John Grant

I enjoyed a wonderful fantasy film from 1958 called “tom thumb.”  This title, left uncapitalized, stars Russ Tamblyn as the title character and Terry-Thomas and Peter Sellers as the villains who trick Tom into burglarizing the village treasury.  Alan Young,  better known as Wilber on Mister Ed, helps Tom capture the crooks just as the lasher prepares to flog his parents for the crime.

They must have watched this movie at Pixar before they made “Toy Story.”  The toys in tom thumb seem very similar to the Toy Story toys in the way they move, although they are not at all neurotic.  They remain happy and do not seem capable of sadness.  Only tom sees the toys come to life, and he not only dances with them but helps solve problems with them — especially a toy named Con-Fu-Shon, a Chinese doll who bangs a gong.  At one point, Con-Fu-Shon suggests getting the Jack-in-the-box to open the bedroom door, which provides a nice animated trick.
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We only see one close-up of Russ Tamblyn as Tom Thumb.  That’s because the illusion of his smallness demands he be filmed from above against large props.  But he’s certainly a lot larger than a thumb and probably about the size of a hand.  The camera angles reminded me of a TV show that aired in the late 1960s called “Land of the Giants.”  However, the film creates no suspense around Tom’s smallness, although he does inevitably get lost in the forest.  Even though magical things could come to his rescue, he uses his ingenuity and resolve to save the day.

When I watch films like “Mr. Blandings Builds His Dream House,” (1948) and “The Egg and I,” (1947), I’m reminded of a lost world where there once existed a major difference between people from the city and people from the country.  Hollywood made many films like these in the old days.  Sophisticated met unsophisticated and Hollywood made comedy from it.  In the years since the 1950s, American farmers still till the land, but they put their feet up in front of the TV set after a hard days work.  Cowboys know all the songs on the radio, and humble fisherman rely on the latest technology to find their schools of fish.

Judy Holiday came to New York in “It Should Happen to You” (1954) to flummox Madison Avenue, whose admen are powerless to her logic.  In Billy Wilder’s “The Major and the Minor” from 1942, Ginger Rogers leaves New York in disgust and impersonates a 12 year old girl to get a cheap ticket on the train.  I can’t imagine modern audiences suspending disbelief to this extent now, unless of course a movie involves either fantasy or absurdity.

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Everyone’s instant access to each other makes it harder to tell the fish out of water story. I fondly remember the classic film “My Man Godfrey” (1936), starring William Powell and Carole Lombard.  Powell plays a hobo who gets hired by Lombard as a butler.  I like how decrepit he is as a hobo, but how sophisticated he becomes once he puts on the butler’s outfit.  Powell’s charm and wit give this movie great appeal, but it made me wonder why a guy like that would live on a trash heap.

For a wonderful movie experience, get a copy of “Dumbo,” the terrific animated film from the Walt Disney Studios.  Today’s audiences don’t all think alike, but back in 1941 when Disney made this film, an almost universal feeling of uncertainty pervaded our country, with the prospects and reality of a war in Europe and in the Pacific.  Darker elements in a film during wartime give a perception of a morass that threatens to engulf us unless we make significant changes.  Maybe they didn’t feel that way in the animation room at Disney, but the level of illusion, shifting perception and strangeness in the pink elephant sequence left me feeling exposed to the elements of risk.

Dumbo concerns the problems of a baby elephant with gigantic ears, whose mother gets locked in a prison car, and whose fellow pachyderms shun him because of his ears.  The circus ring leader forces Dumbo to perform with the clowns, which further alienates him from the other elephants.  Suddenly, Timothy Q. Mouse appears and becomes Dumbo’s only friend.  After hearing the matron elephants  ridicule Dumbo’s ears, Timothy immediately endears himself to the audience by saying, “What’s the matter with his ears?  I don’t see nothin’ wrong with ’em.  I think they’re cute.”  And so, with that, Dumbo gets a personal life coach who teaches him how to fly.

After Dumbo and Timothy get drunk on some leftover champagne, the pink elephant sequence becomes a trip of LSD proportions – with shape shifting, marching, and color changing elephants.  The vignette causes a giddy uneasiness, and when the crow characters appear in the next scene, I get the sense that I’ve left the circus set forever.  But Dumbo was meant to soar, and anyway, his mom is still in the circus prison.  Timothy and the crows work everything out and at the end, and we see the circus train riding on to another town — with Dumbo, his Mom and Timothy now riding in first class.
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Dumbo possesses little personality, especially compared with Timothy, who sports a ringleader’s uniform, complete with epaulettes and a tall red cap.  Those rats in “Ratatouille” (2007) could learn a thing or two from this mouse – he’s kind, generous, sweet, and intelligent – and he understands the power of the unconscious mind and positive thinking.  In this film, he’s an agent, happy to be himself, but waiting for a star to latch onto.  One can learn a lot from a life in the circus.

After watching so many World War II American movies, I watched a Japanese wartime film called “The Most Beautiful”  (1944), about a group of women who join the war effort to make precision optic gunsights.  Since this is about what women do (movie-wise) when the men went off to war — which is to pack themselves off to some dangerous and cold factory with graphic scenes of dangerous moving machine parts — I expected to see a lots of wartime footage interspersed with the drama of letters from the front and whatnot.

However, this is a Akira Kurosawa film, which means the theme, action and plot never go astray from the central story.  The women continue to make bombsights and the managers continue to drum up ways to keep up morale.  We never see wartime footage.

One of the main themes of the movie includes how much the simple sport of volleyball — played by the girls at the factory as a management directed morale building exercise — helps productivity.  It reminded me of my own work experience.  During the day, I work at a bank, and my team gets together to play foosball.  As much as the bank tries to build morale in other ways, the foosball table seems to rule.  I’ve met more people as a result of playing foosball than as a result of any of the company directed “team building” programs.
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The “end of act 2 moment” in this film occurs when Tsuru Watanabe (played by Yoko Yaguchi) misplaces a bombsight lens, which has not been “calibrated” properly.  The other women in her team and the management are very concerned because one bad bombsight could mean an airplane could go down.  This forces her to stay up all night to find the lens, which means she must look at as many as 2000 lenses.  She finally finds the lens!

Have you ever seen the Michael Keaton film — “Gung Ho?”  Keaton decides to do the same thing as Watanabe.  He goes into the factory to build cars (not precision lenses) — by himself.  But since it’s not wartime, the movie makes the opposite point.  It’s not “do what you can, every person’s effort helps the country, you are slaving for a dead soldier.” Instead, it’s “Let’s band together and make something great.”  Both of those sentiments work during the wartime.  In Gung Ho, Keaton’s co-workers finally decide to join him to build cars.  But by 1944, in Japan, it was an individual effort.

I made an effort this year to watch some Bollywood flicks, and a few Tamil movies (aka Kollywood) too.  Like Hollywood, star power goes a long way in Indian cinema.  Take Shahrukh Khan, for example.  I attended the Regal Cinema in Mumbai during my trip to India last year.  It seemed like everybody showed up the night I went to see “Rab Ne Bana Di Jodi,” which means “marriages are made in heaven.”  It’s basically the Nutty Professor with Khan playing the Jerry Lewis part.  Nice story, good songs and 167 minutes long.  But people came in droves and I had to sit in the balcony.

Rajnikanth, the Tamil superstar of the last 2 decades, starred in “Padaiyappa,” made in 1999.  In this movie, he rejects a beautiful woman who seeks revenge at every turn.  I snapped a picture of billboard featuring him and a state politician that I spotted in Madurai, Tamil Nadu.  After I saw a couple of his films, I realized his considerable star power.

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Rajnikanth (Right)

The Kerala film industry in India, not to be outdone, calls itself “Mollywood.”  I remember one time in Kochi, I came across a horrific car wreck.  Falling back in horror, my female companion screamed and told a few movie cameramen, who seemed to be just standing around, to get an ambulance.  They explained that they were shooting a movie and the wreck was an elaborate special effect.  Upon inspection, we realized that the victim was a painted mannequin and that the wrecked car was a stage prop.