Really, pacing inconsistency isn't a terribly big problem, or at least the slow spells are not nearly as frequent as the hurried spells, but it still stands, messing with the momentum of the film's focus until you end up with plotting that kind of takes longer than it probably should to tell a story so simple. At just over 100 minutes, the film is both rather short on a general level, as well as longer than it probably should be, and you are reminded of this by a certain unevenness in pacing, whose more hurried moments slam-bang exposition, and whose less swift areas get to be a bit carried away in repetitious padding. Sure, I wouldn't have expected too much from this film back in '39, so I'm certainly not asking for all that much depth to this classic fluff flick, but it's all so very superficial, and all too often to a cheesy extent which challenges your investment about as much as dating within pacing sensibilities. Well, lucky for MGM, 1939 was anything but the year they saw flop, because this film and its fellow Fleming flick were quite the hit, though that's not to say that this film comes close to the level of "Gone with the Wind", being held back by a number of factors.Ī late 1930s family fluff piece, this film has, of course, dated quite a bit over the years, though it couldn't have been entirely cleansed of cheesiness at the time of its release, and it's certainly not cleansed of corniness now, as its lighter moments get to be too fluffy for their own good, sometimes to a slightly annoying extent, and when it comes to the deeper areas of this film's substance, it's also dated, with no subtlety and only so much weight. Man, forget Fleming, this film and "Gone with the Wind" bled Metro-Goldwyn-Mayer dry, so if they didn't succeed, Fleming would have his life to worry about more than his money (He made this film and "Gone with the Wind" in one year, so it's not like he had all that much time to spend on having a life). Man, this trippy flick has always been mighty popular, and I'm betting Victor Fleming was glad of that, because if I'm going to make time to knock something the same year I did "Gone with the Wind", I better get paid back well.
No, this film can't possibly be that terribly old, because I had always figured that the '60s was the best time to get the type of dope which just had to have gone into this film, or at least into the minds of this film's viewers back in 1939. It's good that she had that going for her after this film, because she was cuter at 16, and if you think that that's kind of weird to say, this film is so old that I think that it came out at a time when 16-year-olds were already married, with children, and a place in the Senate of the Roman Empire or something. Survivors include her siblings, Gregory and Annette.We're off to see the wizard, the adequately entertaining, but somewhat dated and narratively thin 'Wizard of Oz'!" Yeah, they might be giving this film a bit more credit than it deserves just for being old, as well as innovative for its time, even when it comes to tone, because, let me tell you, when I was a kid, even I got kind of freaked out by the flying monkeys, and in 1939, I bet that they left the grown men stuttering like the Cowardly Lion for the next couple Judy Garland films, though that may have just been Garland's legs after she got good and grown up.
She went on to play Lady Vi on NBC’s Days of Our Lives in 2000 guest-star on such series as Homicide: Life on the Street, NYPD Blue, Touched by an Angel, Chicago Hope, ER, The West Wing, The District, Charmed, Southland and Shameless and work in films including Sunset Park (1996) and Wim Wenders’ Land of Plenty (2004). The next year, she appeared opposite Diana Ross in the ABC telefilm Out of Darkness. In 1992, she made her onscreen debut on an episode of NBC’s Here and Now, then earned a CableACE nomination for her turn in the 1993 HBO miniseries Laurel Avenue, directed by Carl Franklin. She was 60.Ī Brooklyn native, White studied acting in the early 1980s at NYU’s Tisch School of the Arts, training under David Gideon alongside classmates that included Alec Baldwin. Rhonda Stubbins White, a veteran TV actress who most recently recurred as the cult elder Agnes on the Tyler Perry-created BET drama Ruthless, died Monday of cancer at her home in Los Angeles, a friend announced.
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