Tonight's Movie: Christmas in July (1940) - A Kino Lorber Blu-ray Review

Kino Lorber has recently had a lineup of particularly good new releases, several of which I'll be reviewing here in the near future.

One of those films is CHRISTMAS IN JULY (1940), which was released this week by Kino Lorber alongside the British Christmas film THE HOLLY AND THE IVY (1952); the latter film will also be reviewed here soon.

CHRISTMAS IN JULY technically isn't a Christmas film, but one of its main themes is about the happiness which comes from helping others, making it particularly good viewing at this time of year. It's a short little 67-minute classic written and directed by the great Preston Sturges.

CHRISTMAS IN JULY is the story of Jimmy (Dick Powell), an office clerk who believes he's won a fortune in a contest by creating a new ad slogan for a coffee company.

Jimmy has been stuck in a dead-end job and suddenly has enough money to marry his sweetheart Betty (Ellen Drew) and make life better for his family and friends. The day of his win holds many more surprises which won't be spoiled here; along the way Sturges' script explores additional themes such as the importance of hope and the pitfalls of celebrity.

Powell and Drew are excellent, with Powell particularly moving as a frustrated man who suddenly finds himself living a joyous dream, with money to spend and bright job prospects ahead. The pretty Drew's career wasn't especially splashy but she worked steadily and gave excellent performances in a number of films, including JOHNNY O'CLOCK (1947), which reunited her with Powell, and STARS IN MY CROWN (1950) with Joel McCrea. CHRISTMAS IN JULY is another strong performance from Drew.

The film is a who's who of great character faces, including Raymond Walburn, Franklin Pangborn, William Demarest, Rod Cameron, Ernest Truex, and Ferike Boros.

The movie was filmed in black and white by Victor Milner.

I first reviewed this film here in 2008 and saw it again at the 2015 TCM Classic Film Festival. This is a good one to return to every few years, so I was delighted to watch it again thanks to this beautiful new Kino Lorber release. The print is lovely.

The interesting audio commentary by film historian Samm Deighan delves into Sturges' films and their themes; she also comments on other aspects, such as the very realistic strain underlying Jimmy and Betty's relationship. (That angle was frankly a surprise to me the first time I saw the film, as it's portrayed in a different tone than one tends to see in that era.) It's a thoughtful and well-researched commentary which added to my enjoyment of the film.

Additional extras are the trailer and a gallery of trailers for other films available from Kino Lorber.

Another lesser-known Sturges film released the same year, THE GREAT MCGINTY (1940), will be released by Kino Lorber in January.

Thanks to Kino Lorber for providing a review copy of this Blu-ray.

New Western Roundup Column at Classic Movie Hub

My new column was posted today at Classic Movie Hub.

This month's post is "Western Film Book Library - Part 2," a sequel to a column published in July.

Please click on over to Classic Movie Hub for a discussion of some of my favorite books on Westerns!

Thanks for reading, and Happy Thanksgiving!

Previous Classic Movie Hub Western Roundup Column Links: June 2018; July 2018; August 2018; September 2018; October 2018; November 2018; December 2018; January 2019; February 2019; April 5, 2019; April 30, 2019; May 2019; June 2019; July 2019; August 2019; September 2019; October 2019.

Tonight's Movie: The Goldwyn Follies (1938) - A Warner Archive DVD Review

The colorful musical THE GOLDWYN FOLLIES (1938) is available on DVD from the Warner Archive.

Although I love musicals, I was unfamiliar with this film until I recently read a post on it by Jessica Pickens at Comet Over Hollywood. I was intrigued and caught up with it today; I can report I found it visually stunning, if only moderately entertaining in other regards.

Adolphe Menjou plays movie producer Oliver Merlin, whose latest films haven't done well. While on location he overhears Hazel Dawes (Andrea Leeds, STAGE DOOR) commenting on the silliness of the scene she's just watched filming, and he decides to hire Hazel as a sort of "everywoman" he dubs "Miss Humanity" who will help him stay in touch with what the general public wants to see.

Hazel falls in love with an unknown singer, Danny (Kenny Baker, who would later appear in THE HARVEY GIRLS). The only problem with this is Oliver thinks he's in love with Hazel...

That's pretty much it as far as the plot. The rest of the film strings together a bunch of musical and comedy numbers of varying quality. There's Vera Zorina (seen here) and the American Ballet, choreographed by George Balanchine; opera singer Helen Jepson; Edgar Bergen and Charlie McCarthy; and the odious Ritz Brothers, who also appeared in ON THE AVENUE (1937). The less said about them the better, other than I'll never understand how they made it into the movies.

Of particular note are two Gershwin songs, "Our Love is Here to Stay" and "Love Walked In," which made their first appearances in this film. I also especially enjoyed Jepson singing an excerpt from LA TRAVIATA and Zorina's "Water Nymph" ballet.

Nothing about the musical numbers especially impressed me, but they're worthwhile, and the film should be seen at least once simply to take in the stunning Technicolor photography by Gregg Toland. The color is really something else!

There are other moments here and there which make the movie worth checking out, such as Alan Ladd in an early bit role playing a singer auditioning for a part. The idea of Ladd as a singer amused me.

For those wondering, Leeds did not do her own singing in her duets with Baker, but was dubbed by Virginia Verrill.

THE GOLDWYN FOLLIES was directed by George Marshall and the uncredited H.C. Potter. It runs 122 minutes.

The supporting cast includes Ella Logan (later of Broadway's FINIAN'S RAINBOW), Nydia Westman, Phil Baker, Bobby Clark, and Jerome Cowan.

THE GOLDWYN FOLLIES was released on a retail DVD a number of years ago, then reissued by the Warner Archive in 2015. Unlike most Warner Archive DVDs, it has subtitles and an illustrated chapter menu which were carried over from the original DVD release. The print is beautiful, with excellent sound.

Thanks to the Warner Archive for providing a review copy of this DVD. Warner Archive releases are MOD (manufactured on demand) and may be ordered from the Warner Archive Collection at the WBShop or from any online retailers where DVDs and Blu-rays are sold.

Tonight's Movie: Every Which Way But Loose (1978)

This year I've enjoyed a few films starring or directed by Clint Eastwood, including ESCAPE FROM ALCATRAZ (1979), BRONCO BILLY (1980), and revisiting SULLY (2016).

Since I enjoyed all of those titles I got to thinking I should check out more Eastwood films, and I started with EVERY WHICH WAY BUT LOOSE (1978).

I remember seeing the advertisements for this when I was a kid -- the orangutan was kind of hard to miss -- but I had never seen the movie before. It proved to be mildly amusing, though nothing special.

The movie is almost plotless. As it begins, we see Philo Beddoe (Eastwood) getting off work driving a truck, but little else is heard of his job after that point. Philo lives with an orangutan (!) named Clyde; his buddy Orville (Geoffrey Lewis) lives next door with his ornery mother (Ruth Gordon).

Philo becomes interested in Lynn (Sondra Locke), who sings at talent night at the Palomino Club, and when she leaves town abruptly, Philo and Orville -- and Clyde! -- hit the road to search for her. (Job, what job?!) Along the way they meet Echo (Beverly D'Angelo) working at a roadside produce stand, and Echo and Orville become an item.

That's pretty much the story right there. As the movie meandered on, it suddenly hit me that it was an updated version of a Beach Party movie; it had music, a goofy motorcycle gang, characters living free from responsibility, and not much plot. All it needed to complete the analogy was Vincent Price or Bob Cummings in the cast!

Price and Cummings are not in the movie, but there are a couple great old character faces who have screen time, George Chandler and Hank Worden.

I liked the movie's music, with Eddie Rabbitt singing the title song and appearances by Mel Tillis and Charlie Rich. I also enjoyed some of the great "vintage" shots of the San Fernando Valley, such as a look at a Bob's Big Boy under the opening credits.

There were some cute bits with Clyde but all in all the film is only mildly entertaining. I do hope to catch the sequel, ANY WHICH WAY YOU CAN (1980), in the near future. Although I wasn't impressed, it's fun getting to know the movies behind the posters after all these years.

EVERY WHICH WAY BUT LOOSE was directed by James Fargo from a script (such as it is) by Jeremy Joe Kronsberg. The movie was shot by Rexford Metz.

EVERY WHICH WAY BUT LOOSE is available on DVD as a single title or in the 4 Film Favorites: Clint Eastwood collection. It also had a release on VHS.

Tonight's Movie: Swing Time (1936)

Some of my very earliest movie memories are of watching Fred Astaire and Ginger Rogers on local television (KTTV in Los Angeles, to be exact!). They've been part of my life for just about as long as I can remember.

I was also fortunate to see several of their films, including SWING TIME (1936), in L.A. theaters growing up; they're part of my happy memories of going to "old" films at the Vagabond or the Leo S. Bing at the Los Angeles County Museum of Art.

Like MGM musicals, I saw these films so many times that in recent years I've focused on seeing other films, especially "new to me" movies. It's thus especially fun to return to an old favorite like SWING TIME after a number of years, seeing a very familiar film through fresh eyes.

SWING TIME is widely considered one of the best (and perhaps the best) Fred & Ginger film. I'm not sure if it's my favorite, mostly because I find supporting actor Victor Moore so annoying (he's on a par with Hugh Herbert for me), but it's definitely high on the list. The Jerome Kern-Dorothy Fields score and the dances simply don't get any better than they are in this movie.

SWING TIME is a bit slow out of the starting gate, more lightweight rom com than musical, as Lucky (Astaire) is due to marry wealthy Margaret (Betty Furness). Lucky's show biz pals sabotage his plans on his wedding day, but Margaret's father says he'll approve a new wedding date if Lucky can make good on earning $25,000.

Once Penny (Rogers) appears things pick up considerably, no pun intended: Lucky visits the dance studio where Penny is an instructor and pretends he can't dance, prompting the first great number of the movie, "Pick Yourself Up." From this point on, roughly half an hour into the 103-minute movie, it fires on all cylinders.

From there on out, you've got the Oscar-winning "The Way You Look Tonight," the "Waltz in Swing Time," and "A Fine Romance," as well as Astaire's great solo, "Bojangles of Harlem," with its remarkable effects. (And yes, the blackface may be uncomfortable by modern standards, but at the time it was filmed it was honoring both the American minstrel tradition and Astaire's friend Bill "Bojangles" Robinson. Context is important, rather than looking back with current sensibilities.) For my money, the greatest of all the musical numbers in the film comes last, "Never Gonna Dance."

I would not only term "Never Gonna Dance" the greatest of Fred and Ginger's dances, I'd stack it against any musical number, anywhere, as one of the greatest ever put on film. The stunning Art Deco set with reflecting floor, Ginger's elegant gown (by Bernard Newman), the Kern-Fields song, the overwhelming emotions as they believe they've lost their chance at love...and most of all, the dancing, it's simply spectacular magic. Only Astaire and Cyd Charisse "Dancing in the Dark" in THE BAND WAGON (1953) ranks alongside it for me.

The plot's a lot of gossamer silliness as Lucky tries to get out of earning $25,000 so he won't have to marry Margaret, because he's now in love with Penny...but it doesn't really matter, because that last hour-plus of the movie is filled with musical glory.

The presence of one of my favorite '30s character actresses, Helen Broderick, helps make up for Victor Moore being in the movie, especially when she puts him in his place. The cast also includes Eric Blore, Georges Metaxa, and Landers Stevens. Bess Flowers and Dennis O'Keefe are said to be among the extras, but I didn't spot them.

SWING TIME was directed by George Stevens, who certainly made some diverse films in his long career, including SHANE (1953). The movie was filmed by David Abel, who had worked from the days of silents. He retired after THE AFFAIRS OF SUSAN (1945) and lived until the early '70s.

I watched the lovely Criterion Collection Blu-ray released earlier this year, which I recently purchased on sale. The disc has many extras, and there's also a booklet with an essay by Imogen Sara Smith, illustrated with stills from "Never Gonna Dance."

SWING TIME has been released on many other occasions, including the DVD set Astaire & Rogers: The Complete Collection and on VHS.

Highly recommended.

Tonight's Movie: Woman in Hiding (1950) - A Kino Lorber Blu-ray Review

This fall has been a wonderful time for Ida Lupino fans, thanks to Kino Lorber. Having previously released the four-film Ida Lupino Filmmaker Collection, consisting of films directed by Lupino, Kino has now released WOMAN IN HIDING (1950) on Blu-ray.

Lupino stars in the title role in WOMAN IN HIDING, a Universal Pictures film which was previously released on DVD in the TCM Vault Collection.

It's a well-done "woman in peril" film with a crackerjack opening, as Lupino drives a wildly careening car underneath the opening credits, culminating in the car flying off the road into a river.

The viewer soon learns that Deborah Chandler Clark (Lupino) survived the crash but is hiding from her homicidal hubby Selden Clark (Stephen McNally), having fled from him on their wedding night. Unbeknownst to Deborah, hubby anticipated her escape and cut the brake line.

Selden had previously pushed Deborah's father (John Litel) off a catwalk at the Chandlers' company (!), then married Deborah so he could own the business. Deborah learns all this when she and Selden arrive at their honeymoon destination only to find Selden's mistress Patricia (Peggy Dow) waiting there, very unhappy that Selden married someone else and ready to let Deborah know just what a mess she's walked into.

While on the road hiding from Selden, Deborah meets Keith Ramsey (Howard Duff), a veteran still finding his way back into civilian life; he's a "college man" but currently working at a bus depot magazine stand while he figures out his future.

Keith initially thinks Deborah is emotionally unstable and wants to help her husband find her so that Deborah will get the "care" she needs...will he realize his mistake too late?

There's nothing especially unique about the film, but Lupino is always compelling. Additionally, I love Universal films of this era, which are typically well plotted and packed with interesting casts; in addition to the Lupino and other actors previously mentioned, there's even Peggie Castle in a bit role as a waitress who works alongside Lupino in a diner. It's simply a very enjoyable 92 minutes of suspenseful melodrama.

Lupino and Duff married the year after this film was released. Curiously, I felt that Duff looks somewhat younger than Lupino here, but in reality he was half a decade older! I suspect it may be due to the shorter early '50s hairstyle which had an "aging effect" on so many actresses of this era. She was only about 31 when this was filmed.

WOMAN IN HIDING was directed by Michael Gordon. Roy Huggins of MAVERICK and THE ROCKFORD FILES fame adapted James Webb's SATURDAY EVENING POST story, which was then turned into a screenplay by Oscar Saul.

The black and white photography was by William Daniels.

The supporting cast includes Taylor Holmes, Don Beddoe, Irving Bacon, and Angela Clarke. If IMDb can be believed, Tony Curtis is the voice of the bus driver, Dave Shaw, played by William Val. I'll have to take another look and listen!

The Kino Lorber Blu-ray looks quite nice. Extras on the Blu-ray are a commentary track by Kat Ellinger and a gallery of four trailers for other films available from Kino Lorber.

Thanks to Kino Lorber for providing a review copy of this Blu-ray.

Tonight's Movie: Rebecca (1940) at the Egyptian Theatre

Last night was another very special evening in Hollywood, thanks to the American Cinematheque: A screening of David O. Selznick's personal 35mm nitrate print of REBECCA (1940).

The REBECCA showing, which was a complete sellout, was part of a weekend of nitrate films at the Egyptian Theatre. Director Christopher Nolan (DUNKIRK) was present to introduce the movie.

I've seen REBECCA on a big screen multiple times over the years, including at the Tiffany Theater in the late '70s and at the TCM Classic Film Festival in 35mm in 2015, but this viewing was extra-special. The nitrate print was absolutely pristine.

There's something truly unique about nitrate, which I've heard described as being the closest viewers can get to having actually been on the set. A nitrate print has a richness to it that almost makes it feel like a living thing, and knowing that exact print has been viewed by others throughout many decades is awe-inspiring. In a sense, last night all of us in attendance became part of the history of that nitrate print.

Since REBECCA is one of my favorite films directed by Alfred Hitchcock, the evening was pretty much perfect for me. For those curious, I'd class REBECCA in my Top 5 Hitchcock films, along with FOREIGN CORRESPONDENT (1940), THE LADY VANISHES (1938), NOTORIOUS (1946), and SHADOW OF A DOUBT (1943). REBECCA was the director's first American-made film.

The story of somewhat mysterious, wealthy widower Maxim de Winter (Laurence Olivier) and his shy and adoring young second wife (Joan Fontaine) is well known to most classic film fans, so I won't reiterate it here; I encourage any classic film fans who haven't yet seen this film to bump it high up on the "to watch" list!

Although the screenplay by Joan Harrison and Robert E. Sherwood was forced by the Production Code to make a key change from the classic novel by Daphne Du Maurier, it's exemplary classic film era moviemaking in every way, very much deserving of its Academy Award for Best Picture. The movie runs two hours and 10 minutes yet never seems too long, and I happily return to it every few years.

The casting of the role of the Second Mrs. de Winter is almost as famous as Selznick's hunt for Scarlett O'Hara, but in both cases he got it right. Joan Fontaine is simply splendid in the role; every nuance is pitch perfect. It's a performance which has grown on me more with each viewing; in recent years I've picked up on some interesting unspoken undercurrents as played by Fontaine and Olivier, who is also perfectly cast as Maxim.

As for the supporting cast, they don't come any better. Other actresses have tackled the role, but Oscar-nominated Judith Anderson is the Mrs. Danvers for all time. George Sanders plays the late Rebecca's oily "cousin," Reginald Denny is Maxim's loyal aide, and Gladys Cooper and Nigel Bruce are Maxim's sister and brother-in-law. Florence Bates, Leo G. Carroll, and Sir C. Aubrey Smith round out the players. As good as "modern" movies can be, casts like this simply don't exist in this day and age.

The Oscar-winning cinematography was by George Barnes, and the musical score was by Franz Waxman.

REBECCA has been released on DVD multiple times, including by the Criterion Collection and as part of the Alfred Hitchcock Premiere Collection. It's also been released on Blu-ray and VHS.

Some more shots taken last night:

We're very lucky that two of the four theaters capable of screening nitrate prints are in Los Angeles, the other being UCLA's Billy Wilder Theater.

Christopher Nolan speaking before the movie (click on the photo to enlarge it):

REBECCA is most highly recommended.

Tonight's Movie: The Right Stuff (1983) at the American Legion Hollywood Post 43 Theatre

Earlier this week we celebrated Veterans Day with a very special event at the American Legion Hollywood Post 43 Theatre. The occasion was a screening of the modern classic THE RIGHT STUFF (1983), held in conjunction with the American Cinematheque.

The gorgeous Post 43 theater, which has a superb sound system, was an inspired choice for the showing of a beautiful 35mm print. The movie couldn't have looked or sounded any better than it did on Monday evening, where it was appreciated by a near-sellout crowd.

Prior to the film, Alan K. Rode interviewed the film's director and screenwriter, Philip Kaufman, who among other things shared memories of flying with Chuck Yeager.

Actress Veronica Cartwright, who played Betty Grissom in the film, was introduced from the audience. Cartwright was also one of the stars of Kaufman's remake of INVASION OF THE BODY SNATCHERS (1978).

The movie's theme was, of course, perfect for a Veterans Day celebration. Post 43 is celebrating its centennial this year. Before continuing with a discussion of the film, here are photos of Monday night's beautiful American Legion venue on Highland Avenue, located just south of the Hollywood Bowl:

THE RIGHT STUFF is a longtime favorite of mine which I'd not seen in a theater since its original release. I was thrilled to watch the movie with a packed, enthusiastic audience who applauded the first appearances of several cast members, including Cartwright and modern-day cult favorite Jeff Goldblum.

There are very few films which run over 3 hours -- 193 minutes to be exact -- and can be said to fly by (no pun intended, but it fits!). The film is mesmerizing from its earliest scenes, with Sam Shepard channeling Gary Cooper as he plays the remarkable Yeager, the test pilot who breaks the sound barrier.

The film never lets up, as the stories of the Mercury 7 astronauts merge with Shepard's when future astronauts Gordon Cooper (Dennis Quaid) and Deke Slayton (Scott Paulin) arrive at the dusty California air base where Yeager's been flying for years; the cocky young pilots are a contrast to the "old school" test pilots Yeager and Scott Crossfield (Scott Wilson).

Eventually we meet the other Mercury 7 astronauts chosen at the end of an arduous (and at times funny) process, including straight arrows John Glenn (Ed Harris) and Scott Carpenter (Charles Frank), Air Force pilot Alan Shepard (Scott Glenn), ornery Gus Grissom (Fred Ward), and reticent Wally Schirra (Lance Henriksen).

Kaufman's screenplay and the film's actors somehow pull off a tone which manages to be both irreverent and patriotic. The astronauts realize they're in the middle of a big PR game and milk it for all it's worth, participating in the creation of their own public images while privately cracking jokes about it. At the same time, when the helmeted astronauts walk toward the camera accompanied by Bill Conti's soaring, Oscar-winning theme, it's tremendously stirring, and later scenes of their various triumphs in space are quite beautiful and moving.

There are so many memorable moments, beautifully filmed by Caleb Deschanel, from Yeager and his wife Glennis (Barbara Hershey) horseback riding to Glenn telling his wife (Mary Jo Deschanel) she doesn't have to let Vice President Johnson (Donald Moffat) into their house to the astronauts demanding that the designers put a window on the capsule, which they rename a "spacecraft." Cartwright shines in a scene when she realizes she won't get the chance to meet Jackie Kennedy. Moments big and small string together and combine into an unforgettable movie.

The one sequence I've never quite understood is the fan dance with Sally Rand (Peggy Davis) near the conclusion of the movie; it's used as a way for the astronauts to take a sort of curtain call, juxtaposed with Yeager's latest death-defying flight, but I've always found it an odd choice.

The supporting cast includes Pamela Reed, John Dehner, Kim Stanley, Royal Dano, David Clennon, and Harry Shearer. Chuck Yeager appears in scenes at Pancho's Bar on the desert air base.

As the movie concluded, there was extensive applause for many names in the end credits, all very much deserved. THE RIGHT STUFF is highly recommended.

THE RIGHT STUFF is available on Blu-ray, DVD, and VHS.

It was also released on a 30th Anniversary Blu-ray, which is the version I own.

A First Look at Disney+

Tuesday, November 12th, marked the eagerly anticipated debut of Disney's new streaming service, Disney+.

I previously wrote extensively about the service's initial original programming after attending the D23 Expo in August.

I also shared Leonard and Jessie Maltin's thoughts from the Expo on some of classic film content available on Disney+.

Disney+ actually went "live" on some apps earlier than announced, on Monday evening, Pacific Time. Although we experienced some short-lived glitches with unlisted titles or difficulty setting up a profile, all in all I consider the launch a great success.

We had no problems at all when it came to watching anything; the streaming worked perfectly on both our Roku and my iPad, with no buffering or other interruptions.

There were some nice surprises available for viewing, such as the SPIN & MARTY serial from THE MICKEY MOUSE CLUB. I could have missed it but I don't recall having seen that title would be available in the many articles I read in the run-up to the Disney+ debut.

Another nice surprise was that some films which Disney has previously censored are presented on Disney+ in uncensored versions. For instance, the cigarette which does not appear in my VHS copy of MELODY TIME (1948) was restored to the "Pecos Bill" segment; instead there is a disclaimer prior to the film. That is certainly a more appropriate way to handle things, if Disney feels obligated to advise viewers about material which may make them uncomfortable, rather than outright censorship.

That said, I'm told a cigarette in SALUDOS AMIGOS (1943) is still edited out; perhaps the print will be upgraded to the original version in the future?

I haven't yet seen for myself, but I've read that the 20th Century-Fox logos have been restored to the original STAR WARS films now that Fox is owned by Disney, which is good news. On the other hand, another edit of the Han-Greedo shootout?! Oh, please, no. Can we just go back to the "Han Shot First" release version already?

Meanwhile, fans of Disney's recently acquired THE SIMPSONS are dismayed that the service is showing the cartoon series in the wrong aspect ratio. So Disney+ is a mixed bag in terms of presentation pros and cons at the present! (November 15th Update: Disney has announced that THE SIMPSONS will be available in its original aspect ratio on Disney+ beginning early in 2020.)

I'll have more to say about classic films and Disney+ further down in this post, but first, a few words on the first two original programs I sampled on the service.

The first new show we watched was the much-anticipated STAR WARS original TV series, THE MANDALORIAN, with Pedro Pascal in the title role.

Supporting actors over the course of Season 1 of THE MANDALORIAN will include Carl Weathers, Ming-Na Wen, Brendan Wayne, Nick Nolte, Taika Waititi, and Werner Herzog. It was created by Jon Favreau, who has previously both directed and acted in Marvel films.

The series is set in the "Wild West" days after the fall of the Empire in RETURN OF THE JEDI (1983), and it is most definitely a Western, with a touch of samurai on the side. Among other things, you've got a saloon shootout and the Mandalorian learning to ride a bucking "horse."

Some have likened the title character to Clint Eastwood's "Man With No Name" of spaghetti Westerns, as there's not a great deal of characterization at this point, given we've yet to see his face. He does speak occasionally, at least!

Despite the entire first episode focusing entirely on a "masked" (helmeted) man, it was a good watch, around three stars on a four-star scale. It was set in a pleasantly familiar STAR WARS world, while also featuring some entertaining new things. The show's "lived in" world reminded me of the original STAR WARS (1977) or the more recent films which I've liked the most, ROGUE ONE (2016) and SOLO (2018), both of which were subtitled A STAR WARS STORY.

The episode's ending was a bit of a jaw-dropper for STAR WARS fans, which should definitely pull viewers back for Episode 2!

The running time for this episode was 40 minutes. Unlike some streaming services, Disney+ will be featuring new episodes on a weekly basis, rather than dropping an entire series at once; the next episode premieres this Friday and then on ensuing Fridays from there on out. (November 15th Update: Thumbs up for Episode 2, which runs a short and sweet 33 minutes. Solid adventure story firmly grounded in the STAR WARS world, told with a minimum of dialogue.)

I'm grateful for a few days between episodes, as dumps of entire seasons tend to lead to family members disappearing for many hours on end to catch the latest show before they hear any spoilers!

The other series I watched last night was Episode 1 of THE IMAGINEERING STORY, directed by Leslie Iwerks, whose family has a long history with Disney.

The 68-minute episode, "The Happiest Place on Earth," focused on the creation of Disneyland. I've seen many documentaries and presentations on Disneyland history over the years, as well as archival specials such as those included in the Disney Treasures set Disneyland USA, and I'm pleased to report this show was absolutely superb, a definite four stars.

It was beautifully crafted and somehow felt fresh and new despite going over some familiar material. I loved the close looks at miniatures of various attractions, and the vintage Disneyland footage was truly gorgeous. (And I'll never get over being sad that Rolly Crump's Tower of the Four Winds didn't survive the 1964 World's Fair...)

There were also very special new moments. Watching Bob Gurr walk through the Matterhorn he designed and shoot hoops on the infamous half basketball court inside the mountain was simply marvelous.

I don't know how anyone could not be moved watching Gurr and Crump tear up when discussing Walt Disney's death, over half a century since he left us. (I reacted similarly when I got to the final exhibit in the Walt Disney Family Museum a couple years ago.) What an enormous loss Walt's passing was for all of us.

I cannot be more enthused about THE IMAGINEERING STORY, and I'm looking forward to Episode 2 on Friday! Looking further down the road, I'm very much looking forward to the forthcoming INK & PAINT documentary on Disney+.

Regarding classic-era films, it's been said by Disney CEO Bob Iger that almost every title in the Disney catalogue will eventually be on the service, but it should be understood that the service is not yet at that point. It has a deep library currently available but there are still many titles missing.

When it comes to classic-era films on Disney+, my personal interest is more muted, as simply put, I already own every available Disney title I want on Blu-ray, DVD, and/or VHS (looking at you, MELODY TIME and MICKEY'S MAGICAL CHRISTMAS!). However, streaming access to these titles is a topic of great interest to many of my readers and/or potential subscribers, so I've been watching the issue closely.

Last month I was traveling on the day the initial list of films available on Disney+ was announced, and on the fly I put together a list of older Disney titles not available on Disney+ launch day, which I shared on Twitter.

The list of titles not yet on Disney+ is pretty extensive, including SO DEAR TO MY HEART (1948), JOHNNY TREMAIN (1957), SUMMER MAGIC (1963), or THE MOON-SPINNERS (1964) to name just a few. There are numerous other titles among the missing.

These titles may possibly be absent from Disney+ due to pre-existing agreements, which are also keeping some newer titles off the service for the time being, or they may also be in need of work before they look good enough to broadcast. (And, sadly, I doubt we will ever see SONG OF THE SOUTH on the service, despite it featuring the work of the first black male actor to win an Academy Award; perhaps one day Disney will be brave enough to show it with one of the disclaimers described above, but I won't hold my breath.)

As Leonard and Jessie Maltin said at the D23 Expo, it's important for Disney fans to let Disney know what they'd like to see on the service, whether it's more classic Disney films, shorts, TV shows and serials, or Leonard's own great Disney Treasures introductions. I recommend viewers share their thoughts on social media and also actively watch the older programs currently available on Disney+ to show there's an eager audience.

The future of classic era 20th Century-Fox films is also a huge question mark. A tiny number of Fox titles are available on Disney+, including MIRACLE ON 34TH STREET (1947), but at this point no one really knows what will happen in terms of access to these films. Disney plans to show newer Fox content on the Hulu streaming service, so it's always possible some will end up there. The future of these 20th Century-Fox films for theatrical showings is also an unknown, as Disney has recently been cutting off some repertory theaters from showing films in the Fox library.

All in all, my initial feelings on Disney+ are positive. There is very good original new content, with much more to come over the next year; some nice surprises in terms of available titles and prints restored to their original versions; and a very deep library.

The positives are, of course, offset by the types of problems and questions outlined above, so I'll be watching developments closely going forward.

And now it's time to decide what to watch next on Disney+!

Tonight's Movie: The Bounty Man (1972) - A Kino Lorber DVD Review

Clint Walker stars as THE BOUNTY MAN (1972), available on DVD from Kino Lorber.

THE BOUNTY MAN is one of a trio of early '70s Western TV-movies recently released by Kino Lorber. I've previously reviewed the other two films, THE DAUGHTERS OF JOSHUA CABE (1972) and THE TRACKERS (1971).

In THE BOUNTY MAN Walker plays Kinkaid, a tough, no nonsense man who makes a living tracking down outlaws.

When he captures Billy (John Ericson, BAD DAY AT BLACK ROCK), Billy's girlfriend Mae (Margot Kidder), tags along. Mae is a prostitute who dreams of a better life with sweet-talking Billy, but as she tries to help set Billy free, she gradually comes to realize that it's not exactly a dependable relationship. Meanwhile she increasingly appreciates Kincaid, once she learns more about what's underneath the rough exterior.

Kinkaid, Mae, and Billy are all in for more trouble than they've bargained for when another gang wants to take Billy in for the reward themselves, and they're happy to kill Kinkaid in order to do it.

This is a fairly bland, standard issue Western. The three leads do what they can, with Kidder particularly adding some energy to the proceedings, but it's all a bit perfunctory. The script by Western specialist Jim Byrnes doesn't offer anything new or particularly interesting.

It's a fairly typical Western story of a group of disparate travelers facing down a dangerous enemy in the middle of nowhere. While one of the great pleasures of Westerns is seeing what different casts and filmmakers bring to familiar stories, in this case it's simply not as good as it could be. The film is watchable due to the cast, but all in all it's a very modest film.

Walker and Kidder, as it happened, both passed on last year in the same month, May 2018. Ericson, born in 1926, is still with us.

The supporting cast includes Richard Basehart, sadly unmemorable here, plus Arthur Hunnicutt and Gene Evans.

This 73-minute film was directed by John Llewellyn Moxey. It was filmed by Ralph Woolsey.

The disc includes a gallery of Western trailers and an interview with the director, Moxey. Like Kino's other recently released TV-movies, the print is nothing special but certainly adequate.

While this particular film was a bit of a disappointment, I love the fact that Kino Lorber is making long-unseen TV-movies available for home viewing, and I'm hoping for more such releases in the future.

Thanks to Kino Lorber for providing a review copy of this DVD.