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Post by topbilled on Mar 31, 2024 15:09:20 GMT
This neglected film is from 1949.
Followed by BRIMSTONE (1949)
In the spring of 1949 the folks at Republic Pictures released this exquisitely photographed western in its Trucolor process. A few months later they would release a follow-up western called BRIMSTONE, which was also made in Trucolor and included some of the same cast members (Jim Davis & Forrest Tucker in key support roles, and Jody Gilbert in a minor role). Different directors were utilized but the results in these productions are strikingly similar.
In both pictures we have characters on the wrong side of the law with the possibility they may be redeemed and things turn out all right in the end. Of course, in BRIMSTONE Walter Brennan plays a corrupt patriarch who gets a little too much pleasure rustling other people’s cattle and leading his boys down a dark path, but one son is interested in reforming himself. That redemption theme is also present in HELLFIRE.
This time we have Bill Elliott playing a professional gambler traveling the west. He has participated in too many crooked card games and someone comes gunning for him. A preacher ends up taking the bullet meant for Elliott. Realizing he’s lucky to be alive and the irony of the situation not lost on him, he decides to change his life. He’s promised the late clergyman he will fulfill a mission of building a church. He then takes up the dead man’s Bible and becomes a preacher himself. It’s a bit contrived I suppose, but not really. People do experience life-changing moments.
At the same time there is a female outlaw (Marie Windsor) who is on her own course of self-destruction. That is, until she meets up with Elliott and is now challenged to change herself. Yes, the plot gets a tad heavy handed in this regard, and pun intended, may be perceived as being somewhat preachy. But I don’t think the main goal of the film is to convert moviegoers to Christianity, as much as it is probably to reinforce the Christian beliefs of the rural audiences who usually went to see Republic’s films.
Actress Catherine McLeod who was under contract at Republic in the late 1940s and early 1950s talked very positively about her experiences at the studio. She had previously been employed at MGM, but wasn’t getting anywhere because she couldn’t compete with the Judy Garlands, June Allysons and Lana Turners over there. She said Republic liked to give disciplined performers who were not a household name a chance to prove themselves, occasionally in lead roles. I am sure Marie Windsor would agree with this.
Windsor specialized in portraying shady femmes in westerns and noir. During her screen career, she was not associated with one particular studio. In between studio assignments she often took parts in low-budget productions. At Republic, she had the chance to appear in several ‘A’ budget films; HELLFIRE was one. She would also have key second leads at the studio in other genres, such as the popular crime flick HELL’S HALF ACRE (1954).
But I think Windsor was always served better in western fare, since she could successfully offset the hardened character aspects of frontier life with her delicate physical features. When she ends up in Elliott’s arms after a fatal shoot-out, she is still quite lovely, despite the terrible things her character is alleged to have done.
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Post by Fading Fast on Mar 31, 2024 15:58:38 GMT
I love Marie Windsor. I haven't seen all her movies, including this one ⇧, but of the ones I've seen, "The Narrow Margin" is my favorite performance of hers.
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Post by topbilled on Apr 6, 2024 7:04:38 GMT
I love Marie Windsor. I haven't seen all her movies, including this one ⇧, but of the ones I've seen, "The Narrow Margin" is my favorite performance of hers.
en.wikipedia.org/wiki/No_Man%27s_Woman_(1955_film)
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Post by topbilled on Apr 6, 2024 7:14:42 GMT
This neglected film is from 1948.
The value of a dollar
This classic film from the postwar period may be a bit hard to understand in the modern sense. The basic concept, about how money circulates through a small community, is easy enough to comprehend. But the commentary that people should be encouraged to take hoarded money out of bank vaults and spend it to help the economy, as relates to the Great Depression, would probably be lost on some of today’s viewers.
The story begins in 1948 with Charles Winninger’s character going into a bank vault to store some government bonds. He tells another person in the vault that he invests in the government instead of letting his money sit in a metal box out of circulation. It’s a bit preachy to be sure, but people watching the film at the time of its release would have remembered very well when there were fears about spending money and the need to keep valuables locked up during an uncertain economic time.
One thing that struck me was how when the story flashes back to 1933, there is mention of a new president. And that FDR would have remained in office until the war ended. So that’s a long period for the U.S. to have been under one administration. But despite the passing of the years, attitudes about wealth and saving up for an emergency wouldn’t have changed much.
To illustrate the writers’ points, there is a young couple back in 1933, played by Marsha Hunt and William Lundigan who are struggling financially. Lundigan is a painter who owes about a thousand dollars to Hunt’s father (Gene Lockhart) who owns the local inn. Lockhart is not impressed with Lundigan’s apparent inability to earn a decent living. He would like Hunt to throw the guy out.
Of course, she’s deeply in love with Lundigan and her father’s opposition to her romantic choice is not easy for her deal with…besides, she believes Lundigan will eventually make good as an artist and just needs time.
Meanwhile, there is another guest at the inn who asks Lockhart’s clerk (Winninger) to put a thousand dollars into the safe. Later Lockhart finds the money in the safe, and he mistakenly thinks it was put there by Lundigan to square his debts. After Lockhart erroneously claims the cash, he pays off his debts…chiefly to a store owner (Will Wright). The store owner uses it to pay what he owes to his landlady (Florence Bates).
She in turn gives the money to an attorney (Robert Shayne) to cover the cost of legal fees. The lawyer’s wife (Gail Patrick, in her last film) then takes the money to pay Lundigan for a portrait she’s having done for her husband.
Amusingly, the money does end up going to Lundigan, who would then have given it to Winninger to give to Lockhart…thus causing the whole cycle to begin again.
I wouldn’t say the plot is entirely clever, but it’s a good way to show how the members of one community are all connected to each other, personally and financially. Into the mix we have a subplot involving two visiting crooks (Roscoe Karns & Allen Jenkins) who are struggling to go straight and tempted to steal the dough.
In some ways this felt like a radio play that was developed into a feature length movie, with the required padding to run nearly an hour and a half.
Some of the performers are better at this kind of material than others. But all in all, it’s a harmless way to spend 87 minutes and the monetary history lesson may help the viewer reflect on what’s important in life.
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Post by topbilled on Apr 27, 2024 16:43:47 GMT
This neglected film is from 1945.
Life in Dakota territory
A film like DAKOTA is a good vehicle for Vera Ralston at this early stage of her motion picture career. It is one of her first major leading roles in an “A” budget production at Republic. Truthfully, she is still learning how to act and is still in the process of becoming fluent in English. Slightly amateur qualities make her endearing and especially sincere, since we are getting the real deal, not an actressy type performance. She is no Bette Davis, and that’s kind of refreshing.
It makes sense that boss Herbert Yates would put her into a western where most of the drama depends on John Wayne to handle the big scenes. This is not to say that Ralston’s role is unimportant– she does have a scene where she gets shot– but much of the action involves Wayne’s character. He plays a gambler trying to make good in life, and she functions more or less as a support to him.
There are plenty of fistfights and chase sequences in the movie. One such chase occurs right off the bat, where our hero whisks his bride away from the Chicago estate of her railroad tycoon father (Hugo Haas). Papa takes off after them with his big guns, er goons, but the newlyweds manage to hurry off on a train bound for St. Paul. It’s light-hearted and boisterous fun.
A running gag concerns Ralston thwarting Wayne’s attempts to head to California. She has it in her mind that they should settle in Dakota territory. This is when he realizes they are headed to St. Paul and will travel on to Fargo. She found out her father and his men are expanding their line to Dakota; and with some money she took, she thinks they can buy up farmland and sell it to Papa’s company for a tidy profit.
When they arrive in Fargo, they meet an assortment of colorful characters. There is danger when they cross paths with a ruthless swindler (Ward Bond) and his partner (Mike Mazurki). As depicted several times, Bond tries to outmaneuver them, but his efforts are in vain. Later, when he double crosses Mazurki, he gets what he deserves.
Before Bond is eliminated, there is a spectacular fire. Wayne and Ralston help a group of co-operative farmers survive the burning of their wheat fields. Things finally return to normal. But the Mrs. has now bought into a riverboat, ensuring they can stay in the area to haul materials that will be used by the railroad to lay its new track.
Ona Munson is on hand as a dance hall singer with an eye on Wayne even though he’s happily married. And since this is a Republic production, there’s a bunch of studio contractees in supporting roles– Robert Livingston, Grant Withers, George Cleveland, Eddy Waller and Roy Barcroft. We also have Walter Brennan as the riverboat captain.
John Wayne and Vera Ralston would reunite on screen for THE FIGHTING KENTUCKIAN a few years later. And Walter Brennan would work with both of them again on many other films, mostly westerns.
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Post by topbilled on May 13, 2024 14:02:04 GMT
This neglected film is from 1956.
Vera Ralston stands accused
While the story does have a moral tone, the characters are all morally compromised. So if you find something about one of them to root for, there is also something in them to dislike. But that is part of what makes this crime picture by Republic Pictures an interesting one to watch.
The studio’s top in-house director Joe Kane had been assigned overall production duties. It was not the first time he’d worked with queen of the lot Vera Ralston, nor was it the first time he’d directed leading man David Brian. In fact, a short time earlier, they’d collaborated on a rousing western drama called TIMBERJACK. In TIMBERJACK and in ACCUSED OF MURDER, Ralston plays a singer who gets mixed up with baddies.
It doesn’t matter if it’s a frontier saloon or a gangster’s posh supper club, she is equally glamorous in either setting. Her dubbed musical numbers inject considerable energy to the proceedings. And her breathy line deliveries are a guilty pleasure.
The beginning scenes in ACCUSED OF MURDER quickly establish the fact this is a noir, though filmed in Trucolor and photographed with a new panoramic process called Naturama– which was Republic’s answer to CinemaScope. The dark colors and widescreen mise-en-scène allow us to gather more details about the characters. At key intervals Kane and cameraman Bud Thackery provide us with dizzying pans that emphasize the disoriented nature of Ralston’s character when she is accused of killing a lonely admirer (Sidney Blackmer).
We are supposed to feel sympathy for Ralston’s character, because she’s a foreigner who could be deported at any minute. Blackmer wouldn’t stop pestering her and he even had the nerve of giving her a diamond engagement ring when she just wanted to drive home and take a bubble bath. Later when she faces a murder rap for Blackmer’s death, we can see that this is most inconvenient for her. She seems rather innocent and her pleas that she’s being framed might engender more sympathy.
David Brian plays a detective, who along with his assistant (Lee Van Cleef), is assigned to investigate. Brian is encouraged to ask a few questions and then have Ralston booked before the next new episode of I Love Lucy. This is something Van Cleef is only too happy to help facilitate, since he doesn’t like foreign gals with thick accents stinking up their town.
However, Brian finds himself attracted to Ralston and wants to clear her. The irony here is that Ralston actually did pull the trigger, which we don’t find out till the end when she finally confesses. Because she claims it was an accident and there’s nobody around to dispute it, she is not indicted by a grand jury…which means she can make her next set at the club and pursue a romance with Brian without prison bars coming between them.
One thing I found intriguing was how brutal the supporting characters are written and performed. The story takes place in an unspecified city, but screenwriter W.R. Burnett, working from his own novel Vanity Row, drops hints that it’s Chicago. Burnett had also written Little Caesar and High Sierra, so it’s no wonder the characters here are just as corrupt and mean-spirited. At one point Brian punches Van Cleef in the face, when they disagree on procedure.
At the same time there is a subplot involving a hood (played to perfection by Warren Stevens) who had been sent by a mob boss to rub out Blackmer…except Ralston offed the sap instead. Stevens has been seen leaving the scene by a dance hall gal (Virginia Grey); she thinks she can tie him to the killing and turn a sweet profit.
Only Stevens doesn’t take to having the squeeze put on him. When he is unable to ‘reason’ with her and get rid of her with a C note, he punches Grey in the face which causes her to lose her job (who wants to dance with a girl who’s all black and blue?). Later she calls him for more money, so he meets up with her again…but this time, he clubs her in the head. Yeah, you don’t mess with this guy!
One thing I really enjoyed about the film was David Brian’s central performance as the detective. Brian reminds me of Charles Bickford; these are men who could be very tough on and off screen. Brian plays it hard in his scenes with Van Cleef and enjoys some cat-and-mouse with Stevens.
Also, Brian is compassionate during the part where he saves Grey’s life after she’s been clobbered; then reveals his soft human side in the more loving scenes with Ralston. He really does render a multi-faceted portrayal, but never once does he lose the toughness.
As for Vera Ralston, I don’t think she was highly tuned into the script. Her work’s passable but not inspired. Behind the scenes, as the wife of Republic mogul Herbert Yates, she had to deal with considerable criticism from the studio’s board members. Though she had releases in 1955 and 1956, there was almost a two-year gap between TIMBERJACK, released in early February ’55 and ACCUSED OF MURDER which hit screens in late December ’56.
Perhaps Yates thought his wife needed to take a temporary break. I suppose the time off caused Ralston to reflect on her experience in the motion picture industry and whether it was worth putting her heart into it. Vera Ralston was a lovely woman in real life who would never be accused of murdering anyone. But she was accused of killing a few good movies.
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Post by Fading Fast on May 13, 2024 14:48:47 GMT
W.R. Burnett is a name that, once you recognize, you'll see everywhere in movies from the '30s - '60s. He was a prolific novelist and screenwriter in the crime drama and noir genres. I've read several of his novels and I've yet to find one that isn't engaging.
Near or at the top of the list, for both the novel and the movie version, is "The Asphalt Jungle." To this day, it is still quite possibly the best heist movie ever made.
For some reason, he flies a bit below the radar, but that man left a big imprint on Hollywood in his day.
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Post by topbilled on May 28, 2024 14:24:40 GMT
This neglected film is from 1955.
Excellent Republic crime flick
Television was dominating the entertainment landscape in the mid-1950s, but the big studios were still turning out notable motion pictures. This excellent crime flick from Republic is an example. Rod Cameron, who was typically cast in westerns, is assigned a change of pace role as a lawyer who helps solve a killing that implicates his wealthy boss (John Litel). There’s a romantic angle with Cameron in love with the man’s daughter, played by Allison Hayes.
Though Cameron and Hayes are the main couple we’re meant to root for, they are somewhat upstaged by another couple directly responsible for the death that occurs on screen. This second couple is portrayed by sultry Gale Robbins and dapper Jack Kelly. Right from the start, we know they are trouble, especially when we watch Robbins smooching Kelly in a fancy convertible while her drunken middle-aged husband (Robert Armstrong) watches from the upstairs window of their apartment.
Robbins traipses into the apartment and is quickly confronted by Armstrong about her extramarital activities. Their argument is overheard by a busybody landlady (Minerva Urecal). Robbins has had enough and packs a suitcase, planning to leave. But Armstrong convinces her to stay when he flashes some C notes in front of her greedy eyes. He’s just received a monthly installment from a man he’s blackmailing. That man? Litel.
Already, within the first few minutes we see how interconnected all these characters’ lives are; with several of them heading straight for disaster. Kelly’s character works at a car lot, but he’s not earning as much as he’d like; so he persuades Robbins to pressure Armstrong into asking Litel for even more money. Then she drives off with a new set of wheels, unpaid!
In the next part Armstrong is using the “stolen” vehicle to head up Mulholland Drive to meet Litel for ten grand. Only Litel won’t pay another dollar and leaves. Kelly has followed Armstrong to the top of the canyon; there’s a quarrel and Armstrong plunges off the side to his death, smashing up the car.
The plot thickens when Litel is incriminated because the other set of tire tracks along the cliff belonged to his Rolls. Litel is arrested, and this sets Cameron in motion playing amateur detective, since Hayes does not feel the police are doing enough to find the real killer (Kelly) which will clear her dad.
The ending is routine, but exciting. The best part of DOUBLE JEOPARDY is the opportunity it gives Armstrong & Litel, two gifted character actors, to shine in their roles as former associates connected by a past they’d rather forget.
At the same time, we have Kelly and Robbins heating up the screen; while Cameron and Hayes give us a more subdued mature type of love story. All the elements gel, and without a doubt, these fine performances, with plenty of on-location filming in and around Los Angeles, make this one of Republic’s best programmers from the mid-50s.
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Post by topbilled on May 28, 2024 14:25:54 GMT
A decent print of DOUBLE JEOPARDY (1955) may be viewed on YouTube...check it out:
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Post by topbilled on Jun 5, 2024 14:35:21 GMT
This neglected film is from 1946.
“Music goes on forever.”
At one point Madame Goronoff (Maria Ouspenskaya) tells her concert maestro grandson (Philip Dorn) that men and women come and go, that young beauty grows old, but music goes on forever. Indeed, music is the greatest love in the maestro’s life. Until one day when he meets the pretty daughter (Catherine McLeod) of a former associate (Felix Bressart). Then, his life goes in a decidedly new direction.
It’s also a new direction for the young woman, since she will become tutored by Dorn and turned into a great concert pianist. It won’t be easy for either of them, especially McLeod, or the ones who love them most.
In Dorn’s case, his grandmother and his followers fret about his every move. In McLeod’s case, there is a handsome farm hand back home (Bill Carter) who is concerned about her just as much as her father. After Bressart’s character dies, Carter and his mother (Elizabeth Patterson) take over the farm, since McLeod is off on a world tour with Dorn and Ouspenskaya.
The globe trotting episodes, showing the young pygmalion and her Svengali mentor in Europe and South America, are interesting to watch. The set design is truly fantastic; so are the clothes and furnishings— all presented in luscious Technicolor. It’s obvious Republic spent a lot of money on this particular prestige production, directed by A-list director Frank Borzage. This is a far cry from the B westerns the studio churned out with Gene Autry and Roy Rogers.
McLeod is perfectly cast as a hardworking musician and practical farm girl who becomes a bit too worldly for her own good, then has to make a decision about the rest of her life.
Dorn’s character is nearly impossible at every turn— he’s supposed to be demanding, but his annoying sexist behaviors don’t do him any favors— and it’s easy to see why McLeod ultimately leaves him after a successful performance at Carnegie Hall. She goes back to the farm, marries Carter and has a daughter (Vanessa Brown). But we know she still hasn’t really gotten Dorn out of her system.
In some ways Carter’s wholesome rural character becomes a bit of a villain. After their marriage, he forbids his wife from playing the piano in their home. Then, when their daughter is old enough to start playing, he expects his wife to take the girl off to New York to get the professional opinion of her old maestro (Dorn). But he also wants to see if his wife still has unresolved feelings for his upper class rival.
One thing I particularly like about this film is that we aren’t ever sure which man McLeod’s heart truly belongs to…and we have to wait until the final scene to find out which one she’s always loved more. Mixed into all this melodrama are some excellent musical scenes (with Arthur Rubenstein playing on the soundtrack). Borzage doesn’t ever rush us through the numbers, so musical performance is just as key to the film’s overall identity as the characterizations and romantic plot.
As I finished watching this motion picture, I realized that people in the mid-1940s had a clearer understanding of who they were, or who they should be, even when momentary confusion or conflicts set in. There is something to be said about the relationships we forge in life, and the people we learn great lessons from, in how they conform with our individual values.
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Post by sagebrush on Jun 5, 2024 22:30:21 GMT
I like Philip Dorn. His voice has a hypnotic quality to it.
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Post by topbilled on Jun 15, 2024 14:55:06 GMT
This neglected film is from 1957.
Durango gunfighter
The studio’s original title for this western feature in Naturama was DURANGO GUNFIGHTER, but I suppose that gives away the ending. So the more generic title DUEL AT APACHE WELLS was used instead; but I think an astute viewer will catch on rather quickly that prodigal son Johnny Shattuck (Ben Cooper) is returning to the ranch owned by his pa (Harry Shannon) after four years in Mexico as the Durango Kid.
Part of what makes the story work so well is we are given hints that Cooper’s character is fast with a gun. He shoots a rattlesnake at one point— but we never see Johnny draw on another person until the end.
In fact, his gun is taken away from him in the beginning when he’s hazed by some rowdy men and their boss (Jim Davis). Davis bullies the kid so badly during these initial scenes we may be fooled into thinking Johnny is a weakling and later a coward since he doesn’t exactly stand up and defend his pa when a range war breaks out. Even after his pa’s been shot by Davis and rushed to a doctor, Johnny is slow to take action.
It’s a great way to tell a story in this genre, with all the western tropes in evidence but some of the audience’s expectations not immediately rewarded. The audience is expecting a tale about what makes a hero, or at least what makes someone righteous.
But Cooper’s character appears to be unheroic and not righteous— certainly not vengeful— till an eventual showdown with Davis in the desert, where he finally reveals he is the Durango Kid. And then he’s fast, super fast; Davis’ character doesn’t stand a chance. Davis does such a superb job playing the villain that his death is justice of the highest order.
If this film had been directed by Nicholas Ray, shots probably would have lingered on Cooper’s physique and there would have been some not so subtle sexual elements. If this film had been directed by Anthony Mann, it would have been overloaded with shadowy psychological vibes. If this film had been directed by Sam Peckinpah, it would have contained a lot of violence.
But this film was directed by Republic’s best in-house director, Joe Kane; and all he’s interested in doing is telling a story about a young man who carries out justice. There is not a lot of shooting, no excessive killings. As a matter of fact, Davis is the only one who dies in the film. This is a simple, straightforward western with a powerful message about standing up to a bully.
The leading lady is played by Italian singer Anna Maria Alberghetti. Republic had cast her a year earlier in the western action drama THE LAST COMMAND opposite Sterling Hayden. These were the only western feature films she made, and she plays a Latina character in both. Alberghetti projects a lovely wholesome quality, and she works very nicely on screen with Cooper, especially during the marriage scene that concludes the picture. After the newlyweds ride off in a stagecoach, we are left with the feeling that all is right with the world.
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Post by jamesjazzguitar on Jun 15, 2024 15:24:40 GMT
Both Ben Cooper and Jim Davis are featured in Tales of Wells Fargo, and they are fine actors for westerns, especially Davis.
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Post by topbilled on Jun 15, 2024 16:09:39 GMT
Both Ben Cooper and Jim Davis are featured in Tales of Wells Fargo, and they are fine actors for westerns, especially Davis. |
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Post by topbilled on Jul 2, 2024 14:57:33 GMT
This neglected film is from 1943.
Transcendent cinema about intergenerational relationships
Robert Siodmak had already been working as a director in Hollywood for a few years, when he was loaned from Paramount to Republic to helm this meaningful drama. A year earlier he’d directed character actress Mabel Paige in a supporting role (in MY HEART BELONGS TO DADDY). But now, they were working together again; and this time it was her turn to shine in a rare starring role.
Paige plays an elderly woman who lives in a residential building that’s been taken over by a nearby university. The board of directors has decided to evict the long-time tenants and renovate the place to make it habitable for a group of young college-aged men. They want Paige out, to complete their plans for a new dormitory.
But she refuses to move out, and legally, they cannot force her to go. Why not? Apparently, her husband had purchased their suite before he died. Unless she willingly vacates, or passes away, the university is stuck dealing with her.
If the premise sounds a tad familiar, it’s because the story was remade by Warner Brothers about fifteen years later. The remake changed the name of the main young character from Danny to Johnny; it’s called JOHNNY TROUBLE and features Ethel Barrymore taking over for Paige in what would be Barrymore’s movie swan song. Since I had seen the remake first, and had already reviewed the second film, I naturally looked at the original version comparing it with what came after. But, while the plot is mostly unchanged, there is a warm ambience to this 1943 production that distinguishes it and makes it wholly unique on its own terms.
First, I think Paige is an exceptional actress. She has an energetic way of punching up lines, so that even the most routine dialogue seems fresh and interesting. Also, she seems to genuinely care about her younger costars and seems to have thought what her character’s truest motivations are. She is thoroughly prepared; and this does not excuse the flaws in the character, but she still comes across as believable AND forgivable when she’s in the wrong.
Another thing I admire about Paige’s acting is that she is not afraid to take risks. There is an elongated dinner scene at a country club, where she goes out on a dance floor with John Craven who plays her ‘grandson’ and everyone stops to watch them. She’s a very accomplished dancer, and since it was a fairly long continuous take, I found it inspiring that she had so much stamina to do the entire number then head to a table and deliver the rest of her lines without missing a beat. That’s a pro!
In addition to Craven there are other youthful actors in supporting roles. One such person is Peter Lawford in a minor part as one of the college lads at the dormitory. He has a cute scene near the beginning, taking initiative, to get to know the old gal and have a cuppa tea with her. Of course, as she gets to know Lawford, Craven and the other students, she becomes a surrogate grandmother to all of them. And she gives them advice on their school work and their future goals. At one point, she helps sort out romantic problems by counseling Craven’s girlfriend (Dorothy Morris).
The plot with Craven is the most poignant, since they have the same last name— Freeman— and in her mind, he really is the grandson she should have had. There’s a sad backstory involving a son she lost twenty-five years earlier, which connects into why she stays in the building and can’t bring herself to move.
Yes, it is all meant to tug at our heartstrings and make us feel all gooey and sentimental inside. But what’s really going on here is that we have a film about intergenerational relationships, and how one generation can learn from another and vice-versa. Paige’s character is the someone to remember, and this motion picture is equally something to remember…and treasure.
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