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Yojimbo (1961) (****, action "Western")

You Can't Take It With You (1938) (***, humor, classic)

Young Frankenstein (1974) (****, comedy)

Young Poisoner's Handbook, The (1995) (***, black humor)

Yojimbo (1961) (****, action "Western") (D.-Akira Kurosawa; Toshiro Mifune, Eijiro Tono, Seizaburo Kawazu, Isuzu Yamada) (in Japanese with subtitles) Sly black humoured, action packed, violent, and immensely entertaining. An American style Western set in Feudal Japan (lovingly used by Kurosawa in many of his movies including his Shakespearean tragedies). The feel is so "Western" that I expected a tumbleweed to blow down the street at any time. Mifune is a down-on-his-luck Samurai who wanders into a small, but not peaceful, town. Two rival families living at opposite ends of main street wage a brutal war of attrition with a lucrative gambling trade as the prize. If it breathes and can wield a sword, someone hires it. Not that it necessarily continues breathing very long. This make the cooper, who builds fine barrels that double as coffins, one of the few happy townsfolk. Everyone else lives in the middle and is brutalized with the result that the entire town is paralyzed. Mifune, as the best swordsman around, is actively recruited by both families. Be careful what you ask for. Mifune cunningly plays both sides off against each other. A superb cast of misfits and malcontents including the townsfolk heightens the tension and humor. Kurosawa is no stranger to creating strong nefarious women, and Yojimbo is no exception. Mifune is superb as the merciless hand of vengeance. Kurosawa beautifully uses facial closeups to reveal character and intent. His actors are perfect for this.

Yojimbo was the model for A Fist Full of Dollars. Mifune was Clint Eastwood's model for the Man With No Name. Actually, Mifune gives a name, but it is clearly specious. Also, while Mifune doesn't smoke a cigar, there is one scene that clearly inspired Eastwood's cigar. Yojimbo is far superior to A Fist Full of Dollars. Don't let it being in Japanese turn you away. The subtitles are good, and the dialog straightforward. Also, the Man With No Name is a man with few words. Enjoy. Review based on the video tape version where it is clear much of the fine cinematography is lost to cropping. See the letter boxed video disk if possible. (Reviewed 1-30-95) See Last Man Standing. Beginning

You Can't Take It With You (1938) (***, humor, classic) (D.-Frank Capra; Jean Arthur, Lionel Barrymore, James Stewart, Edward Arnold, Mischa Auer, Ann Miller, Spring Byington, Eddie Anderson, Donald Meek, Halliwell Hobbes, Dub Taylor, Samuel S. Hinds, Harry Davenport) Considered a classic, but a bit dated and too much "Capra-corn" for my taste (Capra's films are the origin of the term). Barrymore is head of an eccentric household that would make the Addams' Family look normal. They may be weird, but they do what they like, are delightfully happy, and are loved by all in the neighborhood. Uptight son (Stewart) of a business tycoon gets roped into this insanity by the nubile daughter. This collision of socioeconomic classes and personal life styles forms the film. It is well acted with a delightful assortment of misfits, although it is not as funny as Arsenic and Old Lace. (6-1-98) Beginning

Young Frankenstein (1974) (****, comedy) (D.-Mel Brooks; Gene Wilder, Peter Boyle, Marty Feldman, Teri Garr, Madeline Kahn, Cloris Leachman, Kenneth Mars, Richard Haydn) One of Brooks' best. A parody and homage to the great horror films of the thirties. Frankenstein's grandson (Wilder) is trying to live down the family name. Of course, he gets sucked into returning to Transylvania and animating his own monster (Boyle) with the help of the humped family retainer, Igor (Feldman), and the curvaceous and uninhibited lab assistant Inga (Garr). Frankenstein's neurotic fiancee (Kahn) even plays a pivotal role. Scripted by Wilder and Brooks, the film has the proper look and feel of the old horror films. The original Frankenstein set was even used. However, we also found it riotously funny as so many of the traditional images and scenes of the genre are turned totally upside down.

The acting is top drawer. We are reminded of the loss at such an early age of the one-of-a-kind Feldman--if you haven't seen him before, you will never forget him afterwards. Boyle is simultaneously superbly threatening and innocently vulnerable as the monster. Wilder is perfectly cast as the logical scientist who is seduced by the potential of his grandfather's work. Although, heaven help you, if you were ever one of his subjects as demonstrated by his university demonstrations. Hackman's cameo role as a blind monk is priceless; this was the first time that I realized he was such a good comedian as well as serious actor.

The pronunciation of Frankenstein is the basis of a great running gag with Igor. And when the monster runs amok in the lab, the charades skit is fabulous as is the post mortem on the origin of the brain. Indeed, this was the Classic Scene in a recent issue of Premier.

So if you are in the mood to have your funny bone tickled, zip out and rent Frankenstein, kick off your shoes, and lean back. But don't try to eat anything while you're watching. (5-4-98) Beginning

Young Poisoner's Handbook, The (1995) (***, black humor) (D.-Benjamin Ross; Hugh O'Conor, Antony Sher, Ruth Sheen, Roger Lloyd Pack, Charlotte Coleman) Graham, in many ways, is a typical fourteen year old boy. He is nerdy. He wants to impress girls. He wants to be a master at something in his life. Regrettably, his choices are unorthodox; he wants to become a world class poisoner. He can be charming. Off center. And doesn't even begin to suspect that he is doing anything wrong. In short, he is totally without any concept of right and wrong. In many ways, he is similar to Alex in Clockwork Orange, but Alex knew exactly what he was doing and that it was wrong. Blackly satirical, Young is a fractured view of adolescence. Certainly, within Graham's warped view of things, his behavior is eminently rational. O'Conor's performance is perfect with the right blend of likable innocence and frightening cunning. It is chilling to realize that people like Graham actually exist. The film is apparently based on the true story of the murderer Graham Young. Young is not for the squeamish. (3-16-98) Beginning