misachan: (Jimmy Cagney)
Today we have the third of the six Bulldog Drummond serials in this collection, with John Howard, Louise Campbell and John Barrymore all returning, and I just finished it five minutes ago and still don't exactly know what just happened.

The story begins with, as always, Drummond and the lovely Phyllis about to get married, this time in Switzerland, and they receive a large, artificial diamond as a wedding present. It turns out the scientist father of a friend has invented a (entirely fictional, mostly handwaved) process for creating diamonds with SCIENCE! And CHEMICALS! As you do.

To the shock of no one except the characters involved the head of - I forget the actual title, so let's say Diamond Stuff - for the British government goes, "Whoa, whoa, whoa," steals the diamond and makes back for Britain. Then follows a conspiracy plot where the government tries to pay the kindly old scientist to destroy his work so the world's diamond economy doesn't go kablooey (he refuses, of course, because he does this for SCIENCE, not money). In a fit of pique the scientist calls his American rival, asking to borrow equipment so he can make the Biggest Diamond Ever to show those meddling officials, and when Rival Scientist lands in the country the bad guys immediately bribe him to keep quiet about how they're going to kill the poor old scientist. To the surprise of exactly no one Rival immediately goes, "Yes, please give me money."

There are about 1000 characters in this and I'm wondering if the producers of the Drummond series were handing out notes to punch up the action; there were two car chases, an explosion, and one of the more ridiculous fight scenes you're ever going to see (Drummond, armed with a Errol Flynn-style rapier, fights bull-whip wielding Rival Scientist.) Oh, and some truly painful slapstick.

John Howard is charming as ever, but poor Phyllis Campbell doesn't get to do much more than scream and John Barrymore is in so few scenes that I couldn't even be sad for him (and his character is written so differently from the previous serial that it took me a second to realize he was playing the same person.


Up next: Bulldog Drummond's Revenge (1937), starring John Howard, Phyllis Campbell and John Barrymore
misachan: (Jimmy Cagney)
Today's selection is another Bulldog Drummond serial, this time from 1937 and again starring John Howard but with Louise Campbell in the role of Phyllis and John Barrymore(!) as Colonel Nielson. Also, I have a new icon for this project!

Oh, John Barrymore. There are few things sadder than a great actor reduced to slumming in dreck and Barrymore may be the definitive example. By 1937 when this film was released alcoholism had reduced the Great Profile (and there's even an off-hand reference to that in the film) and greatest Hamlet of his day to scattered character roles and slashed his salary from a height of $30,000 a week in 1930 (over $410,000 in today money) to $5,000 in 1941 when he made his last film ($78,000 today.) So there's a certain sadness in watching him act in something this forgettable, even if he does seem to be having fun with it. (The role offers him a chance to play with makeup and facial prostetics, one of his favorite things - Barrymore was the original matinee idol who'd go out of his way to ugly himself up for roles.)

So we're back to the intrepid Captain Drummond and his various crime fighting sidekicks. The plot this week is pretty straight forward: the widow of a criminal Drummond helped send to the gallows decides to get revenge by kidnapping the luckless Phyllis and staging an elaborate cat and mouse game with Drummond. You know. As you do. She has a partner in crime who's apparently Russian but is so heavily made up that at first I thought the actor was in yellowface but no, apparently this is what 30's B movies thought Russians looked like. Tonally I thought this was a lot more consistent than last week's even though the plot wasn't nearly as interesting, and poor Phyllis got even less to do. She could literally have been a recording yelling "Help!" for most of this without any changes to the plot - and yet the beginning with her and Drummond was pretty charming, mostly because John Howard really does a nice job of making Drummond convincingly besotted.

Also, I am convinced one of the writers for the Adam West Batman series sat through this film as a youngster because the villains' plan was completely from the Riddler's playbook. The riddles! The puns! The leading the hero into a death trap! So imagining a young Eddie Nygma imprinting hard on this little piece of fluff lent some extra amusement to the proceedings.


Up next: Bulldog Drummond's Peril (1938), starring John Howard, Louise Campbell and John Barrymore. (sigh)
misachan: (Saitou smoking)
So as previously threatened, for the 100 Things challenge I'm reviewing my way through the Mystery Classics 100 Movie Pack, and first up is a 1939 serial called Bulldog Drummond's Secret Police, starring John Howard, Heather Angel and Reginald Denny.

So before anyone asks, there's no actual "secret police" in the movie. I don't know if that term had a less sinister connotation in 1939, but the title comes from a throwaway scene where Drummond and his sidekicks all band together to catch the killer in the dead of night. I confess, this is my first time hearing of the Drummond character but after a quick visit to wikipedia I can see how why he'd be called a kind of proto-version of Bond and Doc Savage - he has that suave veneer Bond's made famous and his crew definitely reminds me of Doc's running buddies.


(You see that a lot in Golden Age comics, now that I think about it: everyone has a crew. It's a lot more common nowadays for a hero to have a sidekick or two, but a lot of modern age supporting casts don't really join the hero in the adventure as often as you used to see. Excepting Batman of course, which is always my favorite part of his Lone Warrior Of The Night routine. It's right up there with John "Only Trust Family" Winchester having so many old friends it seemed like "Sam and Dean run into an old friend of John's" was happening every other week for a while.)

Anyway, the plot's fairly basic: Drummond is set to finally marry his long suffering fiancee Phyllis (there's a montage from previous Drummond serials showing previous wedding attempts ending in various disasters) and the two of them are touring his new(?) estate while Phyllis' aunt sniffs at everything and tries to talk her niece out of it. A character makes a comment that one of Drummond's best talents is getting into trouble when he's about to get married and the pattern holds true: a professor contacts him to say he has a book with a cipher that, if he can crack it, will lead to treasure hidden in one of the walled-off rooms. (Three guesses what happens to the professor once he cracks the code!) Before long it becomes apparent there's a killer afoot who also wants the treasure, they realize the killer's in the house, the lovely Phyllis is kidnapped and the chase is on.

What struck me most about this is how...I think the word I'm looking for is jaunty the whole thing is. I'm used to PIs being a lot more noir flavored but for all the murder and theft and fist fighting in underground cisterns this is a pretty breezy affair. And there's some really abrupt tonal shifts; there's a lot of slapstick, especially when the professor character is introduced, then in the middle of all the English butler jokes constables are getting shot in the garden and everyone just stands around seeming mildly inconvienced. And at the same time it really set me back on my heels to see the hero just straight-up shoot the bad guy as soon as he had the opening; there's the bones of James Bond and Doc Samson.


Phyllis was kind of a thankless role (complete with the always odious sub-plot of "we have to be nice to your old maid aunt or she'll whisk you away, because Heavens, you can't be here without a chaperone!") but once she stumbled on the bad guy and got kidnapped she actually got some interesting things to do as she tried to talk him down. I think the story would have been stronger without the "funny" marriage plot but that seems to be in the DNA of the character so I'll have to get used to it. There's a bunch more where this came from on the set.


Up next: Bulldog Drummond Comes Back (1937), starring John Howard, J. Carroll Naish and Louise Campbell
misachan: (Nat is unamused)
So I have signed up for more things. Yes, I know. I know. But only one of them is a big bang!

*sigh*

Thing #1!




{Take the 100 Things challenge!}


This is a challenge where you pick a topic and natter on about it for 100 entries, no deadlines, no word count. It's well timed, because I received the Mystery Classics 100 Movie Pack for my birthday and had planned to watch and review my way through them all anyway. Serendipity! (even though there's a fair number of Nigel Bruce-playing-Watson Sherlock Holmes in the mix, so expect some whining from me when I get there.)

Thing #2





[livejournal.com profile] avengers_xbb author/artist sign ups open


This is not my fault. [livejournal.com profile] morganoconner and I were talking about this over twitter and since she's dived headfirst into Teen Wolf she was going back and forth on whether to write werewolf!Clint, so because I'm the worst sort of life ruiner I told her that if she signed up I would write angel!Clint. And she took me up on it!

So I suppose it is my fault. But guys, seriously, the min word count is 5K. 5K! Isn't that adorable?

***

On the subject of things I've signed up for in the past, I posted my [livejournal.com profile] dc_dystopia fic Spiral on Wednesday! *throws confetti* Now I can dive into everyone else without psyching myself out! Expect a gushing rec post shortly.

And people seem to like it, which is a big relief. I've been enjoying seeing the different ways people are interpreting the ending, which is purposefully ambiguous - obviously I know what I intend that last line to mean, but that's really not as important as what gets taken away from it, you know?

(Although because more than one person's asked, I can't write a coda to make the ending happy. It's dystopia. There is no happy.)

***

Hey, you know how in Iron Man 2 Coulson loses track of Tony, and when Tony asks him what was up with that he says, "I was doing stuff"? "Stuff" should actually translate to "Clint on your leather couch." Especially if Nat calls them after that scene where Tony surprises her at the office all, "Both of you. FOCUS. I expect better from you. Well, from one of you."

Someone should write that.

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