Favorite Television Productions Set in the 1920s

Below is a list of my favorite television productions (so far) that are set in the 1920s:

 

FAVORITE TELEVISION PRODUCTIONS SET IN THE 1920s

 

1. “Boardwalk Empire” (2010-2014) – Terence Winter created this award winning crime drama about Atlantic City, New Jersey during the Prohibition era. Inspired by Nelson Johnson’s 2002 book, “Boardwalk Empire: The Birth, High Times and Corruption of Atlantic City”, the series starred Steve Buscemi.

 

 

2. “Agatha Christie’s Poirot: Five Little Pigs” (2003) – In this beautifully poignant tale, Hercule Poirot investigates a fourteen year-old murder of a philandering artist, for which his client’s mother was erroneously convicted and hanged. David Suchet starred as Hercule Poirot.

 

 

3. “Miss Fisher’s Murder Mysteries” (2012-2015) – Essie Davis starred in this television adaptation of Kerry Greenwood’s historical mystery novels about a glamorous socialite who solves mysteries in 1920s Melbourne. The series was created by Deb Cox and Fiona Eagger.

 

 

4. “Rebecca” (1997) – Emilia Clarke, Charles Dance and Diana Rigg starred in this television adaptation of Daphne du Maurier’s 1938 novel about a young bride haunted by the presence of her new husband’s first wife. Jim O’Brien directed.

 

 

5. “Peaky Blinders” (2013-2019) – Steven Knight created this television drama about a Birmingham crime family in post World War I England. Cillian Murphy, Helen McCrory and Paul Anderson starred.

 

 

6. “The Day the Bubble Burst” (1982) – Joseph Hardy directed this fictionalized account of the events and forces that led to the Wall Street Crash of 1929. The television movie’s cast included Richard Crenna, Robert Vaughn, Robert Hays and Donna Pescow.

 

 

7. “The Great Gatsby” (2000) – Robert Markowitz directed this television adaptation of F. Scott Fitzgerald’s 1925 novel about the Jazz Age. Toby Stephens, Paul Rudd and Mira Sorvino starred.

 

 

8. “The Forsyte Saga: To Let” (2003) – Damian Lewis, Gina McKee and Rupert Graves starred in this adaptation of John Galsworthy’s 1921 novel, “To Let”, an entry in his The Forsyte Chronicles.

 

 

9. “The House of Eliott” (1991-1994) – Jean Marsh and Eileen Atkins created this television series about two sisters who create this dressmaking business in 1920s London. Stella Gonet and Louise Lombard starred.

“ONCE UPON A TIME . . . IN HOLLYWOOD” (2019) Review

“ONCE UPON A TIME . . . IN HOLLYWOOD” (2019) Review

When I had first learned that producer-director Quentin Tarantino had plans to make a movie about “Old Hollywood”, I assumed that it would be set during the early 20th century – at least sometime between the 1920s and the 1940s. I had no idea that the movie would be set near the end of the 1960s.

The reason behind my initial assumption was that I have never considered the 1960s decade to be a part of . . . “Old Hollywood”. For me, that era in film history had ended by the late 1950s. I eventually learned that a good number of movie stars – Rock Hudson being one of them – had retained contracts with the industries movie studios even during the Sixties. Even those who had transferred from movie to television productions. Then . . . I heard that the movie would be about the LaBianca-Tate Murders from August 1969. Familiar with the level of violence featured in past Tarantino movies, I was pretty determined to avoid this movie. I am used to the violence featured in the director’s past movies. But I really could not see myself sitting in a movie theater and watching a re-creation of the murder of actress Sharon Tate, Hollywood hairdresser Jay Sebring and a few other friends at the hands of Charles Manson’s Family. I had seen the 1976 movie, “HELTER SKELTER” when I was a kid. Once was enough and that was only a two-part television movie. But when I had eventually learned that “ONCE UPON A TIME . . . IN HOLLYWOOD” was a revisionist movie like his 2009 film, “INGLORIOUS BASTERDS”, I decided to give it a chance.

“ONCE UPON A TIME . . . IN HOLLYWOOD” covered a six month period near the end of the 1960s – from February to August 1969. To be honest, the movie is divided into two time periods. Two-thirds of the movie is set during a 36-hour period in early Februrary 1969. The last third of the film is set during the afternoon and evening hours of August 8-9, 1969. The movie is about the experiences of two men – Hollywood television actor Rick Dalton and his friend/stunt man/chauffeur Cliff Booth. Following the cancellation of his television series, “Bounty Law”, Rick had been making guest appearances in various television shows as villains. Casting agent Marvin Schwarz warns Rick that the longer he continues appearing in television episodes as the villain, his career will eventually die and no one will remember him from “Bounty Law”. The agent suggests that Rick consider going to Europe to star in an Italian western or two. And Cliff find his career as a Hollywood stuntman over due to rumors that he may have killed his wife and an altercation with Bruce Lee on the set of “THE GREEN HORNET”. Only his job as Rick’s chauffeur/handyman has allowed Cliff to earn any cash, thanks to the actor’s alcoholism and collection of DUIs that led to the removal his driver’s license.

Rick has also acquired new neighbors – Polish-born director Roman Polanski and his actress wife Sharon Tate – both with Hollywood careers that seemed to be on the upswing. The couple had just began leasing the home of music producer Terry Melcher. Rick has dreams of befriending them as a means to revive his career. Meanwhile, he contemplates accepting Marvin’s suggestion, while he begins work on his current job – a guest appearance as another villain in the pilot episode of the TV western called “LANCER”. As for Cliff, he becomes acquainted with a beautiful hitchhiker named Pussycat. She turns out to be a member of the Manson Family, who are staying at Spahn Ranch, where he and Rick used to film “Bounty Law”. Cliff’s encounter with the ranch’s owner, the blind and aging George Spahn and members of the Manson Family foreshadows a later encounter on that infamous night, six months later.

While contemplating his career, I noticed all of the four movies made by Quentin Tarantino in the past ten years were period pieces. All of them . . . from “INGLORIOUS BASTERDS” to this current film, “ONCE UPON A TIME . . . IN HOLLYWOOD”. I would never consider the other three films as nostalgic, but a part of me cannot help but wonder if I could say the same about this latest one. The pacing for “ONCE UPON A TIME . . . IN HOLLYWOOD” struck me as a lot more detailed, relaxed and reflective than any of his previous movies. It almost seemed as if Tarantino was paying some kind of loving tribute to the end of the old Hollywood studio system. For me, this seemed like both a good thing and a bad one.

Tarantino always had a reputation for scenes that featured long stretches of dialogue or detailed action sequences. And yes, the pacing in his films – with the exception of scenes featuring action or revelations of previous mysteries – can be a tad slow upon first viewing. But “ONCE UPON A TIME . . . IN HOLLYWOOD” marked the first time I can recall such a small amount of violence or action. Tarantino seemed more evoking a sense of the past than in any other of his period films. For “ONCE UPON A TIME . . . IN HOLLYWOOD”, it was a good thing for the film managed to permeate the end of the 1960s in Los Angeles and the Hollywood Studio system thanks to Tarantino’s direction, Barbara Ling’s superb production designs, Arianne Phillips’ costume designs and the art direction led by Richard L. Johnson.

On the other hand, Tarantino’s in-depth peek into Los Angeles 1969 also had a negative impact . . . a minor one, if I must be honest. This slow exploration also included a look into actress Sharon Tate’s life . . . at least in the first two-thirds of the film. Basically, the movie reflected a peek into the daily life of the actress – attending a party at Hugh Hefner’s Playboy mansion, visiting a bookstore in the Westwood Village, and watching her latest film (“THE WRECKING CREW”) at the theater. I realize that Tarantino was trying to pay some kind of homage to Tate, but I found this . . . homage rather dragged the film’s pacing.

There were two other aspects of “ONCE UPON A TIME . . . IN HOLLYWOOD” that I found troubling. One brief scene early in the film featured an appearance by Charles Manson at the Polanski-Tate home, searching for music producer Terry Melcher, who owned it. In real life, Manson had visited the house on several occasions, searching for the music producer. These visits had led to the Tate-LaBianca murders. But the movie only featured one visit by Manson and it happened early in the film . . . six months before the night of August 8-9. I believe this is where Tarantino’s narrative structure for the film had failed. I belief the film’s second act, which is set during that very night, should have began at least a few days or a week or two earlier, allowing one or two more visits by Manson to 10050 Cielo Drive and setting up his plan to send some of his followers to kill its inhabitants.

And there was Cliff’s infamous fight with Bruce Lee that outraged a good number of critics and moviegoers and led them to accuse Tarantino of disrespct toward the actor/martial artist and racism. Many took umbrage at Tarantino’s portrayal of Lee as a braggadocio who needed to be taken down by a white man in a fight – namely Cliff. If I must honest, I felt the same. I still do . . . somewhat. I recently discovered that one of the production companies backing the film is Bona Film Group, a Chinese organization controlled by Yu Dong and Jeffrey Chan. As producers and co-financiers of the film, why did Bona Film Group fail to protest against the Booth-Lee encounter? Did the company’s executives have a personal grudge against the late martial artist? Was this lack of protest due to some unpopularity of Lee in mainland China? Or did the production company simply not cared? One minor nitpick . . . actor Mike Moh’s hairstyle for Lee was a bit too long for that 1966 or 1967 flashback. Personally, I think Tarantino should have never added that scene in the first place. It was not that relevant to the film’s overall narrative. Or he could have easily allowed Cliff to have a fight with a fictional character, instead of Lee . . . anything to avoid the unnecessary controversy that followed.

Despite these flaws, I really enjoyed “ONCE UPON A TIME . . . IN HOLLYWOOD”. As I had stated earlier, I really enjoyed the film’s atmospheric setting of the Hollywood community at the end of the 1960s. The movie also did an excellent job in conveying Tarantino’s talent for creating a narrative structure for his films. The director allowed moviegoers a peak into a Hollywood industry that was in the process of change from the old studio system to the industry’s American New Wave era between the mid-1960s and the early 1980s. This transistion was conveyed in the film not only marked by Rick Dalton’s anxiety over his foundering career, but also capped by the Manson Family’s attack upon Cielo Drive. However, Rick was not the only one anxious about his future. Cliff Booth faced professional oblivion following Rick’s marriage to an Italian actress in the film’s second half. Despite their close relationship, Rick made it obvious that he could not afford to keep Cliff in his employ. The night of August 8-9 was supposed to be his last night in Rick’s employ. What is also interesting about this film is that like “THE HATEFUL EIGHT”, it ended on an ambiguous note. Was Rick’s career ever salvaged? Also, many have forgotten that on the following evening, Charles Manson himself led a second attack upon Leno and Rosemary LaBianca in Los Angeles’ Los Feliz neighborhood. Did the revisionist ending of “ONCE UPON A TIME . . . IN HOLLYWOOD” prevent these murders? I wonder.

The movie also featured many sequences that I found very enjoyable to watch. They also help set up and maintain the film’s narrative. These scenes included Marvin Schwarz’s frank assessment of Rick’s career, Polanski and Tate’s appearance at a Playboy Mansion party, Rick’s delightful interactions with an eight year-old actress named Trudi Fraser on the “LANCER” set that helped him turn in a memorable performance, Rick’s breakdown in a trailer after flubbing his lines, and Cliff’s meeting with Pussycat. But there were two scenes that really stood out for me. One of those scenes were Cliff’s encounter with the Manson family at Spahn’s Ranch seemed like Tarantino’s take on what happened between “the family” and a stuntman named Donald Shea in late August 1969. I thought Tarantino did a superb job with this scene. It was well-paced, filled with a great deal of tension.

I can say the same about the movie’s last sequence that featured the Manson Family’s attack upon Cielo Drive during the night of August 8-9. This is where Tarantino’ use of historical revision came into play. The director-writer used Rick’s constant complaints about “hippies”, his celebrity as a former television star and Cliff’s previous encounter with the Manson Family to re-direct the latter’s attack from the Polanski-Tate household to the Dalton household. And what unfolded was chaotic, occasionally funny and yes, very scary. It truly was a well shot and well-acted sequence.

“ONCE UPON A TIME . . . IN HOLLYWOOD” featured a good deal of cameos – probably a lot more than any previous Tarantino film (I could be wrong, since I have not seen all of his films). Making solid cameos were Damian Lewis, Michael Madsen, Timothy Olyphant (as actor James Stacy), Luke Perry (as actor Wayne Maunder), Damon Herriman (as Charles Manson), Ramón Franco, Lena Durnham, Rumer Willis, Martin Kove, Clu Galagher, Rebecca Gayheart, Brenda Vaccaro, Scoot McNairy, Clifton Collins, Jr., James Remar, and Toni Basil. The movie also featured some very memorable supporting performances – especially from the likes of Al Pacino, who delightfully portrayed casting agent Marvin Schwarz; an entertaining Kurt Russell who not only portrayed stunt gaffer Randy Miller, but also served as the film’s narrator; Zoë Bell, who was equally entertaining as Randy’s stunt gaffer wife Janet; Mike Moh, who gave a colorful performance as Bruce Lee; Lorenza Izzo, as Rick’s wife Francesca Capucci; a rather frightening Dakota Fanning as Lynette “Squeaky” Fromme, Manson family member; Austin Butler as the very intimidating Manson family member “Tex”, Maya Hawke as “Flower Child”; Nicholas Hammond as actor-director Sam Wanamaker; Rafał Zawierucha as Roman Polanski; Julia Butters as the delightful child actor Trudi Fraser; a very charming Emile Hirsch as Jay Sebring; the always entertaining Bruce Dern as George Spahn; Damian Lewis, who was surprisingly effective as a witty Steve McQueen; and Margaret Qualley, who was very memorable as Manson Family member “Pussycat”.

I will be the first admit that Tarantino made little use of Sharon Tate in this film. It was quite clear that her presence really served as a catalyst for Tarantino’s story and possibly a muse. But I cannot deny that Margot Robbie gave a very charming and ellubient performance as the late actress. Brad Pitt, on the other hand, gave a very subtle yet memorable performance as former stuntman Cliff Booth, whose career had seen better days. This was due to the mysterious circumstances behind the death of Cliff’s wife. Many believe he may have killed her and got away with the crime. And Pitt managed to reflect this ambiguity in his performance and in his eyes. There were times when it seemed there was a bit of a “cool superhero” element in the character that at times, made it a bit difficult for me to relate to him. But thanks to Pitt’s natural screen persona and a very subtle performance, I was able to do so in the end.

If I had to choose the most complex character in the entire movie, it would have to be former television star Rick Dalton. And I cannot deny that Leonardo DiCaprio did an exceptional job of conveying this character to the movie screen. Thanks to DiCaprio’s performance and Tarantino, Rick is such a conumdrum. One could label him as one of those actors from the late 1950s and early 1960s, who became television stars and later tried to make the transition to film. I have read many comments that Rick has a conservative outlook on his tastes and acting skills that will forever limit him from becoming a star in Hollywood’s New Age in films. This is very apparent in Rick’s pompadour hairstyle in the film’s first half, his occasional rants against hippies and his reluctant to adapt to the new Hollywood. And yet . . . Rick eventually concedes to Schwarz’s suggestion that he try Italian westerns, he changes his hairstyle and wardrobe to reflect the fashions of the late 1960s and early 1970s, and he seeks to make social connections with Polanski and Tate to further his career. Rick is also an alcoholic and might be bipolar. DiCaprio did an excellent job in conveying Rick’s emotional state that reflect these traits.

“ONCE UPON A TIME . . . IN HOLLYWOOD” is not my favorite Quentin Tarantino film, it has became my favorite film of 2019. I do not think it has a chance of winning any of the big prizes during the awards season of 2019-2020. I have a deep suspicion that the media and the Hollywood community is not as enamoured of it as I am. Which is okay . . . to each his or her own. But damn it, the movie was superb. I have heard rumors that Tarantino plans to retire from filmmaking. Personally, I think this is a mistake on his part. Perhaps he wants to end his career on a high note. And “ONCE UPON A TIME . . . IN HOLLYWOOD” is certainly a reflection of it, thanks to Tarantino’s direction, his screenplay, the movie’s production values and especially the cast led by Leonardo DiCaprio and Brad Pitt. But I hope that Tarantino continues to make movies.

 

Favorite Television Productions Set in the 1940s

Below is a list of my favorite television productions (so far) that are set in the 1940s: 

FAVORITE TELEVISION PRODUCTIONS SET IN THE 1940s

1. “Homefront” (1991-1993) – Lynn Marie Latham and Bernard Lechowick created this award-winning series about the residents of a small Ohio town in post-World War II.

2. “Mob City” (2013) – Jon Bernthal starred in this six-part limited series that was inspired by John Buntin’s book, “L.A. Noir: The Struggle for the Soul of America’s Most Seductive City”. Co-starring Alexa Davalos and Milo Ventimiglia, the series was created by Frank Darabont.

3. “Agent Carter” (2015-2016) – Hayley Atwell starred as Margaret “Peggy” Carter, an agent with the Strategic Scientific Reserve (SSR) in the post-World War II Manhattan. Created by Christopher Markus and Stephen McFeely, the MCU series co-starred James D’Arcy and Enver Gjokaj.

4a. “Band of Brothers” (2001) – Steven Spielberg and Tom Hanks produced this outstanding television miniseries about the history of a U.S. Army paratrooper company – “Easy Company” – during the war. Damian Lewis and Ron Livingston starred. (tie)

4b. “The Pacific” (2010) – Spielberg and Hanks struck gold again in this equally superb television miniseries about the experiences of three U.S. Marines – John Basilone, Robert Leckie and Eugene Sledge – in the war’s Pacific Theater. James Badge Dale, Joseph Mazzello and Jon Seda starred. (tie)

5. “Manhattan” (2014-2015) – Sam Shaw created this series about the creation of the first two atomic bombs at Los Alamitos, New Mexico. The series starred John Benjamin Hickey.

6. “The Winds of War” (1983) – Dan Curtis produced and directed this television adaptation of Herman Wouk’s 1971 novel. The seven-part miniseries starred Robert Mitchum, Ali McGraw and Jan-Michael Vincent.

7. “Pearl” (1978) – Stirling Silliphant wrote this three-part miniseries about a group of men and women who experienced the attack on Pearl Harbor in December 1941. Angie Dickinson, Robert Wagner, Lesley-Ann Warren and Dennis Weaver starred.

8. “The Jewel in the Crown” (1984) – The ITV aired this award winning television adaptation of Paul Scott’s “Raj Quartet”novels (1965–75) about the end of the British Raj in India. The fourteen-part miniseries starred Art Malik, Geraldine James, Charles Dance and Tim Pigott-Smith.

9. “Foyle’s War” (2002-2015) – Anthony Horowitz created this television crime drama about a British police detective during World War II. The series starred Michael Kitchen, Honeysuckle Weeks and Anthony Howell.

10. “RKO 281” (1999) – Liev Schreiber starred as Orson Welles in this 1999 television adaptation of 1996 documentary called “The Battle Over Citizen Kane”. The television movie also starred John Malkovich, Roy Schneider, James Cromwell and Melanie Griffith.

Top Favorite Television Productions Set During the 1500s

Below is a list of my favorite television productions (so far) that are set in the 1500s: 

TOP FAVORITE TELEVISION PRODUCTIONS SET DURING THE 1500s

1. “Elizabeth R” (1971) – Emmy winner Glenda Jackson starred in this award winning six-part miniseries about the life of Queen Elizabeth I. The miniseries was produced by Rodney Graham.

2. “The Tudors” (2007-2010) – Michael Hirst created this Showtime series about the reign of King Henry VIII. The series starred Jonathan Rhys-Meyers and Henry Cavill.

3. “Elizabeth I” (2005) – Emmy winner Helen Mirren starred in this two-part miniseries about the last 24 years of Queen Elizabeth I’s life. Directed by Tom Hooper, the miniseries co-starred Jeremy Irons and Hugh Dancy.

4. “Wolf Hall” – Mark Rylance, Damian Lewis and Claire Foy starred in this television adaptation of Hilary Mantel’s 2009 novel of the same title and her 2012 novel “Bring Up the Bodies” about the rise of Thomas Cromwell in the court of King Henry VIII. Peter Kominsky directed.

5. “Gunpowder, Treason & Plot” (2004) – Jimmy McGovern wrote this two-part miniseries about Scotland’s Queen Mary and her son King James VI, along with the Gunpowder Plot. Directed by Gillies MacKinnon, the miniseries starred Clémence Poésy, Kevin McKidd and Robert Carlyle.

6. “The Borgias” (2011-2013) – Neil Jordan created this series for Showtime about Pope Alexander VI and his family, the Borgias, around the turn of the 16th century. The series starred Jeremy Irons, François Arnaud and Holliday Grainger.

7. “The Six Wives of Henry VIII” (1970) – Keith Michell starred as King Henry VIII in this six-part miniseries about the monarch’s relationship with each of his six wives.

8. “The Virgin Queen” (2009) – Paula Milne wrote this four-part miniseries about . . . of course, Queen Elizabeth I. Anne-Marie Duff and Tom Hardy starred.

9. “The Other Boleyn Girl” (2003) – Philippa Lowthorpe directed this adaptation of Philippa Gregory’s 2001 novel about Elizabeth I’s aunt, Mary Boleyn. Natascha McElhone, Jodhi May, Steven Mackintosh and Jared Harris starred.

Top Favorite WORLD WAR II Movie and Television Productions

September 1-3 marked the 75th anniversary of the beginning of World War II.

On September 1, 1939; the German Army invaded Poland on the orders of its leader, Chancellor Adolf Hitler, a week following the signing of the Molotov–Ribbentrop Pact. While the Polish military struggled to keep the invading Germans at bay, its government awaited awaited expected support and relief from France and the United Kingdom, with whom they had a pact. Two days later on September 3, Poland’s two allies declared war on Germany and World War II; which ended up engulfing both Europe, Asia, North Africa and the South Pacific; began.

Below is a list of my favorite movie and television productions about the war.

 

TOP FAVORITE WORLD WAR II MOVIE AND TELEVISION PRODUCTIONS

1a. “Band of Brothers” (2001) – Steven Spielberg and Tom Hanks produced this outstanding television miniseries about the history of a U.S. Army paratrooper company – “Easy Company” – during the war. Damian Lewis and Ron Livingston starred. (tie)

1b. “The Pacific” (2010) – Spielberg and Hanks struck gold again in this equally superb television miniseries about the experiences of three U.S. Marines – John Basilone, Robert Leckie and Eugene Sledge – in the war’s Pacific Theater. James Badge Dale, Joseph Mazzello and Jon Seda starred. (tie)

2. “Kelly’s Heroes” (1970) – Clint Eastwood, Telly Savalas and Don Rickles starred in this memorable war comedy about a group of Army soldiers who go AWOL to rob a bank behind enemy lines. Brian G. Hutton directed.

3. “Inglorious Basterds” (2009) – Quentin Tarantino wrote and directed this excellent alternate history adventure about two plots to assassinate Adolf Hitler in 1944. Brad Pitt, Christoph Waltz and Mélanie Laurent starred.

4. “Casablanca” (1942) – Humphrey Bogart and Ingrid Bergman starred in this Oscar winning adaptation of Murray Burnett and Joan Alison’s un-produced stage play, “Everybody Comes to Rick’s”. Directed by Michael Curtiz, the movie also starred Paul Henreid and Claude Rains.

5. “The Winds of War” (1983) – Dan Curtis produced and directed this excellent 1983 television adaptation of Herman Wouk’s 1971 novel. The miniseries starred Robert Mitchum, Jan-Michael Vincent and Ali McGraw.

6. “Hope and Glory” (1987) – John Boorman wrote, produced and directed this 1987 excellent comedy-drama about his own childhood experiences during World War II. Sarah Miles, David Hayman and Sebastian Rice-Edwards starred.

7. “A Bridge Too Far” (1977) – Sir Richard Attenborough produced and directed this darkly fascinating adaptation of Cornelius Ryan’s book about the Operation Market Garden campaign. The all-star cast included Dirk Bogarde, Sean Connery, Ryan O’Neal and Gene Hackman.

8. “Valkyrie” (2008) – Bryan Singer directed this detailed and first-rate account of Colonel Claus von Stauffenberg’s plot to assassinate Adolf Hitler in July 1944. The movie starred Tom Cruise, Tom Wilkinson and Bill Nighy.

9. “The Longest Day” (1962) – Darryl Zanuck produced this all-star adaptation of Cornelius Ryan’s book about the Normandy invasion. The cast included Robert Mitchum, Richard Beymer, Robert Wagner and John Wayne.

10. “The Bridge on the River Kwai” (1957) – David Lean directed this Oscar winning adaptation of Pierre Boulle’s 1952 World War II novel. The movie starred William Holden, Oscar winner Alec Guinness and Oscar nominee Sessue Hayakawa.

Honorable Mention: “Empire of the Sun” (1987) – Steven Spielberg produced and directed this excellent adaptation of J.G. Ballard’s semi-autobiographical novel about a British boy’s experiences in World War II China. The movie starred Christian Bale, John Malkovich, Miranda Richardson and Nigel Havers.

Ranking of “AGATHA CHRISTIE’S POIROT” Movies

With one more season of “AGATHA CHRISTIE’S POIROT” left with David Suchet as the famous literary Belgian detective, I thought it would be nice to rank some of the series’ feature-length movies that aired between 1989 and 2010. I have divided this ranking into two lists – my top five favorite movies and my five least favorite movies: 

 

RANKING OF “AGATHA CHRISTIE’S POIROT” MOVIES

Top Five Favorite Movies

1. “Five Little Pigs” (2003) – In this beautifully poignant tale, Hercule Poirot investigates a fourteen year-old murder in which his client’s mother was erroneously convicted and hanged for.

2. “After the Funeral” (2006) – When a relative of a deceased man questions the nature of his death at a family funeral, she is violently murdered the following day and the family’s solicitor requests Poirot’s help. Better than the novel, the movie has a surprising twist.

3. “The A.B.C. Murders” (1992) – In this first-rate adaptation of one of Christie’s most original tales, Poirot receives clues and taunting letters from a serial killer who appears to choose his random victims and crime scenes alphabetically.

4. “Murder on the Links” (1996) – While vacationing in Deauville with his friend, Arthur Hastings, Poirot is approached by a businessman, who claims that someone from the past has been sending him threatening letters. One of my favorites.

5. “Sad Cypress” (2003) – Poirot is asked to investigate two murders for which a young woman has been convicted in the emotional and satisfying tale.

Top Five Least Favorite Movies

1. “Taken at the Flood” (2006) – In this rather unpleasant tale, Poirot is recruited by an upper-class family to investigate the young widow of their late and very rich relative, who has left his money solely to her.

2. “The Hollow” (2004) – A favorite with many Christie fans, but not with me, this tale features Poirot’s investigation into the murder of a successful doctor at a country house weekend party.

3. “Appointment With Death” (2008) – In this sloppy adaptation of one of Christie’s novel, Poirot investigates the death of a wealthy American widow, during his vacation in the Middle East.

4. “Hickory Dickory Dock” (1995) – In a tale featuring an annoying nursery rhyme, Poirot’s secretary Miss Lemon persuades Poirot to investigate a series of apparently minor thefts in a university hostel where her sister works, but simple kleptomania soon turns to homicide.

5. “One, Two, Buckle My Shoe” (1992) – Poirot and Chief Inspector Japp investigates the alleged suicide of the Belgian detective’s dentist. Despite the heavy political overtones, this movie is nearly sunk by a premature revelation of the killer.

“HICKORY DICKORY DOCK” (1995) Review

“HICKORY DICKORY DOCK” (1995) Review

Every once in a while, Agatha Christie wrote a novel in which she used a nursery rhyme as its title. This turned out to be the case for her 1955 novel, “Hickory Dickory Dock”. Forty years after its publication, ITV aired an adaptation of the novel for its series, “AGATHA CHRISTIE’S POIROT”.

“HICKORY DICKORY DOCK” began with a rash of thefts committed at a student hostel in 1936 London. Since her sister is the hostel’s warden, Miss Lemon recruits her boss, Belgian detective Hercule Poirot, to investigate what appears to be a case of kleptomania. It does not take him long to discover the identity of the thief – a chemistry student named Celia Austin, who had stolen the items to attract the attention of psychiatry student Colin McNabb. However, it seems Celia only stole a few petty items. She was not responsible for a missing stethoscope, light bulbs and boracic powder. She also did not cut up and conceal a rucksack. When Celia is discovered the following morning, dead from an overdose of morphine, Poirot and Chief Inspector Japp of Scotland Yard eventually realize that someone tried to make her death look like suicide.

Although the novel was written and set in the 1950s, screenwriter Anthony Horowitz and director Andrew Grieve transformed the story’s setting to 1936. One, all of the “POIROT” movies and episodes are set in the 1930s, regardless of when they were made. Due to the change in setting, Horowitz and Grieve included a subplot that featured the Jarrow March and Member of Parliament (MP) Arthur Stanley. Also, all non-white and Continental European characters (aside from Greek-born hostel owner Mrs. Nicoletis) were deleted from this television adaptation. Also, the pair replaced an Inspector Sharpe with recurring character Chief Inspector Japp.

What can I say about “HICKORY DICKORY DOCK”? Honestly? I did not like it very much. I find this very interesting, considering that the movie featured two actors that I happened to like very much – Jonathan Firth and Damian Lewis. But their presence in the movie could not save it for me. Frankly, I believe that Horowitz did a piss poor job of adapting Christie’s novel. Mind you, I have never been a fan of the 1955 novel anyway. But Horowitz’s script only made it worse.

Of all the changes in this adaptation, the only one that did not bother me was the addition of Chief Inspector Japp. Mind you, I could not see someone that high up in the Scotland Yard hierarchy investigating a series of murders at a student hostel. But since the City of London is under Scotland Yard’s jurisdiction, for once Japp’s presence does not seem out of place. I wish I could say about some of the other changes . . . but I cannot.

For some reason, Horowitz had decided to include the Jarrow March into the story. Why? It really had nothing to do with the story. Also, the March actually occurred in October 1936. Yet, “HICKORY DICKORY DOCK” was set in April 1936. The screenwriter tried to justify this change by transforming MP Arthur Stanley into a Labour politician (he was a Conservative) and connecting him to the march. Worse, he changed the politician’s year of death from 1947 to 1936. To deepen the connection, Horowitz allowed one of the students to be a Political Science major and discover that another student – the murderer – was Stanley’s offspring. And you know what? It did not work. Because in the end, the Jarrow March still proved to be an unnecessary addition to the story.

By changing the story from the 1950s to the 1930s, Horowitz screwed up with another character’s portrayal. American student Sally Finch claimed to be studying in Britain on the Fullbright Program. The Fullbright Program did not exist until 1946. And although Sally proved to be a spy for British Customs that was investigating a smuggling ring within the hostel, she retained her American accent. Which led me to wonder how an American subject ended up working for a British government agency. And why did Horowitz eliminated all of the non-white characters from Christie’s novel. Mind you, her portrayal of some of them (especially one Mr. Akibombo) struck me as wince-inducing. But I do not see this as a good excuse to eliminate them all together. And one of them – a Jamaican student named Elizabeth Johnson – proved to be a very interesting character. Alas . . .

One last aspect of “HICKORY DICKORY DOCK” really annoyed me. Like other Christie adaptations with a nursery rhyme title (think “ONE, TWO, BUCKLE MY SHOE”), it used heavy-handed literary symbols to connect the story with the title. The real connection between the story and the title proved to be the name of the road where the student hostel was located – Hickory Road. Yet, director Andrew Grieve decided to include the occasional shots of a mouse roaming around the hostel and an old fashioned clock (both make up part of the famous nursery rhyme), with a few voices whispering – “Hickory dickory, hickory dickory!”. I found it very annoying. Grieve finally made use of the mouse by allowing it to scare Miss Lemon, giving the revealed murderer a chance to attempt an escape. This led to a prolonged and ridiculous foot chase that, unfortunately, has been a hallmark of the “AGATHA CHRISTIE’S POIROT” series – especially in the 1990s.

Was there anything about “HICKORY DICKORY DOCK” that I liked? Well, most of the performances stuck me as top notch. I especially enjoyed the performances of Jonathan Firth, Damian Lewis, Polly Kemp, Gilbert Martin and Elinor Morriston as some of the students at the hostel. It was nice to see that Pauline Moran was given a bigger presence in the story as Poirot’s efficient secretary, Miss Lemon. Both David Suchet and Philip Jackson were superb as Hercule Poirot and Chief Inspector Japp. Horowitz included an entertaining subplot in which Japp found himself as a house guest at the detective’s flat, while his wife was out of town. I never felt more sympathy toward the man, as he was forced to endure Poirot’s brand of Haute cuisine. The movie could also boast a first-rate production, thanks to production designer Rob Harris. He did an excellent job of re-creating mid-1930s London. He was ably helped by Peter Wenham’s art direction and Andrea Galer’s convincing costume designs.

Despite a good deal of top-notch performances – especially by David Suchet, Philip Jackson and Pauline Moran, a convincing re-creation of 1936 London and an entertaining subplot featuring Poirot and Japp; I cannot say that “HICKORY DICKORY DOCK” is a favorite mine. To be honest, I found it a bit disappointing, thanks to some unnecessary changes to Christie’s novel by screenwriter Anthony Horowitz. Oh well. You cannot win ’em all.

“BAND OF BROTHERS” (2001) – Episode Ten “Points” Commentary

 

“BAND OF BROTHERS” (2001) – Episode Ten “Points” Commentary

 

”BAND OF BROTHERS” finally came to an end in this tenth episode that featured Easy Company’s experiences as part of the U.S. Army of occupation, following Germany’s surrender in Europe. This marked the third episode that featured Richard Winters as the central character and the second with his narration. 

Told in flashback via Winters’ narration, ”Points” opened in July 1945, with Dick Winters (Damian Lewis) enjoying a morning swim in an Austrian lake, while being watched by his best friend, Lewis Nixon (Ron Livingston). After the two friends spend a few minutes looking at regimental photos, Winters recalls the experiences of Easy Company during the last days of the war in Europe and their role as part of an occupational force. Two months earlier, the company manages to capture Eagle’s Nest, Adolf Hitler’s high mountain chalet in Berchtesgaden. Following Easy Company’s capture of Berchtesgaden, they receive news of Germany’s surrender to the Allied Forces. Easy’s remaining stay in Germany does not last long. They, and the rest of 2nd Battalion, are sent to Austria as part of the U.S. Army’s occupational force. Easy Company battled boredom, various departures, the death of Private John Janovec (Tom Hardy) in a jeep accident, the shooting of Sergeant Chuck Grant (Nolan Hemmings) by a drunken American soldier, and a mixture of anticipation and anxiety over the possibility of being shipped to the Pacific. The miniseries ended with a visit by a recovered Lynn “Buck” Compton (Neal McDonough) and the revelations of the men’s post-war lives.

”Points” proved to be a mildly interesting episode about what it was like for World War II veterans to serve as part of an occupational force in Europe, following Germany’s defeat. Many of the incidents featured in the last paragraph certainly prevented the episode from becoming dull. And thanks to Erik Jendresen and Erik Bork’s screenplay, along with Mikael Salomon’s direction; ”Points” provided other interesting scenes. One featured a tense scene that saw Joe Liebgott (Ross McCall), David Webster (Eion Bailey) and Wayne A. “Skinny” Sisk (Philip Barrantini) assigned to capture a Nazi war criminal. Private Janovec’s conversation with a German veteran at a road checkpoint provided a good deal of subtle humor for me. Another humorous scene featured Winters and Nixon’s encounter with a still resentful Herbert Sobel (David Schwimmer), who proved to be very reluctant to salute the now higher ranked Winters. One scene that really grabbed my attention featured most of the 506th regimental officers watching a newsreel about the fierce Battle of Okinawa in Japan. Not only did that scene remind viewers the fate that Easy Company had managed to evade with the surrender of Japan, it also proved to be an unintentional foreshadow to Spielberg and Hanks’ World War II follow-up, ”THE PACIFIC”.

Once again, Damian Lewis gave a subtle, yet exceptional performance as the miniseries’ leading character, Richard Winters. But I was also impressed by Matthew Settle’s fierce portrayal of a frustrated and somewhat tense Ronald Spiers, who struggled to keep Easy Company together, despite their travails as part of an occupying force. And I was pleasantly surprised by Peter Youngblood Hills’ poignant performance in a scene that featured Darrell C. “Shifty” Powers’ private farewell to Winters.

I do have one major complaint about ”Points”. I did not care for the fact that miniseries did not reveal the post-war fates of “all” of the surviving members of Easy Company. The only characters whose lives we learned about were most of those seen in Austria, at the end of the episode . . . but not all. The episode never revealed what happened to Edward “Babe” Heffron or Donald Malarkey, who were also in Austria, by the end of the miniseries. And viewers never learned of the post-war fates of veterans such as William “Bill” Guarnere, Walter “Smokey” Gordon, Joe Toye, Roy Cobb, Les Hashley, Antonio Garcia, and yes . . . even Herbert Sobel.

Despite my major disappointment over how the episode ended, I still enjoyed ”Points”. I would never consider it to be one of my favorite episodes of ”BAND OF BROTHERS”. But it did not put me to sleep. However, it still managed to be a satisfying end to the saga.

Richard D. Winters (1918-2011), RIP

“BAND OF BROTHERS” (2001) – Episode Eight “The Last Patrol” Commentary

“BAND OF BROTHERS” (2001) – Episode Eight “The Last Patrol” Commentary

Episode Eight of ”BAND OF BROTHERS”, ”The Last Patrol” saw the return of paratrooper David Webster (Eion Bailey). Last seen in “Crossroads”, hobbling away from a battlefield in Holland, after being wounded; Webster returns from the hospital to find his old company recovering from the traumas suffered during the campaign in Belgium. With the Allies on the verge of victory, Easy Company begins to eye any chance of a return to combat with great wariness, during its stay in Haguenau, a town located in the Alsace region. Unfortunately, their luck fails to hold when Winters orders Spiers to select a group of men to carry out a dangerous scouting mission within the German lines. 

Recently, one of my relatives read an autobiography of one of the Easy Company veterans still living (I will not reveal his name). I was surprised to discover that he harbored some ill will toward the miniseries for allowing a major showcase of another character, David Webster. Why? Webster had never participated in the campaign in Belgium. He never bothered to leave the hospital to rejoin Easy Company in time for that harrowing experience. Many people might find that hard to believe. Yet, this autobiography had been recently published – perhaps in the last two years. This veteran continued harbor resentment toward Webster for missing the Belgium campaign after sixty odd years. Sixty years strikes me as a hell of a long time to be angry at someone for something like this.

Screenwriters Erik Bork and Bruce C. McKenna certainly included this resentment toward Webster in ”The Last Patrol”. In fact, I would probably say that they were a bit heavy-handed on this topic, especially in the episode’s first five to ten minutes. This was certainly apparent when Bork, McKenna and director Tony To insisted upon actor Eion Bailey wearing a silly grin on his face, when his character is informed about those Easy Company men that were killed, seriously wounded or otherwise in Belgium. The episode was also heavy-handed in its portrayal of Easy Company’s reluctance to engage in more combat, whether it was a major battle or a patrol. The first half of the episode seemed to saturate with some of the veterans either commenting on their reluctance to fight or their resentment toward newcomers like the recent West Point graduate, Second Lieutenant Jones (Colin Hanks) or returnees like Webster, who missed the Belgian campaign. And I never understood why Winters and not Spiers had chosen the fifteen men to partake in the patrol. Winters was the 2nd battalion’s executive officer around this time, not Easy Company’s commander.

Although the episode eventually improved, it still had another major flaw. The major flaw turned out to be Webster’s narration. Unlike Carwood Lipton’s narration featured in ”The Breaking Point”, Webster’s narration not only struck me as heavy-handed as the episode’s handling of his return, but also ineffective. The main problem with this episode’s narration is that it had a bad habit of repeating what was already shown. Some have blamed Eion Bailey’s performance for the flawed narration. However, I blame the screenwriters for writing it, and the producers for allowing it to remain in the episode. The material, in my opinion, seemed unworthy of a talented actor like Bailey.

Fortunately, ”The Last Patrol” was not a disaster. To, Bork and McKenna – along with most of the cast – did an excellent job of capturing the weariness suffered by Easy Company, following the ordeals of Bastogne and Foy; despite some of the heavy-handedness. This was especially apparent in Scott Grimes’ performance, whose portrayal of Sergeant Donald Malarkey seemed to reek of despair and grief over the deaths of “Skip” Muck and Alex Penkala in the last episode. The episode also benefitted from a humorous scene that centered on Frank Piconte’s (James Madio) return from hospital, after being wounded during the assault upon Foy. It allowed audiences to see how the men of Easy Company (both the Toccoa men and the replacements) had bonded – especially after the Belgium campaign. This scene provided a bittersweet moment for Webster (which was apparent on Bailey’s face), who began to realize how much his lack of experience in Belgium may have cost him. However, the episode’s centerpiece turned out to be the first rate action sequence that featured the patrol crossing the Rue de Triangle (Triangle River) and infiltrating German lines to snatch some prisoners. Although brief and filmed at night, the sequence was also fierce, brutal and a painful reminder that escaping the horrors of war might prove to be a bit difficult, despite the paratroopers and the Germans’ reluctance to engage in more combat.

Aside from Scott Grimes, other first-rate performances came from both Matthew Settle (Spiers) and Donnie Walhberg (Lipton), who seemed to have developed some kind of brotherly bond; Colin Hanks, who gave a nice, subtle performance as Easy Company’s newest addition, Lieutenant Henry Jones; Damian Lewis, whose finest moment as Winters came when the latter prevented the men from participating in a second patrol; Craig Heaney, whose portrayal of the embittered and caustic Roy Cobb seemed a lot more effective than in previous episodes; and Dexter Fletcher, who has been a favorite of mine for years. Not only was his portrayal of 1st Platoon sergeant John Martin was as deliciously sardonic as ever, but he provided a strong presence in the episode’s only combat sequence.

Although some are inclined to criticized Eion Bailey’s performance in ”The Last Patrol”, I am not inclined to do so. Yes, I was not impressed by his early scenes that featured Webster’s return to Easy Company. But I blame the screenwriters, not the actor. Thankfully, the episode moved past that awful beginning and Bailey proved he could give a subtle and well-rounded performance as the cynical Webster, who has to struggle to deal with the possibility that the men he had fought with in two major campaigns now consider him as an outsider.

”The Last Patrol” might not be one of the better episodes of ”BAND OF BROTHERS”. But for some reason, I have always liked it. I suspect that despite its flaws, I liked how the screenwriters and director Tony To gave it a world weary aura that matched both the situation and emotions that the men of Easy Company were experiencing, after eight months of combat.

“BAND OF BROTHERS” (2001) – Episode Seven “The Breaking Point” Commentary

 

“BAND OF BROTHERS” (2001) – Episode Seven “The Breaking Point” Commentary

Easy Company continues its experiences in Belgium in ”The Breaking Point”, Episode Seven of HBO’s ”BAND OF BROTHERS”. Following the Bastogne campaign, the paratroopers find themselves in the Bois Jacques Forest just outside of Foy, Belgium. There, they to prepare for an assault on the town, while dealing with the competency of their commander, Lieutenant Norman Dike. 

”The Breaking Point” proved to be just as much of an epic episode as ”Bastogne” and ”Carentan”. Narrated by First Sergeant Carwood Lipton (Donnie Wahlberg), the episode depicted Easy Company’s experiences in the Bois Jacques Forest, just outside of Foy. The episode began with Corporal Don Hoobler’s (Peter McCabe) killing of a German soldier and his acquisition of a Luger. However, this minor incident proves to foreshadow a series of rather depressing incidents for Easy Company to endure. While displaying his new treasure trove to some of his fellow troopers, Hoobler accidentally shot himself in the leg and severed a major artery. He died on the way to the nearest aid station. The rest of the episode’s first half focused around the company’s discussion of Hoobler’s death, the need for a new company commander to replace the incompetent Norman Dike, Babe and Guarnere’s discussion of platoon leader “Buck” Compton’s increasingly odd behavior and more rumors about Dog Company’s Lieutenant Ronald Spiers.

Unfortunately for Easy Company, matters grow worse when German artillery in Foy begin shelling the 101st Airborne’s lines in the Bois Jacques Forest. One series of shelling results in Sergeant Joe Toye losing part of his leg. When Bill Guarnerne tries to come to his rescue, another series of shelling commences and “Wild Bill” meets with the same fate. Worse, both Lipton and Sergeant George Luz witness a moment of cowardice from Lieutenant Dike. The injuries suffered by the two sergeants leads Compton – who is still recovering from his wound in Holland and a stint in an Army hospital – to have a nervous breakdown. He is relieved of duty and Easy Company finds itself short of one of its more competent officers. Easy Company has a short respite before another round of shelling by the Germans. Poor Luz finds himself crawling through the forest, searching for a foxhole for refuge. Before he could reach Warren “Skip” Muck and Alex Penkala’s foxhole, a German shell completely obliterated it . . . and them. Lipton tries to warn battalion XO Winters that Dike might prove to be a disaster for Easy Company’s assault upon Foy. But Winters can do nothing without any cause, due to Dike’s connections. But when Dike panics in the middle of the assault, causing the needless deaths of many men, Winters finally has an excuse to get rid of him and replaces him with Ronald Spiers. His choice proves to be the correct one, as Spiers manages to extract Easy Company from disaster and lead them toward victory.

”The Breaking Point” proved to be on such an epic scale that it could have easily been stretched into a 90 minute movie on its own. It had everything – drama, humor, action, and suspense. Screenwriter Graham Yost did a magnificent job in re-creating Easy Company’s experiences in the Bois Jacques and during the assault on Foy. I did have one quibble about this episode. I found myself slightly confused over the consequences of Don Hoobler’s death. The reaction of the men around the paratrooper seemed to indicate that he had died, while “Doc” Roe tried to revive him. Yet, according to Lipton, Hoobler had died on the way to an aid station. Despite this, the episode had some outstanding sequences. Some of the best featured “Skip” Muck’s recount of the wounds suffered by some of Easy Company’s men during their six-to-seven months in France, Holland and Belgium; Lipton’s attempt to warn Winters of Dike’s inadequacies as a company commander; and Spiers assuming command of Easy Company. I cannot decide whether the episode’s pièce de résistance were the shelling sequences that led to Toye and Guarnere’s injuries and the deaths of Muck and Penkala, or Easy Company actual assault upon Foy. Perhaps ”The Breaking Point” might prove to be that one episode with two exceptional sequences.

Director David Frankel not only put it all together with some exceptional action sequences, but also with his guidance of the cast. It did help that this episode featured some first-class performances. I found myself especially impressed by Frank John Hughes, who made his last appearances in the miniseries as the memorable William “Wild Bill” Guarnere; Peter O’Meara as the incompetent Norman Dike; Scott Grimes, who gave a poignant performance as Donald Marlarkey; Matthew Settle as the formidable Ronald Spiers, who proved to be a lot more human than Easy Company had earlier surmised; Neal McDonough, who brilliantly conveyed the strain Buck Compton suffered upon his return from an Army hospital and his eventual breakdown; and Rick Gomez, who proved to be both funny and dramatic as the company’s own comic, George Luz. Damian Lewis, Ron Livingston Richard Speight Jr. and Peter McCabe also gave solid support. But the best performance came from Donnie Walhberg in his portrayal of Easy’s dependable first sergeant, Carwood Lipton. Walhberg not only gave a subtle performance as the soft-spoken Lipton, but also had the screen presence to hold this epic episode together. He also captured Lipton’s style of speech in his narration of the episode.

In earlier articles, I had already indicated that there were at least three ”BAND OF BROTHERS” that I held above the others in terms of quality. Two of them were ”Bastogne” and ”Carentan”. The third episode turned out to be ”The Breaking Point”. In fact, I would go as far to say that David Frankel’s direction, Graham Yost’s script and Donnie Walhberg’s performance made it the best in the entire series.