#oscars 13

[theoscarsproject]

Northwest Passage (1941). Langdon Towne and Hunk Marriner join Major Rogers' Rangers as they wipe out an Indian village. They set out for Fort Wentworth, but when they arrive they find no soldiers and none of the supplies they expected.

Not even the charming Spencer Tracy can salvage this movie for me. It’s dull, bloated, and offers little to an already dull and bloated genre (well, a genre I created. The brotherhood-forged-by-war genre). People who are more inclined to that sort of narrative might enjoy it a bit more, but it wasn’t really for me. The costumes were good at least? 5/10.

[theoscarsproject]

The Invisible Man Returns (1940). The owner of a coal mining operation, falsely imprisoned for fratricide, takes a drug to make him invisible, despite its side effect: gradual madness.

Oh, Vincent Price. You are so young and handsome. This movie’s super weird, but has some visual effects which really stand up today which is a bit of a feat in and of itself. The cast is delightful, even if the acting is a bit, ahem, overdramatic, and the pacing is quick and enjoyable. It’s a fun early science-fiction film. 6/10.

[theoscarsproject]

Dr. Cyclops (1940). A mad scientist working in the South American jungle miniaturizes his colleagues when he feels his megalomania is threatened.

Old science fiction is so cliche and ridiculous to watch nowadays, but I know if I’d been the age I am back in 1940, this would’ve spoken to me in a way big scale sci fi does now. It’s fun, even if it’s naff as hell and with like, no character development. 5/10.

[theoscarsproject]

The Thief of Bagdad (1940). After being tricked and cast out of Bagdad by the evil Jaffar, King Ahmad joins forces with a thief named Abu to reclaim his throne, the city, and the Princess he loves.

The visual language of this film is close to sublime. I mean, sure, there are parts that have aged, but it must have been mindblowing when it premiered in 1940. The mythos of it is huge, and encompassing, and I’ve got to give it props for, y’know, actually casting people of colour in roles that weren’t villains or servants. Sabu is particularly delightful as the young thief Abu. Of course this didn’t extend to the main roles as it should have. The sets are terrific though, as are the make up, costumes and the general pacing of the film. 7/10.

[theoscarsproject]

The Sea Hawk (1940). Geoffrey Thorpe, a buccaneer, is hired by Queen Elizabeth I to nag the Spanish Armada. The Armada is waiting for the attack on England and Thorpe surprises them with attacks on their galleons where he shows his skills on the sword.

Not really my thing, but generally an enjoyable film. The Sea Hawk follows in the footsteps of many adventure epics, right down to the casting of Errol Flynn in the main role. It’s fun to see Elizabeth I in such a commanding role though, and not undermined like many of these types of films do and the action scenes are well shot. 7/10.

[theoscarsproject]

Lillian Russell (1940). Life story of the musical star from her discovery in 1890 by band leader Tony Pastor till her retirement in 1912 when she married newspaperman Alexander Moore.

Another pretty average biopic that goes by the typical backstage artist formula. Henry Fonda and Alice Faye are pretty sweet, but there’s not much else that’s happening in this small film. 5/10.

[theoscarsproject]

Down Argentine Way (1940). An American girl on vacation in Argentina falls for a wealthy racehorse owner.

It’s a shame there wasn’t an Oscar for costume design in 1940, because this film would have run away  with it. The costume and styling is divine in what is otherwise a pretty average romantic musical. Betty Grable and Don Ameche have great chemistry though, and it’s a fun little thing, even if it’s paint-by-numbers in plot. 6/10.

[theoscarsproject]

My Favorite Wife (1940). Missing for seven years and presumed dead, a woman returns home on the day of her husband's second marriage.

This is one of those films that would never be made these days, and I think it’s a real shame. It’s fun, offbeat and totally charming, dropping back onto some terrific actors to bring a funny and quick-witted script to the fore. It’s a total delight, and one I’d really recommend. 8/10.