The Cranes Are Flying 03/07/20

The Criterion Collection

Some classic Russian films are impressive, others are interesting — and this one takes our heads off, as if we were seeing great moviemaking for the first time. Soviet filmmaking under Stalin was locked in the grip of stifling bureaucratic sameness; Mikhail Kalatazov waited until the passing of Joe Stalin to direct with a degree of freedom. This show about lovers separated by war won prizes around the world, giving Soviet films new life internationally — its bravura montages and fluid camera set pieces still astound. The stars are Sergey Batalov, and the world-class actress and beauty Tatyana Samojlova. On Blu-ray from The Criterion Collection.

Beau Brummell 03/07/20

The Warner Archive Collection

This remake of Warners’ 1924 John Barrymore feature gives us Elizabeth Taylor in the Mary Astor role, Stewart Granger as the fashion dandy of the Restoration Period, and a scene-stealing Peter Ustinov as a lonely, needy Prince of Wales. The historical details are bogus, but it at least doesn’t turn Brummell into a typical swashbuckler. Compensating are English actors that can get any script up on its feet, and Liz Taylor’s blue-violet eyes. And the Oswald Morris cinematography improves greatly on the MGM house style. Also starring Robert Morley, James Donald, James Hayter, Rosemary Harris, Paul Rogers, and Noel Willman. On Blu-ray from The Warner Archive Collection.

CineSavant Column

Saturday March 7, 2020


Hello, plenty of CineSavant column link fun today.

I very much enjoyed the Argentinian noir The Beast Must Die last night at Noir City in Hollywood; the series continues all week long. Eddie Muller made the introductions in fine form, and since it was the opening night, there were a lot of people in costumes, plus the LAPD contingent with their 1950s uniforms and squad cars.

TCM has released a tentative schedule for Muller’s Noir Alley show, which I’m taking the time to lay out here. They’re all great entertainment, of course. I’ve not seen only one of them, Bodyguard. All but three are available on video disc, and ten out of 21 are on Blu-ray.

07   Ride the Pink Horse   (**link to review)
14   I Wake Up Screaming   (**)
21   Elevator to the Gallows   (**)
28   Crime Wave above →   (**)

04   Address Unknown   (**)
11   Beyond a Reasonable Doubt   (**)
18   Witness to Murder   (**)
25   Wicked Woman
02   Fallen Angel   (**)
09   Mildred Pierce   (**)
16   The Crimson Kimono   (**)
23   Cornered   (**)
30   A Kiss Before Dying   (**)
06   The Underworld Story below →   (**)
13   Murder By Contract top ↑   (**)
20   Underworld U.S.A.   (**)
27   The Lady From Shanghai   (**)

04   The Sign of the Ram
11   Bodyguard
18   Three Strangers   (**)
25   The Breaking Point   (**)

CineSavant favorites at the moment are Crime Wave (André De Toth’s direction, plus a look at ‘Bob’s Big Boy’ in Toluca Lake in 1952), Address Unknown (extreme designs by director Cameron Menzies), Wicked Woman (wonderful Beverly Michaels sleaze), The Underworld Story (prime Cy Endfield subversion) and Murder by Contract (minimalist existentialism at least a decade before its time). Half of the rest are stone classics, so just be safe and watch them all. Even if I don’t watch the shows, I DVR and then watch Eddie Muller’s bookended on screen comments… it’s an education.



Old friend and contributor Wayne Schmidt passes on a link to an important work of cultural art, reminding us that some of our favorite entertainers have passed on to that great cel-washing animation stand in the sky. None of these ‘toons’ have gravestones, the acetone saw to that: Grace Ebert on Filip Hodas’s Skulls of Endearing Cartoon Characters.



Correspondent Chuck, who earlier let us know about Peplum TV, now steers us to the event of the year in Phoenixville, PA: the Blobfest, run by the Colonial Theater. There are plenty of activities … I’d go just to see what they’re screening for what they are advertising as First Spaceship on Venus.



Last week the CineSavant screening confab spun Kino’s new disc of William Wyler’s The Good Fairy, which I really have to review soon — it’s an utterly charming pre-screwball comedy that showcases and adorable Margaret Sullavan, gives Herbert Marshall a fine comedic role, and even lets Frank Morgan try out his full ‘wizard’ schtick: “Marvelous!” And it’s written by Preston Sturges, who dialed down the slapstick and dialed up the sweetness.

Anyway, that prompted advisor and contributor Gary Teetzel to go snooping online, to see what they gab was re: Good Fairy back in 1935. He found three related ‘Universal Weekly’ publicity articles, etc;, on the show:

Carl Laemmle — or rather, whatever publicity flack penned this — seems oddly hung up on Margaret Sullavan’s character name Ginglebusher in this two-page spread that appeared in Universal Weekly. The whole issue is devoted to The Good Fairy, so ‘turn the pages’ of the digital copy to see how Universal hyped the film:

Universal Weekly January 26, 1935

Another piece on the film supposedly written by Carl Laemmle.

Universal Weekly March 23, 1935

To explain why Cesar Romero got such good billing for his small role in The Good Fairy, the answer is probably from this issue back in 1934, when the film is just going into production. The article describes him as a protege of Junior Laemmle:

Universal Weekly August 25, 1934

The article also says he’s about to play the lead opposite Fay Wray in Cheating Cheaters. Romero consistently played memorable, important parts, but not so frequently the top role.


Finally, a question for my reliable correspondents. Have any of you purchased the German imports from Explosive Media GmBh of the Gregory Peck Western The Gunfighter “Der Barbar und die Geisha” or the John Huston/John Wayne drama The Barbarian and the Geisha “Der Scharfschütze” ? I have beautiful check discs and want to review them, but since they aren’t final product, I can’t tell my readers with 100% certainty what region coding the discs carry.

Any info on that would help, as well as Explosive’s discs of Waterloo, Soldier of Fortune (“Treffpunkt Hongkong”), The Last American Hero (“Der letze Held Amerikas”), Jesse James (“Mann ohne gesetz”), and A High Wind to Jamaica (“Sturm über Jamaika”).

Thanks for reading! — Glenn Erickson

Tuesday March 3, 2020

Why is this picture here? Undying passion! CLICK on it.

Inside Moves 03/03/20

Scorpion Releasing

Are friends the best therapy?  Richard Donner’s first feature post- Superman is a complete switcheroo — a small-scale character piece that delivers an impressive lineup of engaging actors. John Savage leads a ‘different’ ensemble of the walking wounded, that congregates at a neighborhood bar. The movie has a positive sports theme, and the way its characters overcome physical limits and psychological damage feels uplifting, never phony. Diana Scarwid earned an Oscar nomination, and the unappreciated Amy Wright is a heartbreaker in a strong, uncompromised role. Also co-starring David Morse, Harold Sylvester, Bill Henderson, Bert Remsen, Harold Russell, and Tony Burton. On Blu-ray from Scorpion Releasing.

My Gun Is Quick 03/03/20

KL Studio Classics

I wouldn’t brag about that if I were you. United Artists’ third go-round with Mickey Spillane’s famed private eye doesn’t do the franchise justice — there’s little to connect the inexpressive nice guy Robert Bray with the super-popular, super-violent avenger of the books. Spillane’s original is abandoned in favor of a tame ‘who’s got the diamonds?’ storyline, with some compensation in a string of exciting ‘Hammer dames.’ I checked twice — Mike doesn’t shoot ANY of them in the stomach. The ‘who’s that?’ cast list includes Whitney Blake, Patricia Donahue, Jan Chaney, Genie Coree — and Pamela Duncan and Richard Garland, who we do fondly remember. On Blu-ray from KL Studio Classics.

CineSavant Column

Tuesday March 3, 2020


I’d say the movie of the hour is a thriller that some thought too grim and too far-fetched back in 2011. I reviewed Steven Soderbergh and Scott Z. Burns’ Contagion exactly four years ago to this day, wondering myself if such a pandemic could possibly happen. The parallels with our present ‘maybe situation’ are really on the money — instead of pigs + bats incubating a deadly new virus, the odd source of our contagion is theorized to be the Pangolin, an inoffensive armored aardvark creature with a fairy tale name. Soderbergh’s virus was ridiculously deadly but it showed itself almost within hours of human contact, which would seem to make it easier to contain — well, if you could isolate everybody in the world for just 36 hours.

Do ‘this could happen’ thrillers like Contagion do good, or do they just spread fear and panic?   I would unfortunately imagine that many terrorized, paranoid Americans seeing the show would take away only the selfish, negative lesson to hunker down, pull up the drawbridge and shoot thy neighbor. That’s the abhorrent Panic in Year Zero! reaction. But I do have faith in modern medicine, and I believe in the notion of The Common Welfare and am willing to make sacrifices for it. We’re seeing a lot of that now among dedicated health services people, bless them. Let’s have calm, good thoughts for those affected by the outbreak, and concentrate on human values, not just the stock market. And let’s re-fund our emergency health infrastructure, immediately. I know some wall construction funds that can be diverted right away, today. (Unabashedly biased.)

On a more positive note is the arrival in Los Angeles next Friday of Noir City Hollywood, presented by the American Cinematheque and Film Noir Foundation. The 22nd go-round for this annual dark thriller bash runs from March 6 to March 15 at the Egyptian theater in Hollywood with individual nights at the Aero in Santa Monica and at American Legion Hollywood Post 43.

The organizing principle this year goes international, showcasing terrific, unfamiliar thrillers from Latin America, the Far East and Sweden paired up with pointedly chosen Hollywood fare. For instance, the opening night duo is the Argentinian The Beast Must Die followed by Rita Hayworth in the audience-pleasing Gilda. Fans of ‘Parasite’ might want to see the South Korean classic The Housemaid, a diabolical domestic noir that’s paired with the related paranoid classic My Name Is Julia Ross. Our out-there crime classic favorite Gun Crazy plays with the Japanese Yakuza tale Pale Flower. And the series gives us a chance to see the rapturous Portrait of Jennie on a big screen (the Blu-ray is no gem), with a promising Swedish ‘mystery portrait’ picture, Girl With Hyacinths. Authors, personalities and Film Noir Foundation gurus Eddie Muller and/or Alan K. Rode will introduce the shows. This year I’m going to grab the opportunity to catch up on my Spanish language Buenos Aires Noir.

I was all wrapped up in my minor location discovery last time around, but this new YouTube film restoration piece by Denis Shiryaev called A Trip Through New York City in 1911 takes us on a pretty amazing eight-minute time machine jaunt to Manhattan in the year of the first Indianapolis 500, the rediscovery of Machu Picchu, and the sinking of the Lusitania. We take in the metropolis with its tall buildings, massive bridges, horse wagons and ‘period’ costumes and hats — bowlers, skimmers. A well-to-do family, complete with a bored tot in the front seat, goes for an automobile ride complete with hired chauffeur. The horseless carriage must dodge parked wagons and streetcars (ding ding!).

I’ve spent exactly three short days in New York, and loved the place as only a gaga-eyed tourist can; even the subway fascinated me. I wonder if New Yorkers would be as enamored by these images. The restoration and part-colorization on view are very handsome.

A second city-renovation video is now up, from the same folks: A Trip Through Paris in the Late 1890s

Thanks for reading! — Glenn Erickson

Saturday February 29, 2020

Why is this picture here? CLICK on it.

Quai des Orfèvres 02/29/20

Another big title from Henri-Georges Clouzot touches down in Region A. The great director’s first postwar feature dials back the misanthropy — but only a little. It’s a detective tale set in an impressively recreated theatrical milieu, about the tangle of illicit desire that people get caught up in. Ambition, sacrifice, and jealousy figure in a tightly-knit murder scenario — Louis Jouvet’s detective must sort them out, to determine if the vain variety singer Jenny Lamour is really guilty of a heinous crime. Starring Louis Jouvet, Suzy Delair, Bernard Blier, Simone Renant, all great actors worth checking out. On Blu-ray from KL Studio Classics.

Semi-Tough 02/29/20

KL Studio Classics

In 1977 Burt Reynolds was on top of the Hollywood world, a bankable star whose popularity knew no bounds. In between his payday Smokey and the Bandit vehicles, he tried working with directors Peter Bogdanovich, Robert Aldrich, Stanley Donen … and with this film, the highly entertaining, somewhat unpredictable Michael Ritchie. The adaptation of Dan Jenkins’ NFL football book takes a left turn into social satire (or honest reportage), and centers on a romantic triangle with Jill Clayburgh and Kris Kristofferson. You might not remember all of its non- PC rough edges … which were already SOP for comedies of the ’70s. With Robert Preston, Brian Dennehy, Bert Convy, Roger E. Mosley, Lotte Lenya, Richard Masur, Carl Weathers, Mary Jo Catlett. On Blu-ray from KL Studio Classics.

Teenage Werewolf Spotted 63 Years Too Late 02/29/20

CineSavant Article

Aw, this was supposed to be a CineSavant Column entry, but it got way out of hand and became an article. We got a looksee at a horror film that’s been just plain unavailable for at least twenty-five years: out of circulation / MIA / a Dead Parrot. And what do we see in the show but an opportunity for a fun but essentially meaningless photo-comparison feature. Is this a proper activity for an adult?  I’ll be hiding out in motels for the next few nights, so don’t bother trying to corral me with another forcible lifestyle intervention. The cops didn’t find me last time, or the people that went missing!  Not On Blu-ray.

CineSavant Column

Saturday February 29, 2020


First Things First: correspondent Alan Dezzani sends along this pretty-neat three-minute YouTube mini-spectacle, called Slot Car Rendition of Movie Car Chase! It should be self-explanatory.


John McElwee’s great Greenbriar Picture Shows column for February 27, 2020 has a subject no sci-fi fan could resist: John looks at the import double bills handed Hammer’s Quatermass Films, plus the Q-Thriller wanna-be X The Unknown. John’s distribution – exhibition mindset always points out things that never occurred to me: it seems that these English sci-fi films fared better or worse at U.S.A. box offices depending on what co-feature they were paired with. Quatermass 2 was one of the few Hammers to be doubled up with a non-horror or sci-fi feature, and accordingly did less well. Thanks John!


I’m getting very happy news that the U.K. concern Eureka / Masters of Cinema will be putting out a (hopefully gloriously restored) Blu-ray of the CineSavant must-see favorite The 1,0000 Eyes of Dr. Mabuse. The release date given is the 18th of May. For his final feature film, Fritz Lang revived the evil mastermind of his two silent classics and one early sound masterpiece … even though the diabolical Mabuse was technically killed off back in the silent epic.

Although the storyline slips in odd Edgar Wallace elements like a murderous seance, Lang pushes Mabuse’s ’empire of crime’ into the atomic age — with an existential, apocalyptic worldview. In vintage thrillers like his silent Spies, Lang had practically invented the playbook of the modern espionage/paranoia thriller. Rather than fall back on old ideas, 1,000 Eyes both invents and elaborates on the theme of total surveillance through closed circuit television. And Lang’s fearless, brilliant ‘James Bond’ undercover agent turns out not to be Peter Van Eyck’s handsome hero.

Can you tell that this is a special movie for CineSavant? MoC’s disc looks to have included David Kalat’s great old audio commentary (unless he recorded a new one).


A great deal of discussion is afoot this week about a new Australian disc company called Viavision / Imprint. They’re advertising a string of Paramount-licensed titles that include two science fiction films not available on Blu-ray anywhere else, Gene Fowler Jr.’s I Married a Monster from Outer Space and George Pal’s The War of the Worlds. The classic, Oscar-winning invasion from space epic will reportedly be the new 4K restoration with the popular wire-removal revisions. The spec sheet mentions a new 5.1 mix plus original mono audio. The disc stats also call out the good extras from the 2005 DVD.

We don’t yet know what the discs’ status is re: region locking. Another bit of cold-water news is that the discs aren’t cheap, and there’s a sobering shipping fee to order them from down under. A close associate has ordered a WOTW disc anyway, so I might be able to review it in a few weeks.

The other titles in the first batch of five Imprint releases are Waterloo, The Duellists and Sorry, Wrong Number.


Closer to home, we’re also excited about Kino Classics’ upcoming Blu-ray of the restored 1920 The Golem: Wie en der Welt Kam. It’s a Murnau Stiftung restoration job that ought to be a revelatory experience … of all the silent German classics we saw at film school, The Golem looked the worst. The terrible, ratty prints must have been sourced from bad copies that were unsteady and mis-framed. But the movie itself was obviously beautifully designed and produced — the still photos published in fancy cinema books were works of art. The new disc is a follow-up on a U.K. Masters of Cinema release from last year. Kino says their version will carry an alternate U.S. version, a comparison feature, and a Tim Lucas commentary; its street date is April 14.

Gary Teetzel adds the information that a German disc of Paul Leni’s classic Waxworks (Das Wachsfiguren Kabinett) will arrive even sooner, on March 13.

Thanks for reading! — Glenn Erickson

Tuesday February 25, 2020

Why is this picture here? CLICK on it.

Holiday 02/25/20

The Criterion Collection

George Cukor’s classy late-’30s Park Avenue romp gives us Katharine Heburn and Cary Grant at their best; Grant is especially good in a particularly demanding comedy role. The original play is warmed up a bit with comedy touches, and some pointed political barbs slip in there as well. The marvelous acting ensemble gives terrific material to favorites like Jean Dixon and Edward Everett Horton; also starring Doris Nolan, Lew Ayres, Binnie Barnes and Henry Daniell. A special extra: an entire HD encoding of the early talkie version of Holiday, starring Mary Astor. On Blu-ray from The Criterion Collection.

Under the Shadow 02/25/20

Second Sight (UK)
Region-Free Blu-ray

Guest reviewer Lee Broughton returns with a rundown on Babak Anvari’s smart tale of supernatural happenings in the Middle East. The Farsi-language British production filmed in Jordan is set in Tehran at the height of the Iran-Iraq War of the 1980s. The atmosphere of fear and anxiety generated within a bombed-out apartment block attracts a group of demonic Djinn intent on evil-doing: the spiriting away of a vulnerable young girl. On Region-free Blu-ray from Second Sight.

CineSavant Column

Tuesday February 25, 2020


A trusted correspondent wrote me excitedly the other day to say that he’d seen the BFI’s recent restoration of John Huston’s Moulin Rouge in 4K. He reports that it looked great — wonderful color and not a bit of dirt or damage to be found anywhere. The audio is the same as it has been, good but not terrific. Moulin Rouge is an exceptional Technicolor feature in that Huston and his DP Oswald Morris experimented with ways to approximate the palette of colors associated with Henri Toulouse-Lautrec, a process which gave the Technicolor experts fits. I saw the show once in original IB Tech and remember it as being eye-popping. I hope a Region A Blu-ray is forthcoming.

One point of interest is, of course, that Moulin Rouge is the first film with both Christopher Lee and Peter Cushing. We’re not counting Olivier’s Hamlet, for even if Chris Lee is there lurking in the background, we don’t see him. When José Ferrer bitterly rattles off a list of the superior qualities of Peter Cushing’s Marcel to Suzanne Flon:

“He is everything a woman could desire . . . tall . . . handsome . . . rich . . .”

I wanted him to add:

“He can keep you safe from vampires. If you die he can bring you back to life.”

My correspondent thinks that what we need is a fake trailer for Moulin Rouge, one that gives proper respect to the presence of Lee and Cushing:


The SIN-SOAKED, BLOOD-RED refuge of the most DEPRAVED SOULS of Paris!
Who was the HIDEOUS MALFORMED man who came there each night to stare at the beautiful women?
Starring Christoper Lee as Seurat, the man who reduced women to mere splotches of tiny dots on canvas!
And Peter Cushing as the mysterious Marcel!   What was the STRANGE, UNNATURAL secret behind his winning race horses?
Special guest appearance by José Ferrer.
Rated P.I. — only Post Impressionists admitted.

For fans of great song melodies and lyrics, here’s a link to a new interview recorded by correspondent Christopher Rywalt. The host is Bill Weinberg, and his interview subjects are Ernie and Deena Harburg, the son and daughter-in-law of Yip Harburg, the lyricist of The Wizard of Oz and Finian’s Rainbow, among many other songs and musicals.

Much of the interview discusses Broadway musicals, with some talk about New York’s Lower East Side, where the Harburgs still live. I’m told that there’s also a lot of political talk, since Yip was very progressive and poured a lot of that into his work — he co-wrote ‘Brother, Can You Spare a Dime. Harburg was blacklisted for a few years in the 1950s. Christopher says that the interview will probably be edited a bit before going live, he describes it as a ‘little rambly’ at the moment, but adds that Yip’s thoughts touch on some interesting things about Oz. I myself have only listened to the first few minutes, so like, caveat emptor, hepcats.

Today’s ‘Why is this picture here?’ link up top is a somewhat sad story, as there is still no really proper commercial Blu-ray available of The Horrible Dr. Hichcock out there that can be fully recommended. The link given is to Olive’s just-okay encoding of the English language cut. I find it really inferior to the great Italian original — which so far doesn’t exist in any officially subtitled version running at 24fps. Were Riccardo Freda’s film readily available, I think it would create a demand for its terrific but nowhere-to-be-found Roman Vlad soundtrack, which in my not-so-humble opinion is at or near the top of the all-time best-of list of spooky/haunted horror music. Bernard Hichcock’s slimy forbidden desires (muah-ha-hahahah) ooze through the weird, swooning music score.

Thanks for reading! — Glenn Erickson

Saturday February 22, 2020

Why is this picture here? CLICK on it.

Canyon Passage 02/22/20

KL Studio Classics

This great, unheralded western is divorced from the usual concerns of law and order and gunslinger protocol. As in most every film by Jacques Tourneur, we feel a strong empathy for characters that behave like real people working out real problems. The Oregon Territory is pioneered by imperfect people — opportunists, knaves and hopeful dreamers — all rich in personality. Dana Andrews and Susan Hayward lead a large cast in a tale with just as much conflict and violence as the next western, but with an integrity one can feel. The icing on the cake is the presence of ‘troubadour’ Hoagy Carmichael and his beautiful music. On Blu-ray from KL Studio Classics.

It Started with a Kiss 02/22/20

The Warner Archive Collection

It’s another big-star MGM romantic comedy, and not exactly a classic. Debbie Reynolds and Glenn Ford pick their way through a travelogue story that seems made of leftovers from I LOVE LUCY, inventing flat-farce gimmicks to sex things up without offending the Production Code. What’s the movie most remembered for?  It features the exotic concept car that became TV’s Batmobile. On Blu-ray from The Warner Archive Collection.

CineSavant Column

Saturday February 22, 2020


Last time out I was discussing a special effect in West Side Story, and contradicting the explanation for how it was done as presented in a CBS Sunday Morning news piece. I said that the shot shown above, of Richard Beymer against the stylized New York background, is not a large scenic backdrop painted on a giant canvas, but a transparency of a much smaller painting, rear-projected behind the singing actor walking on a treadmill. Of course, after that statement was out half a day, I found myself digging out a Blu-ray of West Side to make sure I remembered the shot correctly.

But Gary Teetzel again came to the rescue — how many times is this now?  He looked up a 1961 article in American Cinematographer that offers proof that I read the shot correctly. If you open the grab of the article on the right in a new window, it will be big enough to read. →

Or you can skate back 59 years and read the entire article.

I make my share of mistakes about movies and try to own up to my goofs as best I can. I remember asking Michael Arick once about a 70mm IB Technicolor print of something. He just patiently folded his hands on the desk in front of him and said, “Think about it, Glenn. There is no such thing as 70mm IB Technicolor.” Oops, live and learn.

I just don’t want to be one of those clowns in a Joe Dante movie that’s always sneering at ‘blue matte lines’ or saying, “A real general wouldn’t say that” … except that’s almost exactly what I do in the review today of the Glenn Ford — Debbie Reynolds comedy.

A few months back I happily joined in the chorus of web optimists reacting to the rumor that Susan Hart, the sole owner of a sizable number of 1950s American-International movies, was about to release them to home video. The obnoxious state of affairs is that they have been mostly withheld from circulation through the entire era of DVD and Blu-ray, to the frustration of fans everywhere. Most of the folks who saw the shows new back in 1956 – 1959 are older than I am, and as a group are beginning to mosey on up into that big cattle ranch in the sky.

Well, a few days ago author-interviewer Tom Weaver popped our collective balloon of hope for this one, posting on a web board:

Tom: “Here comes the wet blanket (me). Susan Hart called today to gossip about this and that, and I told her about this [web board] thread — the claim that she’s making a deal with Shout! and that her pictures would soon start appearing. I knew what she’d say before she said it:

“That’s ridiculous. A total fabrication! I’m giving Shout the rights to NNNNNNNNNNNoth-ing!”

I have collector friends with whom I just can’t discuss certain touchy subjects — I’ve given up asking why they don’t find a way to release films they control, that simply can’t be seen in good quality anywhere. It doesn’t matter to them that the fan base of the films is thinning out. Property is property and they just don’t see a way of making a profit from it, without losing total control, without ‘giving it away.’ And it’s their business, not mine, so there’s nothing I can do about it. Except whine once in a while.

I have the solution for President Trump’s slam at the Academy for awarding the Best Picture Oscar to a South Korean movie, instead of something All-American, wholesome and politically acceptable like Gone With the Wind. If he screens ‘Parasite’ at the White House, show him This Version.

Thanks for reading! — Glenn Erickson