It’s the Easter Beagle, Charlie Brown (1974) (TV Special Review)

  Following after three successful holiday specials, Charles Shulz's and his team decided to keep going with their Peanuts Holiday offerings, in which Charles promptly asked … “has there ever been a prime-time, Easter themed TV special?” Shulz's already had pre-set Charlie Brown Easter themed comic strips in 1972, so it only seemed fitting to transition Snoopy's "Easter Beagle” sketches into animation. Thus, April 1974 marked the premier of “It’s the Easter Beagle, Charlie Brown”, the twelfth of “The Peanuts” Prime-time TV specials, and fourth of their holiday events. Speaking personally, this special concluded a childhood series of five holiday-themed Charlie Brown offerings, and it’s admittedly the one I loved the least of the bunch … yet still have fondness for.

  Naturally, it’s the Easter season, and Linus per usual, is eager to spread the word of the titular Easter Beagle, and his immanent arrival on Easter Sunday. 

His friendly crush Sally, has mixed feelings on this, as she wants to trust Linus, but she hasn’t forgotten her disappointment on Halloween with the Great Pumpkin. Linus’s older sister Lucy is downright irritated with him, and has her own goals of setting-up the greatest egg hunt, in which she wins everything. Speaking of Eggs to color for Easter, Peppermint Patty’s attempts to teach Marcie how to color eggs is as challenging as jumpstarting a car in a blizzard … whenever she thinks she makes progress, Marcie just makes another unintentional blunder that spoils everything. Meanwhile, as all this is going on, the little bird Woodstock loses his house in a rainstorm, and tasks best friend Snoopy to find a new birdhouse. Oh … and Charlie Brown is in there too … somewhere.

 Yeah … problem number one with this special is that Charlie Brown is almost an extra, and is ether pushed off to the side-lines, or completely absent. Not that I need every Peanuts special to revolve around him, but the holidays in my view are a special occasion in which our lead should either be the main focus, or at the very least have equal attention as the other kids. Just like in the original Sunday-comic strips, Charlie Brown sadly doesn’t get an Egg on Easter, but sense we spent such little time with him, the moment doesn’t feel earned, and just leaves me feeling empty. For as downbeat as Charlie Browns Valentines got, we at least saw him keep hope alive, and that one day he’ll receive something special, which made for a bitter sweet ending. Had he gotten more of an arc about keeping the faith alive amidst all his doubts and misfortunes, this outcome would have been justified, but that never really happened.

  I also find Linus a little insufferable in this outing, which is a shame, because his optimism for the holidays is usually a bright spot. It’s hard to explain, but in comparison to his excitement for the Great pumpkin, he felt more whimsical and jubilant as he expressed his feelings, but this time around, he just feels cynical and even accusatory toured how the other kids celebrate Easter. 

The sub-plot with Snoopy getting a new house for Woodstock, while a little repetitive, still has its cute moments, and I like seeing Snoopy actively helping a friend as opposed to just goofing off. I do love the interior design of Woodstock’s finished house, and I remember as a kid thinking it was the coolest thing. Oddly enough, the brightest spots in this special are Peppermint Patty’s many failed efforts to teach Marcie about decorating eggs. These scenes had me laughing hard when I was a kid, and whenever I watched this special with either friends or classmates, these moments always got the biggest reactions.  

 This special clearly wanted to put all its focus on the other kids, with no specific main character, making it feel more like an ensemble peace. The approach at least lends itself to a simple, day in the life atmosphere, and it’s leisurely paced to make you feel like you’re experiencing a little slice of life with these kids. I’d say most of it works, with plenty of charm to spare, but I don’t think it’s quiet as consistent as some of their other offerings. 

Some of it can get a little boring, with some added fluff that I feel just didn’t need to be there. One particular musical scene with Snoopy and the girls dancing to wind-up Christmas animatronics just felt like padding for the sake of it. Speaking of which, this special once again highlights commercialism that goes too far, with one of the main set-pieces being a shopping mall that’s over stuffed with Christmas decorations during the Easter season. It’s funny at first, but there’s almost too much of it on display, to the point where … I think there’s actually more Christmas featured in this special then there was in the actual Christmas special.

 Thankfully, there are still those special moments that do their job putting me in a good Easter mood. My favorite little scene of the whole special is when Snoopy finds an egg-shaped charm box, and pictures himself hanging out with some bunny’s. It’s a cute little moment, which has the distinction of Snoopy speaking for the first time … he shouts “HEY!” … and the scene is also relevant for giving Snoopy his inspiration to become the titular Easter Beagle. The climactic sequence of Snoopy delivering Eggs on Easter Sunday is another cheerful highlight, with decent build-up, and another pleasant music track. I also like that, even though all the kids know it’s snoopy, it’s still a win for Linus, as everyone (minus Charlie Brown) is filled with a sense of warmth and friendship. Even Lucy shows how much she’s grown, as Snoopy gives her a dog kiss, and for once, she doesn’t go into panic mode like she usually dose, and feels genuinely touched from his kind gestor.

  In the end, while I wouldn’t call this one of the absolute best of “The Peanuts” holiday offerings, I’ve always welcomed it as a minor tradition to return to for Easter. In general, there are so few Easter specials as it is, that I can’t help savoring Easter Beagle as something sweet to share with the kids for the holiday. If you’re a general Charlie Brown fan, I’d say it’s well worth a watch, but don’t expect it to be on the same high standards as the early classics. Yet, with that said, I know this special has it’s fans, and it was even nominated at the Emmy Awards for Best animated Prime-Time Special. So, even with my reservations toured this outing, there’s definitely something there to make it worthwhile, and who knows … it might just be a welcomed little treat for ones Easter basket.

Thanks for reading my review of the 1974 holiday special “It’s the Easter Beagle, Charlie Brown” … and continue to enjoy the specials you Love!

     

 

The War of the Worlds (1953) (Movie Review)

  The 1950’s is often considered a dark time in the history of classic cinema, at least for the A-list pictures. B-movies on the other-hand went through a renaissance of sorts, and for Science Fiction … this decade sparked a great golden age, which firmly shaped the whole genera. While most films of the time still fell into that cheap, B-movie camp, there were still some gems like “The Day the Earth Stood Still” and “Forbidden Planet”, which maintained the campy esthetic, yet still went that extra mile into classic motion picture territory. The 1953 picture “The War of the Worlds” is one of the bright spots of this time, as it can be branded as a campy alien invasion movie of the 50’s, but the execution was done so well, and with so much ground breaking innovation for it’s time, that it’s been preserved as a classic motion picture in its own right. As far as I’m concerned, this movie remains the gold standard for the hostile alien invasion genera, and while it doesn’t quiet peak into the realms of my all-time favorite movies, it never the less has a secure spot among my favorite classic Sci-Fi pictures, and it’s easily my personal favorite to come from the 1950’s.  

  Of course, it helped that “The War of the Worlds” already had an impact on the public culture, well before the release of the movie. The original 1898 novel by H. G. Wells is a staple in early Science Fiction literature, and was considered ahead of it’s time, both in relevant themes and in creating a freighting premise. 

The real event however was the 1938 radio drama hosted by Orson Welles, which aired as a live broadcast, and caused mas hysteria, as many tuning in thought it might have been real coverage. This helped generate a lot of hype for the movie when it finally came out several decades later, and was a smashing success from both critics and audiences … almost like an early example of our modern summer blockbusters. The movie follows the main layout of the book, focusing on invading Martians from Mars, who aim to annihilate the human race, and colonize Earth as their new home. The film opens with a delightfully cheesy intro, as we see a montage of stock-footage from both World Wars One and Two, and a stock narrator stating that … “Of all the great world wars man kind has faced, nothing could have prepared us for … The War of the Worlds”. It’s so corny, I love it, and the music by Leith Stevens is a wonderful product of the time. What follows is a surprisingly chilling narration about the planets in our solar system, and why the Martians singled out Earth, which gets me hooked every time I watch this film.  

  Everything in the movie is now seen from the perspective of a scientist, who was on a fishing trip, and gets himself roped-into the situation to try and save the human race. While that’s a small change, other major alterations were made due to the constraints of the time. 

Originally, the book was set in London of the 1800’s, while the movie is set in California of the 1950’s. Also, the original depictions for both the aliens and their war machines were heavily altered. The aliens were initially described as being huge and bear-like, while the movie depicts them as small and squid-like. The aliens themselves are admittedly kind of silly looking, with a face that looks like a video game console, but there’s still a lot of technical ambitions in the details, with visible veins, pulsing skin, and even changing colors. 

Also, the build-up to their first appearance is reasonably effective, first with a quick glimpse of them from a window, then with a lingering shadow, and finally the creature sneaking-up from behind. The whole scene with our two lead survivors in the house is one of the film’s most memorable set-pieces, and would be replicated in further remakes. The movie was directed by Byron Haskin, who had previously directed Disney’s 1950 adaption of “Treasure Island”, and was a natural talent for making the best-looking spectacles within the boundaries of his limitations … and this movie was no exception. 

  Both the special effects and sound designs were on par with the quality of “Star Wars”, almost two decades before the famous franchise reshaped the special effects industry. Both the film editing and sound effects were nominated at the Oscars, and it even won the Academy Award for Best Special Effects. Even the acclaimed Sci-Fi movies of the time didn’t get that level of Oscar recognition. So, while the product is dated in parts, one can’t dismiss that it was a technical marvel, with many referring to it as the “King Kong” of its time. 

All these years later, I still find this film visually appealing, especially with its practical miniatures, and I could listen to the sound designs all day. This brings me to the most obvious alteration from the novel, which is changing the giant tri-pod war machines to smaller hover crafts. Production designer Albert Nozaki was determined to avoid the cliched flying saucer look of the time, and instead made the ships look like a cross between a manta-ray and a cobra. Not only do these ships stand apart with a unique design, they also have a lot of personality, from their rotating head peace, to their smaller probe with the multi-colored eye scope. The one detail in which the effects are a little spotty are the visible wires holding up the ships. While there have been re-releases that have digitally removed them, you still have to do some digging to find a good copy … otherwise, those wires can be a little distracting. 

  Also, even with the changes from the novel, the film still maintains many core elements, mainly the aspects of how the aliens are depicted in threes. Instead of machines with three legs, the ships arrive in groups of three, and instead of creatures with three movable appendages, they now have three eyes, and three fingers. Even when the scientist explains the mechanics of the ships, he describes them as moving on invisible legs as opposed to floating on air … which is another commendable detail for a movie adaption of the 50’s. Producer George Pal was a longtime fan of the source material, went over all the details with a fine-tooth comb, and already had experience with bigger budget Sci-Fi pictures of the time, most notably the 1951 Sci-Fi picture “When Worlds Collide”. He even had ambitions for a sequel, which came in the form of a TV series in the 1980’s, although he sadly passed away before the shows release.

 The characters in the movie, and by extent their performances are nothing extraordinary, but they were above average for the typical genera performances of the time. The lead scientist was played by Bat Masterson, who was a successful TV star of the time, and in the film convincingly transitions from stoic scientist, to a man who can no-longer contain his emotions. Actress Ann Robinson, while a little over the top with her screaming, never the less really tried to give a layered performance, at least for a caricature of this period. She’d also have a successful career in television, staring in the Western series “Fury”, as well as reprising her character role in the 1980’s “War of the Worlds” TV series, and even made a cameo in Steven Spielberg’s 2005 “War of the Worlds” remake.

  As something of a side note, when I first saw this movie during my middle school years, I also saw 1996’s “Independence Day” for the first time, and it was interesting to see how many similarities overlapped with each other. Both depict the ships as being protected by an impenetrable shield, which the military is incapable of getting through. Both movies even have a scene in which they try using nuclear bombs, which don’t even scratch the surface. 

The movie of “The War of the Worlds” concludes the same way the novel dose, with Earth’s bacteria being our salvation, and yet, early in the third act, there’s suggestions of a man-made virus to fight off the aliens … a concept that carries all the way through in “Independence Day”. Lastly, both movies have a moment with other nations whiling to put aside differences to help each-other against a bigger threat, which was also relevant to the Cold War paranoia of the 50’s. While the novel covered themes of Religion, Science, Natural Selection, Social Darwinism, Colonialism, Imperialism, and Human Evolution, the movie wisely scales things back, and has relevant themes of the decade, without going too overboard. For me, the most effective elements of the film are in its third act, in which there’s less focus on the aliens, and more enfaces on the downfall of humanity. Amidst all the rubble and destruction, we see how mankind surrenders to both paranoia and selfish greed, and end up destroying their last chance for hope in the process. For as fun and campy as the film is, this climax remains effectively grim, and still leaves an unnerving impression. 

  While the concept of alien invasion movies has become tired and clichéd in general, “The War of the Worlds” still remains a classic, and I still adore it all these years later. The concept is no different from any other films involving Martians trying to concur earth, but the overall presentation, tone and execution is far superior to any other film from its time. Right from the films epic opening narration, this film reels me in, and delivers an experience, rather than just flashy entertainment, although the film has that too ... in bucket loads. The sound effects, color pallet, and unique alien designs are amazing cinematic marvels for the 50’s, and still hold up to this day. Even though the acting is a little off, the overall atmosphere and tone stay consistently strong, and to this day, I still regard the 1953 picture “The War of the Worlds” as more than just my own personal favorite alien invasion movie … it’s one of cinemas great classic Science Fiction motion pictures.

Thanks for reading my review of the 1953 Sci-Fi classic “The War of the Worlds” … and continue to enjoy the movies you Love!   

My Top 10 Pre-Title Card Movie Openings

 

  A while back, I posted a list of my top 10 favorite opening credit scenes, and now I wanted to continue with the next best thing … the pre-title openings … or cold-openings as their sometimes called. It’s almost like a teaser or short film before the main event, and for me, there’s nothing quiet as exciting as building-up to that main title. Now, I have to clarify, this isn’t a list of my all-time favorite openings, as the intros to movies like “Raiders of the Lost Arc”, “Toy Story 2”, “The Dark Knight”, and “The Prince of Egypt” are some of my all-time favorites … except, their titles appear on scree before the intro, and in the case of “The Dark Knight”, the title doesn’t even appear until the closing credits. Title cards in general are kind of a lost art, which is a shame, because I feel a strong lead-up to a title card really gets the experience started. So, for the occasion, I wanted to count down my own personal Top 10 Favorite opening scenes in movies that build-up to the title card. 

 

#10 The Pre-Title opening to “Batman Returns” (1992) 

Typically with comic-book movies, we open on the introduction of our lead superhero … but this is a special case in which a short origin story of the main villain can kick things off on just as effective a note. In a flashback set 33 years ago during Gotham’s holiday season, a rich family has just given birth to a son, but he was born with odd deformities, and is quite vicious as it actually made a meal of their family cat. One cold December night, the parents took him out to the park and abandoned their monster baby in the sewers. It’s like a short Gothic picture before the main feature, complete with atmospheric quires, long panning shots down the hallways, with screams heard off in the distance, and when the title finally appears, it effectively builds the anticipation on seeing this new villain in the current day story, and how he’ll challenge our hero. 

 

#9 The Pre-Title opening to “Serenity” (2005) 

This opening scene is one of my favorite examples of a crafty filmmaker at work. Right off the bat, every scene lasting till the end of the opening credits are all linked together in a way that’s very artistic, and it gives the opening an unbroken linear flow and narrative, even when jumping to a number of different settings. The Universal logo is first inserted into the opening narration, which recaps on the state of the universe … then it’s revealed the narration was actually a class … then the class is revealed to be an illusion in an abducted girls mind … then it’s revealed to be a flashback, in which the girl is rescued by her older brother … which is then revealed to be a security recording observed by the films main villain … and the scene just keeps building on itself. Even when the title appears, it’s not just the card, it’s the name of our hero’s spaceship displayed on the outer haul. It’s a rock-solid opening, and keeps going strong with an unbroken tracking shot through the ship, reintroducing us to the main cast.

 

#8 The Pre-Title opening to “The Mummy” (1999) 

One of the main selling points to a good monster movie is how the opening can get you excited to see the titular monster villain the film is named after. The movie begins in ancient Egypt, where the powerful high priest Imhotep is cursed and mummified alive after an affair with the Pharaoh’s mistress. It’s a cryptic opening that scared the hell out of me as a child, and it gets things started on a strong note. What I really love most is the narration that builds up to the title, as our story teller warns us that, should this monster ever arise … “He’ll rise as a walking disease … a plague among mankind … with power over the sands … and the glory of invincibility!” Along with the built-up music, the title appears on screen, and it gets me hyped every time.  

 

#7 The Pre-Title opening to “Beauty and the Beast” (1991) 

When it comes to Disney animation, they’ve delivered some of the all-time great openings, leading-up to their titles, with the big one being the iconic opening to “The Lion King”, which came very close to making my list. However, there are two other animated Disney opening ’s I like a little more, and for me, the opening to “Beauty and the Beast” is one of my favorite animated cold-openings, leading into a film’s title card. While not as big, and epic as “The Lion Kings” opener, it’s the subtle yet brilliant presentation on display that really makes this one stick with me more. We’re told the backstory of our titular Beast, which is brilliantly displayed through stain glass windows, and we learn that he was once a prince … spoiled, heartless and only jugged people through their outward appearances. After dismissing an ugly old woman, he was cursed by an enchantress to take on the likeness of a monster, and would remain that way until someone could find beauty hidden deep within. Everything from the narration, to the visuals, to the subtle music cues are all rich with atmosphere, and it perfectly sets the tone of the film without anything grand or operatic.

 

#6 The Pre-Title opening to “Desperado” (1995) 

Robert Rodriguez is no stranger to kicking-off his movies with an electrifying cold-opening, one of his best being the intro to his 1996 movie “From Dusk till Dawn”. However, my favorite of his movie intro’s is this top-tear lead-in to his 1995 action movie “Desperado”. A lone anti-hero is out for revenge against an underground drug ring, but before he takes action against a drug crew, who run their deals in a local bar, a witness first comes in, and relays the whole story of how he witnessed this mysteries avenger enacted Judgment Day on another dive. It is some of the most exciting build-up for an action hero that I’ve ever seen, and as the witness goes into all the details, it further builds that anticipation. The Crime Boos asks … “Wait and minuet, are you saying you saw his face?’ To which the witness responds with … “His face … no … I saw his eyes!” ... which gives me chills every time. Once he finishes his recap, the witness leaves the bar and comments … “I think he said he’s coming here next!” Then the title comes up, with a rousing music track, and I’m all in.  

 

#5 The Pre-Title opening to “Specter” (2015) 

When it comes to long-standing franchises that make a tradition of cold-openings that lead into the opening titles … nothing takes the cake like the James Bond series. Ever sense the 1964 movie “Goldfinger” set the bar for iconic pre-title openings, this franchise has consistently delivered some of the all-time best. While the 2015 movie “Specter” is admittedly not one of my favorite entries in the series … it has stuck with me for one reason … it features my absolute favorite opening of the whole franchise. In a brilliant, one-take shot with no visible edits, we see Bond amidst a carnival, leaving to his hotel room, revealing that he’s working a capper, and finally singling out his target … which culminates into a white knuckled chase, involving a dog-fight with a helicopter. It’s absolutely sensational, and as far as I’m concerned, you can just stop the film after the opening credits, because nothing else in the film is on par with this thrilling opening sequence.

 

#4 The Pre-Title opening to “Tales from Earthsea” (2006) 

When it comes to fantasy epics, they usually open with exposition to set the ground work for the story, while in other cases they open with big epic battles … however, this is a special case in which a fantasy kicks things off with all the best beats, including action, mystery, intrigue, suspense, and all before the title appears. Things start off on a thrilling note, with dragons sparring amidst a raging storm at sea, and in this fantasy world, it’s apparently unheard of for Dragons to behave so aggressively. Further intrigue is built-up as the King of the land discuss a dark and mysterious change that’s sweeping over the land. Just as the King is being set-up as an intriguing character, he’s suddenly killed by a mysterious assassin … who just happens to be the Kings son under some kind of malevolent influence. As he rides off into the night, the King speaks his final words, the music builds, the title triumphantly appears on screen, and I’m left with chills from head to toe. That’s how you start a fantasy epic, with just the right amount of action, ominous build-up, and one big surprise after the next.       

 

#3 The Pre-Title opening to “Star Trek” (2009) 

Here’s another case in which a pre-title opening is so good, it could have been a short film by itself, and I’d call it a mini-masterpiece. While the movie follows the adventures of Captain Kirk, the intro focuses on the heroism of his late father, who gave his life commanding a starship, while fighting off an enemy attacker, and all in an effort to give the crew and more importantly his wife the chance to escape. As he fights off the villains to his dying breath, his wife simultaneously goes into labor, giving birth to their son, who’s destined to carry on the mission his father started. Seeing a dad give his life, for the chance for his loved ones to live is captured very effectively in this moment, and it honestly gets me to care for Kirks dad just in these short minuets more so than the actual hero through the rest of the film. It’s a beautifully shot, powerfully acted, and emotionally stirring segment, which kicks off the film on a high note. Then when the title lights up the screen … it’s one of the biggest, most triumphant title cards I’ve ever seen, and a perfect way to start a mostly solid entry in one of my favorite Sci-Fi franchises.    

 

#2 The Pre-Title opening to “The Hunchback of NotreDame” (1996) 

Next to “The Lion King”, and “Beauty and the Beast”, my favorite opening in all of Disney … in all of animation for that matter … is the opening “Bells of NotreDame” sequence. In this opening, we’re given the detailed backstory of the deformed baby named Quasimodo. We see his mother give her life to protect the baby from the wickedness of Judge Frollo, then the villain takes him in as a surrogate son, for Atonement on his soul … and it’s all conveyed in musical form. This is the classic method of musical-storytelling in peak form, and it’s something that Disney had never really done before. It’s not a traditional song number with characters singing about themselves, or their interests … instead it’s this really Gothic and tragic tale, conveyed through a mighty quire, and some truly haunting visuals. The opening shot alone is sensational, and it’s paired with my favorite opening notes of any musical. It’s just an epic sequence, and a powerful opening to my personal favorite animated Disney movie. 

 

Before I reveal my number one favorite, here are some quick Honorable Mentions to the pre-title openings that I regrettably didn’t have room for on my list …

“The Lion King” (1994)

“Sleepy Hollow” (1999)

“Teenage Mutant Ninja Turtles: The Movie” (1990)

“The Longest Day” (1962)

“Ghostbusters” (1984)

 

#1 The Pre-Title opening to “Patton” (1970) 

Here’s arguably the most subtle opening of all … yet so efficient in its presentation, that it just takes the gold prize. George C. Scott delivers the biggest performance of his carrier as the well-spoken, charismatic, and commanding military general. This is personally my favorite war movie of all time, and the film kicks off on a really strong note as General Patton gives his speech to the third army in World War II. He instills both fear and pride into his solders, and it’s his brutal honesty that everyone rallies around. With zero reaction shots from the audience, perfect staging, silent track, iconic American Flag backdrop, and Scots electrifying screen presence, this monologue stands as an authentic recreation of the general’s real-life speech, and tells us everything we need to know about the general, all before the title even appears on screen. It’s arguably the most famous set-piece of the whole film, as it’s featured in all the marketing. Once the title appears, matched to Jerry Goldsmiths iconic music track, I feel as immersed as you can get into a movie going experience. Sometimes you don’t need a big, epic opening … sometimes it’s just the little things that leave the most memorable impression, and for me … the pre-title opening to “Patton” is my favorite, and the best way to open one of the greatest war movies ever made.

Thanks for reading my countdown … and continue to enjoy the movies you Love!