Voodoo, and Zombies, and Ghosts, Oh My

It Happened One Night. . . what, you must be wondering? Well, on February 27th, 1935, at the 7th Academy Awards, the aforementioned film became the first ever to win the so-called ‘Big Five’ – Best Picture, Best Director (Frank Capra – his first of three wins for this category in the decade), Best Actor (Clark Gable), Best Actress (Claudette Colbert), and Best Screenplay – in this case, Adapted (Robert Riskin – based on the short story “Night Bus”). . . a rare feat that has only been replicated twice more (with 1975's One Flew Over the Cuckoo’s Nest and 1991's The Silence of the Lambs). Often referred to as the first great romantic comedy as well as the first screwball comedy, all of this success and glory was not guaranteed. Capra, a director at Columbia Studios. . . a name that, at the time, equated to ‘Poverty Row’, was not known as a major studio.

Every once in a while, a scene, or to break it down even further, a moment, forever captures the zeitgeist of the cinema world. . . more long lasting and memorable than the movie ever could be. By now, you may have already guessed that I am talking about the breezy subway grate blowing up Marilyn Monroe’s flowy white dress (cooling her down on a hot summer’s night) in The Seven Year Itch (1955). Funnily enough, the press generated from the scene’s filming in New York City (the excitement of over five thousand fans watching them shoot and then spreading the word. . .along with the risqué-for-the-time photographs that circulated around the world) brought people into theatres to experience a moment that could never truly match up with what was broadcast. . . for the Hays code would never allow the revealing extent shown before the release to be seen on screen – though that is not to say that it is still not a fabulous clip. . . and I’m here to also say, so is the film.

I will be the first to say that I absolutely love the great Mel Brooks. Secondly, I will also say that I absolutely love Alfred Hitchcock. So, to have a movie in which Mel Brooks satirizes the motion pictures of Alfred Hitchcock just seems like it would be pure twenty-four karat gold. Saying that, I probably went into 1977's High Anxiety with expectations that were just a bit too high. . . which caused me a touch of anxiety. Bringing together many of his usual comedy friends from his other 70s pictures, the plot follows the famed Dr. Richard Thorndyke (Mel Brooks) as he flies out to California for his new job – running the Psycho-Neurotic Institute for the Very, Very Nervous (a fenced complex that holds a sign that reads “Keep In”).

If you’ve ever wanted to see a film where a young boy’s imaginary friend just happens to be Adolf Hitler, then 2019's Jojo Rabbit is for you. Based upon Christine Leunens’ novel “Caging Skies”, Taika Waititi (What We Do in the Shadows; Thor: Ragnarok) adapts and directs this unique satire on World War 2 era Germany. Amplifying an already ludicrous Nazi doctrine, Waititi transports us into the world of young Jojo (first time actor Roman Griffin Davis – a terrific find), a slightly mousy boy heading off to Hitler Youth camp. Completely immersed in a society of indoctrination, it is perhaps no surprise that his poor-advice giving imaginary friend is the Führer himself, Adolf Hitler (Taika Waititi) – in many ways, a skewed stand-in for his missing father (who is off somewhere during the war).

Like some sort of quirky hybrid of a Dr. Seuss story and an Abbott and Costello comedy sketch transported to the dark alleyway of a film noir, 2019's Word on the Street is a five minute foray into the wacky world of English wordplay. Written and directed by Austin Hillebrecht and Sean Parker, the former plays flat cap wearing Bugsy, a low-level ruffian who has heard that the word on the street is “implication”. Meeting up with fellow criminal Rat (Conor Eifler), the fedora wearing fella claims that it is “insinuation”.