Monday, August 7, 2017

Robocop (1987)


ROBOCOP (1987)
By Ralph Santini  - ****
                With its great blend of hard-core violence, moving and depressing tragedy, adrenaline thrills and even warped sense of humor “Robocop” (1987) is one of the most visually exciting and gripping sci-fi films ever made.  Its story is fascinatingly original with a fine and underrated cast and explosive direction by Paul Verhoeven. It is centered on a brutally-murdered police officer, Alex J. Murphy (Peter Weller) who is resurrected as a powerful, invincible cyborg, Robocop. The cyborg is of course a product of a megalomaniacal company known as Omni Consumer Products (OCP) a firm that ran a contract with Detroit to run its own metropolitan police department. The cybernetic supercop is programmed with the following prime directives and that is to “serve the public trust, protect the innocent, and uphold the law”.
Things don’t go right, however, when he has a frightening nightmare of remembering with pessimistic murder that was actually managed by a gang of deadly criminals led by vicious crime boss, Clarence Boddiker (a sadistically terrific portrayal by Kurtwood Smith. This will eventually lead to a series of tragedies, including the murder of the cyborg’s developer, Bob Morton (Miguel Ferrer) and a moving sad sequence when Robocop visits his old home that was abandoned by his wife and son, thinking Murphy was already gone. What’s worse after successfully trying to arrest Boddicker he is told by the hoodlum that he works for a corrupt OCP executive, Dick Jones (another sensational villain performance by Ronny Cox) and that would lead us to a fact that Robocop’s only weakness is a secret fourth directive that prevents him to act against any OCP representative.
The story would continue with lots of conflict including a battle against a more invincible robot developed by Jones, ED-209 and a betrayal by a SWAT team led by a corrupt police lieutenant that luckily leads to a rescue, arranged by other protesting Detroit Police officers who refused to obey Jones’ orders to destroy Robocop. Enter Anne Lewis (Nancy Allen), who was once Murphy’s partner before the murder, as she comes to the rescue and leaves in the steel mill where Robo’s former human self was slaughtered. We would eventually later come to one of the most thrilling climaxes in cinema history where Robo battles the criminals that killed him before his resurrection.
“Robocop” was once slightly cut by Orion Pictures to avoid an X-rating. The complete version would eventually be available for purist collectors. The scenes that were cut not only include Murphy’s harrowing murder but also another one where ED-209 kills one of OCP’s executives plus it has some alternate shots with some other gory sequences. It concerned parents very bad fearing that their children wanted to see the Robocop character bad. Still that doesn’t make it any difference because whether it’s R-rated or X-rated because “Robocop” is still brilliantly action-packed and darkly comic after 25 years. After all, it did inspire a TV cartoon, with action figures and even a video-game, plus a couple of sequels (although they have never topped the original quality wise).

Robin Hood (1973)




 ROBIN HOOD (1973)
By Ralph Santini - ***

In 1973, two years after Roy O. Disney’s death, Walt Disney Productions decided to release their 21st animated feature, this time an “animal kingdom” version of the great legends of “Robin Hood”.  The cast of animal characters in Disney’s animated version are the following, Robin Hood is a fox, Maid Marian is a vixen, Little John is a bear, Friar Tuck is a badger, Prince John is a lion, and The Sheriff of Nottingham is a wolf; among other animal characters in this children’s film. This film, mind you, is not one the greatest of all Disney films but still it hasn’t lost its fascination, nor its witty sense of humor.
Aside from its attractive animation, 1970s Disney style, it has some wonderful interpretations of the Robin Hood legends characters. The animals in this screenplay here match perfectly, Robin Hood as a fox is convincing given that foxes are pretty clever mammals. Robin Hood has always being described not only as brave, but also being clever himself.  Maid Marian being a Vixen is also perfect because vixens are the few non-human animals to match the beauty of a woman and besides it makes both characters part of the same species; on top of that, it’s biologically correct. Little John being the bear is no imperfection either given that Little John has been Robin Hood’s tough bodyguard in all ancient Robin Hood legends. The Sheriff of Nottingham also deserves to be a wolf because wolves are strong and fierce just like the Sheriff in most other Robin Hood versions. And don’t forget Prince John being a Lion because the Lion has always been the royal symbol of England.
The story told in Disney’s version might be a little routine, and it does kind of rip-off Disney’s version of “The Jungle Book”, more or less. So what? It doesn’t stop this cute version from being entertaining since I first saw the film on videocassette when I was only 4 years old.  It brings back wonderful memories and in fact it’s the film that caused me to be more and more obsessed with the Robin Hood legend. Sure the interpretation of Prince John as an immature villain can be very distracting but who cares it’s still funny after 40 years. On top of that I happen to still enjoy the songs, including Roger Miller’s wonderful “Whistle Stop” in the opening credits and even “Prince John, That Phony King Of England” which was written by the great American music lyricist Johnny Mercer.
 Moreover, this film, to my mind, is probably the best of only 4 of Disney’s animated features of the 1970s. Yes, it’s even better than its subsequent Disney film, the extra money making potboiler “The Rescuers”. It’s more energetic and a lot more entertaining.



Raffles (1930)


RAFFLES (1930)
By Ralph Santini - ***
Samuel Goldwyn’s production of adapting Ernest William Hornung’s collection of short stories from his “Amateur Cracksman” series, titled “Raffles”, is one of the more delightful pre-code talkies of its dominant beginning. Many pre-code talkies at that time were usually considered racier and saucier, particularly those of Warner Bros., but because Sam Goldwyn was not interested in that kind of motion picture, preferring to make classier features than those of Warners, he knew how to make more decent features that usually pleased the production code whom they were responsible for ruling all film content. And Raffles is no exception, it does not contain brutal murders, nor scandalous adultery, nor anything that displeases codes nor especially, censorship boards. It rather focuses on a good-natured burglar who merely commits those crimes for the fun of it and not for lethal causes. 
The movie stars long-time leading man, not long after silent films faded, Ronald Colman who unlike some others (especially John Gilbert), did manage to speak with a well-trained voice in a suave and dashing way; as the title role of A.J. Raffles, known secretly in the news as “The Amateur Cracksman”, because he does have the clever abilities of safecracking secretly guarded items worth a lot of money. The news of this gentleman are popular among many people but disdainful to others, especially strict policemen and jealous petty criminals. However when we first see him do one of his tricks he writes a note for his alleged “final” burglary so that he can go straight to fall desperately in love with his fiancée Lady Gwen, portrayed in this version by statuesque (5’9) beauty Kay Francis. However a close friend named Bunny (Bramwell Fletcher) attempts suicides because he is morally desperate over a debt he considers “impossible to solve”.
So, Mr. Raffles decides to make one more burglary in order to save his young friend’s life as he is invited by the wealthy Melrose family to a party in their glitzy mansion somewhere in England, where the “Amateur Cracksman” stories are set. The Melrose family consists of the man of the house, Lord Harry (Frederick Kerr who may be best remembered from “Frankenstein” [1931] as the title role’s father, the baron), who seems to always have faith in Mr. Raffles, Lady Kitty (Alison Skipworth, the character actress typed in disapproving old society ladies), who doesn’t want any help from her husband when she is desperate and lets Mr. Raffles handle it, and the lord’s beautiful young stepdaughter (Frances Dade, one of the several victims of Count Dracula from the original 1931 sound film that starred Bela Lugosi).
During that party, the Melrose family and their guests are visited by Scotland Yard inspector McKenzie (Veteran and prolific character actor David Torrence, who gives wonderful support in the shape of antagonism towards our hero) and informs them that there might be some serious type of burglary committed in the mansion. It turns out that Lady Kitty owns a priceless diamond necklace and Mr. Raffles would like to snitch it away for his little burglary. However a petty thief known as Cranshaw (John Rogers) has sneaked in the mansion the same night as Mr. Raffles and he later confronts him but spares him to make a deal with him.
This film has so many nice features that the results of it are entertaining. Mind you, this is not “All Quiet On The Western Front”, the film that won the Oscar® for best picture of the year but still this film, as stated by and agreed with critic Leonard Maltin is “good fun all the way” (1987 pt. 1) because I think there is very little to miss with in this vintage, rare gem. Colman’s portrayal is as charming as usual and makes the A.J. Raffles, so gentle and elegant, “you can’t help liking him” as Inspector McKenzie would say in this film.  



Pufnstuf (1970)


PUFNSTUF (1970)
By Ralph Santini - *½
                “Pufnstuf”, based on a commercial children’s television show “HR Pufnstuf” which I never saw and thankfully I have not grown up with, is not just a mediocre film but also a very innocuous one. Never in my life have I experienced with such triviality and boredom, especially with a film that was never part of my childhood memories. The premise of this film, similar to that of the kids show, is a young Englishman, Jimmy (Jack Wild, wasted in this saga after his success of his flamboyant performance as the Artful Dodger in the Oscar® Winning “Oliver”) whom after his expulsion from a school band discovers that he has a talking flute, that’s right a talking flute. This flute is one of the most annoying characters I have seen in such audiovisual experience. A crude special effect with no memorability whatsoever.
The conflict rests with a not-quite-evil witch named Witchiepoo (Billie Hayes, graceless in the horribly-named role) wants that same little flute so she can present it at a convention led by the selfish boss witch (veteran comic legend Martha Raye, who doesn’t seem like having a good time in this stinker). So the witch chases Jimmy and his flute until HR Pufnstuf, the dragon mayor of Living Island, races on the way to the rescue. They go on making many miserable adventures throughout the entire feature film with a bunch of unmemorable songs by Charles Fox and Norman Gimbel. Who on earth are those guys?
I can’t tell much of the story any longer because, well, this is just a childish exercise in seeing many people dressed in theme-parked costumes with very ugly images. Producers Sid and Marty Krofft should have known better than to bring this hippy-style kids show to the big screen. It doesn’t scream cinema at all containing an incredible waste of talent.