ANNA MAY WONG: Frosted Yellow Willows

ANNA MAY WONG: Frosted Yellow Willows -- Her Life, Times and Legend (2008). TCM documentary. Director: Elaine Mae Moo.

Narrated by Nancy Kwan, this is an interesting if somewhat superficial look at the life and work of Anna May Wong (pictured), whose career spanned silent films to the early 1960's. The film does give biographical details, and shows clips from some of her more interesting movies. Anna May Wong is at its best showing how difficult it was for actors who were not Caucasian to achieve and maintain stardom in Hollywood, sometimes even being passed over for ethnic roles they would have been perfect for (Wong was herself passed over for two roles in the film adaptation of The Good Earth). Wong was a talented woman who had some of her greatest successes overseas, but we don't learn too much of her private life in this film, which mentions such things as her younger sister's suicide and Wong's possible alcoholism (she had cirrhosis of the liver at the time of her death) but provides few details. Still this is a worthwhile, entertaining introduction to the Chinese-American actress who helped open doors for those of her race who followed.

Verdict: Not great but not bad. **1/2.

ABBOTT AND COSTELLO IN HOLLYWOOD

ABBOTT AND COSTELLO IN HOLLYWOOD (1945). Director: S. Sylvan Simon.

Some great gags and funny sequences tied to a plot in which barbers Bud and Lou decide to become agents when they see a Hollywood hopeful, Jeff Parker (Robert Stanton), being treated miserably by the system. Frances Rafferty is an actress who also wants to help Jeff, and Jean Parker a manicurist who hopes to become a star even as Lou hopes she'll give him a date. Carleton G. Young is the established star who's threatened by Jeff's abilities, and Donald MacBride is the bristling head of the studio. Lucille Ball appears briefly as herself. Highlights include a protracted scene wherein Lou is mistaken for a movie dummy; a bit where he tries to beat insomnia by listening to a soothing voice on a record; and the climactic chase on a roller coaster. Bud Abbott, an excellent straight man, has a nice scene where he gets all cracked up when he thinks his buddy Lou is dead.

Verdict: Not a classic, but entertaining and amusing. **1/2.

THE GREAT ONE

THE GREAT ONE: The Life and Legend of Jackie Gleason. William A. Henry III. Doubleday; 1992.

Henry has put together an excellent, unsparing, well-researched tome on the comic genius that celebrates his artistry but by no means glosses over the negative sides of his life and character. Gleason could be kind and generous, but he was also an egomaniac without brakes, an absentee, hardly devoted father, a lousy husband, and a braggart who claimed he could compose symphonies when he couldn't even read music. Henry, however, also makes it clear why “The Great One” was so great, and there are lots of interviews with and quotes from people who worked with Gleason, who could inspire as much affection as exasperation. Henry does a fine job of nailing down his subject. [Oddly, Henry seems unaware that many of the scripts for the Honeymooners musicals of the sixties were originally used for some of the sketches in the “lost episodes.” These truly lost one hour musicals, which have never been released on video or DVD, can now be seen on American Life cable, channel 153 in Manhattan, on Saturday and Sunday nights.]

Verdict: A good read and then some. ***1/2.