Charlotte's Web (1973)

A young pig named Wilbur (Henry Gibson) is terrified of being slaughtered but he is befriended by a spider (Debbie Reynolds) who concocts a plan that will save him from the slaughterhouse. Based on the 1952 children's book by E.B. White and directed by Charles A. Nichols and Iwao Takamoto. This Hanna-Barbera animated musical version of the E.B. White book is very sweet (and I don't mean that in a condescending way). With songs by Robert B. Sherman and Robert M. Sherman (MARY POPPINS) and the straight forward animation (some may call it unimaginative) of the Hanna-Barbera studios (THE FLINTSTONES), it presents in a simple way the importance of friendship and how death is inevitable and to be understood and accepted. A weighty subject but simply told in a way children can understand. The songs are good and the voice acting excellent. Whenever I see a movie described as heartwarming, it's usually a sign to avoid it but in this case, heartwarming is a compliment. Remade in 2006. With Paul Lynde, Agnes Moorehead, Martha Scott, Dave Madden and Pamelyn Ferdin.

The Charge Of The Light Brigade (1968)

Set at the outbreak of the Crimean war in 1853, a young officer (David Hemmings) and a veteran of the British Indian Army is stymied by the outdated ideas and class prejudices of his aristocratic superiors. He also falls in love with his best friend's (Mark Burns) wife (Vanessa Redgrave). Directed by Tony Richardson (THE ENTERTAINER). Despite the film's title, it has nothing to do with the famous poem by Alfred Lord Tennyson or the 1936 film with Errol Flynn. Far from the patriotic heroism of Tennyson's poem or the heroic jingoism of the 1936 movie, Richardson's film is distinctly anti war as it portrays the incompetence of the British Army's leaders and the blunders they commit which results in a massive loss of lives. If that sounds a bit heavy handed, the film is actually a satire on the romanticization of war. Akira Kurosawa was a great admirer of the movie but despite favorable reviews, it was a major box office flop. The film fudges on accuracy for some of the film's real life characters for dramatic effect as well as eliminating certain battles. Did I like it? Well, it's worth watching but I can see why the public stayed away. With Trevor Howard, John Gielgud, Jill Bennett, Harry Andrews, Corin Redgrave and Peter Bowles.

Blonde Ice (1948)

Despite being in love with another man (Robert Paige), an ambitious gold digger (Leslie Brooks) marries a wealthy man (John Holland). When her husband discovers she's still in a relationship with her lover, he threatens to divorce her. Her solution? Murder! Based on the novel ONCE TOO OFTEN by Elwyn Whitman Chambers and directed by Jack Bernhard (DECOY). This low budget B movie is more enjoyable than it has a right to be. It's a silly film, maybe even stupid but it's grandly entertaining. Leslie Brooks' femme fatale is a classic amoral film noir protagonist. She's determined to get what and who she wants and if anyone stands in her way, heaven help them! But I wish the film had a more believable script. For example, Brooks is a smart cookie yet she has a letter to her lover where her husband can easily find it. In addition, her penniless dupe of a lover (Paige) continues to pine and chase after her when she continually proves she's only interested in money. But if in the tradition of noir, its heroine is a nasty piece of goods, it shows how evil can be fun as long as we know she'll get her comeuppance.  With Michael Whalen, James Griffith and Russ Vincent.

The Hatchet Man (1932)

Set in San Francisco's Chinatown, a hatchet man (Edward G. Robinson) who is an assassin for the Tongs must kill his best friend (J. Carrol Naish) for transgressing Tong laws. Before he dies, the friend asks the hatchet man to take care of his little girl (who grows up into Loretta Young) and marry her when she becomes of age. Based on the play THE HONORABLE MR. WONG by David Belasco and Achmed Abdullah and directed by William A. Wellman (THE HIGH AND THE MIGHTY). This pre code melodrama has adultery, drugs (opium) and violence in the forefront which wouldn't have been allowed once the code came into existence. Not to mention that the assassin gets the girl and lives happily ever after! Once again, all the major Asian roles are played by Caucasians while genuine Asians are relegated to bit parts and background atmosphere. While none of the major roles are remotely convincing as Chinese, some are downright ghastly. Notably J. Carrol Naish with his phony sing song accent and Leslie Fenton as a "hip" Tong thug. Most unusual is that the most sympathetic character is Robinson's assassin. One can't drum up much interest in the other characters. If you can get past the difficulty of Caucasians as Asians, it's a pretty good drama with solid direction from Wellman. With Dudley Digges and Tully Marshall.

The Iron Mask (1929)

The Queen's confidante (Marguerite De La Motte), who is the beloved of the musketeer D'Artagnan (Douglas Fairbanks) is killed to protect the secret that the young Dauphin (William Bakewell) has a twin brother. Based on THE VICOMTE OF BRAGELONNE by Alexandre Dumas and directed by Allan Dwan (SLIGHTLY SCARLET). Fairbanks' last silent film utilizes bits and pieces of THE THREE MUSKETEERS and THE MAN IN THE IRON MASK as well as characters in this pastiche of a movie. Although it is a silent film, there is a sound prologue and another sound intro by Fairbanks after the film's intermission. I found the film diverting but not up to the best of Fairbanks' earlier swashbucklers or adventure movies. Fairbanks plays the young D'Artagnan in the first half but after the film's intermission which begins 20 years later, he gets to play the aging D'Artagnan. The movie serves as a farewell to silent cinema by one of the silent era's greatest stars. The restored transfer I watched contained a fine score by Carl Davis. With Belle Bennett, Dorothy Revier, Rolfe Sedan and Nigel De Brulier, very good as Cardinal Richilieu.