot of tearful material here but overall this is a story of courage and stamina, and the need for self-respect.

And as far as this critic is concerned, Spielberg has made a very special film that deserves a wide audience. And thanks to his name, it just may get it.

“The Color Purple” is rated PG-13 for violence, sex, nudity, profanity.

EDITOR’S ENDNOTE: In the review above I made an observation about Spielberg vowing to never make an R-rated movie; he would, of course, break that vow in 1993 with ‘Schindler’s List.’ And on a trivia note, the film received 11 Academy Award nominations but, surprisingly, Spielberg as director was not among them, and the film won no Oscars, which gave it the dubious distinction of tying 1977’s ‘The Turning Point’ as the most nominated films to win zero awards.)

Oldies New to DVD/Blu-ray Oldies New to DVD/Blu-ray



For, Friday, Jan. 24, 2020

EDITOR’S NOTE: All these years later Murray Langston is probably still best known for his 150 appearances on the original and very weird TV series ‘The Gong Show’ as The Unknown Comic in the 1970s and ’80s. He also appeared in a number of films and even wrote and directed one (1990’s ‘Wishful Thinking’). But before that he wrote and starred in this one, which, for some unknown reason, Kino Lorber has given a Blu-ray upgrade. My review was published in the Deseret News on Jan. 13, 1985.

You may remember Murray Langston as The Unknown Comic, that frenetic comedian who rapidly spouted one-liners while wearing a paper bag over his head as a regular on the now-defunct “Gong Show” — that is if you were unfortunate enough to have seen “The Gong Show.”

Well, now Langston stars in a police comedy called “Night Patrol,” in which he plays a bumbling patrolman who moonlights as a standup comic, but doesn’t want his colleagues to know, so he wears a paper bag over his head and calls himself The Unknown Comic.

However, if this movie were to be shown as one of the acts competing on “The Gong Show” even Langston himself would probably give it the gong. If not, maybe Jaye P. Morgan would. And, as it happens, Morgan costars in “Night Patrol” as Langston’s agent.


Murray Langston, left, Pat Paulsen, 'Night Patrol' (1985)

Meanwhile, as Langston pulls his double duty, a robber is going around town committing crimes with a paper bag over his head, while he tells his victims bad jokes. Unfortunately, paper bags are not provided for the movie’s audience. They should be.

Among Langston’s costars are Linda Blair, the possessed youngster in “The Exorcist,” now grown up and playing the police-station receptionist who loves Langston but is ignored by him. She doesn’t know when she has it good.

Pat Paulsen is Langston’s veteran patrolman-buddy, and manages to get off a few good deadpan, dog-faced one-liners, but he looks pretty tired throughout the entire effort.

Then there’s Billy Barty as Langston’s grousing police chief, who’s every screen appearance is accompanied by sound effects simulating flatulence. Jack Riley, best remembered as one of Bob Newhart’s patients when Newhart was a psychiatrist on the old “Bob Newhart Show,” apparently learned something as he is now Langston’s psychiatrist. And Pat Morita, of “The Karate Kid,” has one truly embarrassing scene as a rape victim whose voice is dubbed in by a woman.


Murray Langston wearing his 'Unknown Comic' paper bag, with Linda Blair in 'Night Patrol' (1985).

The script, co-written by Langston and three others, is in the Mel Brooks/“Airplane!” style of off-the-wall, bizarre, completely nonsensical rapid-fire jokes that come so fast and furiously that some of them have to be successful. With Brooks, the ratio is usually about 70-30, with “Airplane” it managed to be about 75-25 but with “Night Patrol” it’s much lower. About 10-90, and that may be overestimating.

Though there are a few inventive gags here and there, even the good ones are destroyed by the film’s technical ineptness. Bad timing, bad setups, bad quality in the film and, worst of all, lousy editing, tend to make even this film’s brighter moments less than humorous.

But the worst aspect is that “Night Patrol” is in such poor taste, it is consistently raunchy, vulgar and offensive. As you might expect, “Night Patrol” is rated R for all these elements plus nudity, sex and profanity.

The saddest part of “Night Patrol” is that Murray Langston is a cheerfully endearing comedian and some of his Unknown Comic bits are really quite funny. But you’ll never get a sense of that because this movie is such a total failure that it makes everyone in the cast look as inept as the movie’s technical aspects.