Terry-Thomas

  • Our Man in Marrakesh aka Bang! Bang! You’re Dead! (1966)

    Our Man in Marrakesh aka Bang! Bang! You’re Dead! (1966)

    ByChristian Sauvé Movie Review

    (On Cable TV, September 2021) James Bond derivatives were hot properties during the 1960s — as other studios tried to match the debonair secret agent, they went for imitations, comedic takes, parodies and outright Bondsploitation. The complement of that was the kind of thriller (often tragic) about innocent men abroad getting caught up in intrigue and discovering substantial inner strength. Our Man in Marrakesh stars Tony Randall playing slightly against type as an ordinary tourist getting caught up in a spy operation in (where else?) Marrakesh. Executed with a slightly comic tone that avoids veering into parody, the film is clearly meant for mass-market fun rather than moral lessons, and so we get the usual overlapping plots, romantic interest, action sequences and other standard components of the genre. Rather good Moroccan scenery is defeated by the not-so-good image quality of the version I saw. Surprising character actors fill up the cast, going all the way from the blonde menace of Klaus Kinski to the joviality of Terry-Thomas. I suspect that the film isn’t as remarkable today given decades of variations on similar approaches, but it does offer a touch of 1960s exoticism, Randall in fine form and enough adventure plotting to keep you busy until the end credits.

  • Monte Carlo or Bust! aka Those Daring Young Men in Their Jaunty Jalopies (1969)

    Monte Carlo or Bust! aka Those Daring Young Men in Their Jaunty Jalopies (1969)

    ByChristian Sauvé Movie Review

    (On TV, June 2021) If you’re noticing a slight titling resemblance between Those Daring Young Men in Their Jaunty Jalopies and the better known Those Magnificent Men in Their Flying Machines, well, that’s not an accident: Monte Carlo or Bust! was made as a sequel to the earlier flying film, and the American release simply retitled the result to make it even more clearly related to its 1965 predecessor. The premise is a ground-bound variant, the characters are similar but not meant to be related (even if some of the cast is the same, no character is meant to carry from one to the other), and the style is very similar: Random comic mayhem across a large ensemble cast, structured around a race that’s never as simple as it would appear in the first place. Terry-Thomas plays a large part in this film, but the ensemble cast includes such notables as Tony Curtis (who, for extra bonus points, also played a racer in the similarly-themed but funnier The Great Race), Dudley Moore, and Gert Fröbe. The 1920s setting means that we’re back in a somewhat heroic era for racing, with many mishaps along the way that would do not exist in a more modern age. Monte Carlo or Bust is decently amusing, but it is not snappy: at slightly more than two hours, it’s very much an epic comedy that favours large-scale practical gags rather than tight dialogue or fast pacing. There’s a little bit of romance to make it sweeter, but the overall impression remains of an amiable, often spectacular sort of comedy. It hasn’t aged as well as it should, but it keeps some of its period charm.

  • The Wonderful World of the Brothers Grimm (1962)

    The Wonderful World of the Brothers Grimm (1962)

    ByChristian Sauvé Movie Review

    (On Cable TV, December 2020) An intriguing artifact from one of the corners of film history, The Wonderful World of the Brothers Grimm is not only a George Pal fantasy spectacle, but a rare feature film to have been shot in panoramic Cinerama – a film process that recorded and projected on three separate screens, as to immerse the audience in wraparound experience. No, the gimmick didn’t last a long time, and yes, trying to fit that to a TV screen can lead to some very strange visual artifacts. Still, it’s one of those curios made for technical appreciation as much as for plot: while the story weaves the life of the real Brothers Grimm with short fanciful interpretations of their tales, viewers may be more interested by cinematography that attempts to take advantage of the near-surround screens of the Cinerama process. Some scenes are long wide takes where the camera doesn’t move; others make a conscious effort to move through space to wow audiences. Little of this works on the small screen, but that’s fine – sometime, just seeing what The Wonderful World of the Brothers Grimm tries to do can be entertaining in itself. As for the narrative, well, it’s a clumsy, almost endearing fantasy from times where fantasy tropes literacy wasn’t as commonplace: At least, with fairytales, we’re attaching the plot devices to familiar childhood material. The stop-motion animation sequences remain impressive, while in between Barbara Eden and Yvette Mimieux, at least there’s something more than special effects to see. (Otherwise, there’s a young and sprightly Russ Tamblin playing the hero, with comic relief from a short appearance from Terry-Thomas.) I’m ambivalent about whether to recommend The Wonderful World of the Brothers Grimm as a purely narrative experience – on a TV screen, the compromises of Cinerama filmmaking make it almost impossible to watch without noticing the making of the film more than focusing on its substance. Still, even budding film historians will get a kick out of seeing an alternate future never taken for cinema.

  • Tom Thumb (1958)

    Tom Thumb (1958)

    ByChristian Sauvé Movie Review

    (On Cable TV, May 2020) Producer George Pal was the SFX wizard of his time, always picking projects that pushed back the state-of-the-art in matters of cinematic spectacle. As the first project he directed, Tom Thumb isn’t that big of an anomaly in his career—we remember the Science Fiction films Destination Moon, War of the Worlds and The Time Machine, of course, but he also produced (sometimes directed) some more family-friendly fantasy films like this one. An attempt to combine effect-heavy blockbuster filmmaking with the very different demands of a musical comedy, Tom Thumb may not have stood the test of time as well as Pal’s other films, but it’s still worth a look. Various techniques, such as oversized object trick photography and stop-motion animation, all help sell the illusion of the VFX side, while catchy songs do the rest on the musical side. The demands of special effects clearly constrained the final result, since the film clocks in on the much-shorter side for musicals at only 98 minutes. Ascendant stars Terry-Thomas and Peter Sellers have supporting antagonist roles in here, while Russ Tamblyn seems in his element as the hero. While the seams on the special effects are now obvious, that’s part of the fun as well. Thankfully, this Tom Thumb doesn’t stick too close to the fairytale: the entire thing is bouncy, lighthearted and a joy to watch, which is not the case with all adaptations of that source material.

    (On Cable TV, March 2021) A wild blend of musical comedy and special effects, Tom Thumb takes considerable liberties with the original story to deliver a rounded old-school Hollywood experience, albeit with a heavier dose of spectacle than most films. Helmed by event-filmmaking legend George Pal, it starts with the proposition that special effects are the point of the film, and then go on to deliver a (thin) story and (ambitious) musical numbers, one of them even incorporating extensive stop-motion animation. Having a feature film with a tiny character means quite a bit of trickery and while much of that has already been done better in the years since, there’s still a charm and an earnestness to the results here that’s hard to dismiss. Good song backed by a spirited performance from Russ Tamblyn (with some supporting work from British comedy legends Terry-Thomas and Peter Sellers) help sell the entire package. Comparisons with some of Disney’s family pleasers aren’t misplaced, even though Tom Thumb is often more interesting is bits and pieces rather than as an entire film.