I’ve been kind of an updating machine lately. Wasn’t really planning anything for today, but that’s what insomnia does to you.

We talk about a lot of actors nobody has ever head of on this site, but I always love talking about the lesser known films of the really well known actors. Those hidden gems among the Some Like It Hots and the Casablancas.

Clark Gable is an actor who everyone knows, for Gone With the Wind alone, if for nothing else. He had a really long career as a leading man, spanning over three decades, working with almost every leading lady imaginable. He has so many, many movies that are remembered as classics. It Happened One Night, The Misfits, and Mogambo. But, this being Obscure Classics, I want to talk about those movies that aren’t widely known. And really, I want to talk about some of his movies that don’t really get a lot of talk here. There are a lot of posts that mention movies like Men In White and Possessed, so I’m going to try to spotlight just a few that haven’t gotten so much attention here.

Laughing  Sinners (Harry Beaumont, 1931)
This movie has a criminally low rating on IMDb. It’s not any kind of masterpiece, but it’s certainly not as bad as that 4.9/10 would suggest. It actually is really good. Gable costars here with his frequent leading lady (and sometimes bedmate) Joan Crawford. This is definitely not a light movie, dealing with issues like suicide. Gable and Crawford are always wonderful together, and can say so much without actually saying anything.  Their onscreen relationship, as it always did, feels intense and genuine. Gable is really good here, but it is Crawford’s movie. She gives a very vulnerable performance.

Sporting Blood (Charles Brabin, 1931)
Despite the presence of Gable and the lovely Madge Evans, I really didn’t think I was going to like this one the first time I watched it.  The whole story of race horses and gambling sounded a little silly to me. But the movie is surprisingly gripping and really well told story.  It’s got that struggle and redemption aspect that always gets me. There’s also a genuine affection for horses and horse racing present in the film that’s really effective, even if you’re not really into that whole scene. Gable and Evans are fantastic together. They have chemistry to spare, which is why it’s a huge shame that didn’t work together again.

After Office Hours (Robert Z. Leonard, 1935)
In this fun and light mystery/drama, Gable plays a reporter trying to solve the murder of a socialite. He gets in with wealthy Constance Bennett, an acquaintance of the victim, and he falls for her, but he can’t help himself from using her to get the scoop for his story. It’s not really a comedy, so don’t go in expecting something like The Thin Man, because it’s not very funny. But it is a light and somewhat breezy murder mystery. Gable and Bennett are good together, and their romance is actually convincing instead of feeling tacked on for convention’s sake. It also sports an impressive supporting cast which includes Billie Burke, Henry Travers, and William Demarest.

Somewhere I’ll Find You (Wesley Ruggles, 1942)
I’m actually kind of surprised I don’t talk about this movie more here because it’s one of my very favorite Gable movies. Clark Gable and Lana Turner really are one of the most underrated pairings in classic film. They made a few good movies together, they looked gorgeous when they shared the screen, and they had chemistry. Somewhere I’ll Find You is probably the heaviest of all their movies. It’s set during WWII, and has two brothers (Gable is one of them, Robert Sterling is the other) trying to attract Turner’s attention.  The movie does kind of have Carole Lombard’s death hanging over it, as it was the only movie Gable did between the passing of his wife and his discharge from the military, and the final speech he gives in the film is especially poignant because of it.

By Katie Richardson

You lucky ducks. Since I didn’t do a post last week, I’m doing two posts today. So woohoo for you guys!

Minna Gombell is DEFINITELY an actress who really doesn’t get the attention she deserves. Even among the character actors she’s often forgotten. I adore her. It may just be because she made a few movies with my personal god, Frank Borzage. But I’ve always appreciated her performances and I’ve always been impressed by her range.

Gombell was nearing 40 when she started out in Hollywood during the birth of the talkies. With very, very few exceptions (Ruth Chatterton being one), actresses of that age were no longer “allowed” by Hollywood standards to be leading ladies. So these actresses of a certain age became character actors, to play older best friend types, or mothers. It was the really good character actors who took these roles and practically stole the films they were in with their amazing performances. Minna Gombell was one of those actors. In this post, I’ll take a look at a few of the films Gombell made with Borzage, my favorite director.

Bad Girl (1931)
In her first film with Borzage, Gombell plays Edna, the older best friend of Sally Eiler’s Dorothy. Bad Girl is a movie about a young marriage and expecting a child during the Depression. It’s a really mature movie, exploring the damage that a lack of communication can do to a relationship. Both Dorothy and her husband Eddie (played by James Dunn) are pretty nervous and high strung. They’re newlyweds, they’re expecting a baby, money is tight, and they both think that the other one doesn’t want the baby. With two lead characters who are such messes, Gombell’s Edna is the sturdy, steady, calming force in the movie. She herself is a single mother, but the character shows how one can actually get through even the toughest of times.

After Tomorrow (1932)
In her second film with director Frank Borzage, Gombell gives what I think is by far her finest performance. She’s Else, the mother of Sidney (Marian Nixon), who is in love with and trying to plan her wedding to Pete (Charles Farrell), but they have little money and marriage is starting to look impossible. The love story between Pete and Sidney is sweet, but the real emotion of the film comes from Gombell. Else is a restless and unhappy woman. She loves her daughter, but she married and had a child at a young age, and now that she’s older she feels that she’s wasted her life away cooking for her husband and ironing her daughter’s clothes. Gombell’s performance is absolutely amazing. This is a character who could very easily garner no sympathy from the viewer, but Gombell creates such a complex character. You hate her for the way she treats her husband and the way she runs away, but at the same time you still genuinely feel for her and the way she’s feeling. It’s a truly beautiful performance, and it makes one of the Borzage’s lesser film completely worth watching.

By Katie Richardson

Year: 1933
Director: Lewis Milestone
Cast: Al Jolson, Madge Evans, Frank Morgan, Harry Langdon, Chester Conklin, Edgar Connor

TCM has been doing a wonderfully showcase this month on Thursday nights on movies about the Great Depression. There are still some wonderful movies coming up, like Gold Diggers of 1933, Faithless, and American Madness. During the first week, they aired this rarely seen on TCM gem, Hallelujah I’m a Bum. It’s not hard to see the purpose of this movie, the glorification of homelessness during a time when a fair deal of the population of NYC was homeless.

Al Jolson plays Bumper, a hobo who happily lives in Central Park with his fellow homeless friends. He enjoys living outside and doesn’t even attempt to get a job. He’s also buddies Mayor John Hastings (Frank Morgan). Hastings is in a clandestine relationship with June (Madge Evans), but after an argument June takes a dive off of a bridge. Bumper fishes her out of the river, but she’s lost her memory and has no idea who she is or where she came from. Not knowing that she’s the mayor’s girl, Bumper falls hard for her.

In New York City during the Depression, Central Park really was the go-to for people who were out of work and without homes. It was the main location for many of the Hoovervilles, and it also served as a home to people like Bumper, who preferred to simply sleep outside. With so much hardship and the lack of homes in the city, it was only natural that the studios over in Hollywood would try to make some movies to lift the spirits of those people. Hallelujah I’m a Bum is easily the most blatant of these types of movies. Bumper and his friends are all homeless, yes, but they’re happy and they’re loving it. Their lives are carefree, especially when you compare them to the lives of the wealthy, like the mayor and his dramatic romantic problems. The “Gee, isn’t poverty swell!” tone to the film may induce some eye-rolling today, but when you remember the time it was made, it’s actually kind of sweet.

It stars Al Jolson, so it’s naturally a musical film. The songs aren’t exactly memorable, but they’re prevalent throughout the film (I’d say more than half, maybe even about two thirds of the movie is sung) which gives the movie a strange but infectious rhythm and pace. It also makes what could be really depressing (not just the homelessness problem, but also June’s attempted suicide) more charming than sad.

Jolson was  likable enough in the lead role, but he never really had that leading man charisma when it came to talkies. Frank Morgan, though, was wonderful as he always was. He really was one of the most dependable character actors of the studio era, and this role shows his range. In so many of his films he’s sort of a sweet, but bumbling guy. It’s nice to see him play someone smart and kind of suave. And then of course there’s Madge Evans. How I adore Madge Evans. She’s simply one of the most charming and likable actresses in Hollywood history. And she’s just as charming and wonderful here as she always is.

Hallelujah I’m a Bum isn’t a conventional movie from the 1930s, from the music, to the pacing, to the ending, but it’s certainly a good movie, especially when viewed in the context in which is was made.

By Katie Richardson

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Richard Boleslawski is another of the many, many great, yet underappreciated directors that we love here at Obscure Classics. While he directed a few films in his native Russia (in the area which is now Poland) between 1915 and 1921, his career didn’t really take off until he came to America. His first job wasn’t exactly the brightest omen of things to come. He did fill in work for Erich von Stroheim on the ill-fated Queen Kelly, which was something of a disaster that was never finished. Fortunately, his first job was not an indicator for the rest of his career, and while he never made a picture as big as Gone With the Wind or Grand Hotel, he made many excellent studio pictures before his career was tragically cut short by his sudden death in 1937. A few of his films, Beauty for Sale and Fugitive Lovers, get quite a lot of talk on this site, so here are a few of his films that haven’t received quite as much attention.

The Mystery of Mr. X (1934)
The Mystery of Mr. X is one of the man mystery/comedies to come out of the 1930s, and while it’s not quite as good as The Thin Man or The Mad Miss Manton, it’s definitely in the upper echelon of these types of films. It’s a little bit different than these other films in that its lead character, played wonderfully by Robert Montgomery, is not a detective, or a doctor/detective, or lawyer/detective. He’s ‘technically’ not a good guy at all, he’s a gentleman thief. He gets caught up in a murder when he’s stealing a diamond at the same time a policeman is being murdered just outside the building. Scotland Yard assumes the murder and theft were committed by the same man, and Montgomery is left to prove himself innocent.

His leading lady is Elizabeth Allan, and the two of them share a really wonderful chemistry that really makes me wish they had made more films together. The screenplay sparkles, and Boleslawski easily mixed the humor with some truly suspenseful scenes.

Men In White (1934)
I’ve talked about this movie a few times on this site. It’s a really incredible pre-code film, which tackles some pretty taboo issues with incredible finesse.

In Men In White, Clark Gable plays a young doctor in love with Myrna Loy, but his constantly busy schedule puts a strain on their relationship, and he ends up having a one night stand with nursing student Elizabeth Allan. She gets pregnant and has a back alley abortion, which is predictably botched and she ends up in the hospital, fighting for her life.

Abortion was perhaps the most taboo subject that could be covered in film in the 1930s, and even during the pre-code era, films had to be delicate about the way it approached the topic. The word “abortion” is never used. It’s hinted at without the word ever being spoken. Boleslawski takes a topic that could be sensationalized and tells a very personal story with it.

The Painted Veil (1934)
Boleslawski’s version of W. Somerset Maugham’s brilliant novel The Painted Veil isn’t nearly as good as the almost perfect 2006 adaptation starring Naomi Watts, Edward Norton, and Liev Schreiber. Naturally, the subject matter had to be handled much more delicately in the 1930s. But for what it is, which is basically a watered down version of Maugham’s story, it’s still a pretty good movie, with a really good performance from Garbo.

Garbo plays a restless woman who marries scientist Herbert Marshall even though she doesn’t really love him. This lack of love, combined with Marshall’s constant working, leads to Garbo having an affair with George Brent. When he husband discovers her infidelity, he takes her with him to inland China to fight the region’s illness, assuming they’ll both probably die. But in these worst of conditions, Garbo grows as a human being, as does her love for her husband.

This movie really only tells half the story of Maugham’s novel, leaving us with the happy ending, rather than going past that to the true, tragic ending of the story. But despite the sunny-ing up of the story, Boleslawski’s film does something that very few films at the time did. It takes a very honest and mature look at adult relationships and marriage.

By Katie Richardson

Marilyn Monroe is easily one of the most famous movie stars of all time. I don’t think you’ll find anyone who doesn’t know who she is. Sadly, most people don’t realize what an incredible actress she was. In addition to a stunning screen presence, she had an amazing comedic and dramatic talent. In the early 1950s, when she was still in mostly supporting roles, she was quite a scene stealer. When she started getting lead roles, she just sparkled in film after film after film. It’s tragic that she died so young. Who knows where her career would have gone.

Monroe made many, many films that are so incredible well known. Some Like It Hot was named the greatest comedy of all time by the American Film Institute. The Seven Year Itch, The Misfits, Gentlemen Prefer Blondes, and How to Marry a Millionaire, among others, are considered to be classics. But she also made a lot of really good films that aren’t particularly well known today.

Don’t Bother to Knock (Roy Ward Baker, 1952)
In this unsettling sort-of-noir, Monroe gives an excellent performance as a mentally disturbed woman opposite Richard Widmark.  It’s really a pretty disturbing film for Hollywood in the 1950s. Monroe’s character is babysitting a couple’s kid in a hotel, but thanks to the fact that she’s kind of crazy, she does a really bad job of it. Like, tying the kid up kind of bad job. This is one of Monroe’s best performances. It’s really very subtle and natural, and while you’re appalled by how poorly she’s doing her job, your heart really breaks for her when you see just how sad her instability is.  Widmark also gives a very good performance, and his chemistry with Monroe is interesting and unique.

Home Town Story (Arthur Pierson, 1951)
This isn’t a great movie at all, but it’s a decent little newspaper drama with a really charming performance from Monroe.  It is blatantly patriotic, but it’s hardly the only film from the era of McCarthyism to carry the “America is Awesome” message. In addition to Monroe, the cast is  interesting enough to make this movie worth watching.

Bus Stop (Joshua Logan, 1956)
Monroe  got the chance to really put her acting talents on display in Bus Stop, showing off in this drama-comedy. You know, a dramady, if you will. The wide range of emotions she shows in this movie is really incredible, proof that she was a truly gifted actress.  Before this she had played mostly breathless blonds, but she left that persona behind to play a hardened, disappointed woman looking for love.

By Katie Richardson

Tallulah Bankhead is legendary in the theater world, but not so much in the film world. She only made 12 films, and I’d say all but one belong firmly in the “Obscure Classics” category. And many of them aren’t even available for viewing. But I love Tallulah Bankhead. I have only seen a few of her movies, but she makes such a lasting impression. Today I’ll talk about my two favorite films starring Tallulah.

Faithless (Harry Beaumont, 1932)
With her outspoken ways, Bankhead was a perfect fit for pre-code Hollywood, and her best work during that era is the Depression era romance Faithless. I think it’s truly the role Bankhead was born to play in films.

She stars opposite Robert Montgomery as a very wealthy heiress who refuses to live on her fiancee’s income, which breaks up the engagement. Of course, she’s so arrogant and having such a good time that she doesn’t pay any attention to the fact that the Depression is quickly cleaning her out, and she ends up broke.

She and Montgomery find each other again, both poor as can be, and reignite their love. The film becomes truly pre-code in the end. Montgomery is injured in an accident, and Bankhead has to find a way to pay for his medical expenses, and she turns to prostitution. When Montgomery finds out, instead of being furious with his wife, he is grateful to her, believing that what she is doing is a sacrifice for him. Not only is it wonderful pre-code, it’s a great love story.

A Royal Scandal (Ernst Lubitsch and Otto Preminger, 1945)
Her role in Faithless may be the role she was born to play, but Bankhead’s role as Catherine the Great in A Royal Scandal isn’t that far behind. It’s an Ernst Lubitsch picture, so even though it isn’t a pre-code film, there’s still a dash of sly and subversive naughtiness, which is a perfect fit for Bankhead.

When you see costumes like this in a classic movie, you’d probably be expecting some kind of costume drama. But A Royal Scandal is a comedy, a light and sexy Lubitsch comedy (though a good deal of it was directed by Otto Preminger due to Lubitsch’s illness), that Bankhead sparkles in. There’s just something in her personality that’s so suited to the genre, but this might be the only comedic film she ever made.

A Royal Scandal is just a delightful movie through and through. Sexy, silly, and fun, with Bankhead at her best.

By Katie Richardson

I kind of can’t believe I haven’t already written this article. My second favorite film couple of all time,  and I haven’t written this article? It just doesn’t make any sense. Perhaps I have written it, and I somehow missed it when I was updating the “Reviews and Essays” page. Oh well. I’ll just write it again. But I’m pretty sure I never have.

Like I said above, Robert Montgomery and Madge Evans are my second favorite film couple of all time, second only to Fred Astaire and Ginger Rogers. And really, if Montgomery and Evans could dance like Astaire and Rogers, they’d probably be my number one. Montgomery had a lot of really fantastic leading ladies, with whom he made many movies and had incredible chemistry. Joan Crawford (The Last of Mrs. Cheyney, Letty Lynton), Rosalind Russell (Fast and Loose, Trouble For Two), Norma Shearer (Riptide, Private Lives), Marion Davies (Blondie of the Follies, Ever Since Eve), Myrna Loy (Petticoat Fever, When Ladies Meet). Evans had a few really memorable leading men, too. Robert Young (Paris Interlude, Hell Below), Otto Kruger (Paris Interlude, Beauty for Sale), Richard Dix (The Tunnel, Day of Reckoning), Paul Lukas (Age of Indiscretion, Espionage), William Haines (Are You listening, Fast Life). But really, when it came down to it, no other match was as completely perfect as Bob and Madge. All the similarities and differences just clicked in the most incredible way. He was suave and and arrogant, she was sweet and modest. Yet at the same time they both had a certain spunk to them. A spunk I really can’t quite describe. Maybe it’s the spunk that comes from being an underappreciated star. But they both had it, in spades.

Thee chemistry between them was so adaptable. They really worked well in pretty much ever genre, from comedy, to drama, to war movie. They were the perfect couple because they were perfect in everything. They worked well trading jokes and banter in their comedies, they worked well crying and pouring their hearts out in their melodramas. There was such a genuine feeling between them no matter what they were doing onscreen. They must have been really good friends off screen, because they really seemed to enjoy each other.

So, here they are, the films Bob and Madge made together, ranked. Because I love my lists.

05. Hell Below
This is kind of the grand-daddy of all submarine films.  It’s a pretty good combo of war movie and romance. Bob falls in love with Madge, the already married daughter of his commanding officer. Ooh. Tense times on the sub for all.

04. Made on Broadway
This is probably the least talked about of all the Montgomery/Evans movies. It’s actually a really good movie, though it did take some time to grow on me. Bob and Madge play a former couple that’s already split (but, of course, they’re still mad about each other deep down).  Sally Eilers costars as the undeserving object of Montgomery’s affections. He saves her from a suicide attempt, gives her a makeover, and makes her semi-famous. The story is good, but it really is the chemistry between Bob and Madge that keeps the movie afloat.

03. Fugitive Lovers
What an adorable, fun, unique little movie. It’s a road romance, so it kind of has a bit of a Love on the Run/It Happened One Night feel to it, only it’s a little different because there’s a bit of exciting action in it. Montgomery plays an escaped convict who ends up on the same bus as Madge, a show girl who’s on the bus trying to get away from her mobster suitor, who followed her anyway.  Two incredibly flawed characters, falling for each other, sacrificing for each other, and being pretty darn hilarious while doing so.

02. Lovers Courageous
This is one of the most masterful romantic melodramas I’ve seen from the 1930s. The chemistry between Bob and Madge in this, and their incredible performances, make this movie insanely romantic, and at times very heartbreaking. It’s a simple plot, poor boy falls in love with rich girl, marries her, and tries to give her everything she had before. It really is that special spark between Evans and Montgomery that makes this movie so special.

01. Piccadilly Jim
Even without Bob and Madge, this movie would be hilarious. It’s a wonderfully written romantic comedy. It would be good probably no matter who was in it. Luckily, it was blessed with an awesome cast. Frank Morgan and Billie Burke in the supporting cast as the second banana couple are so great and sweet in their own way. And then there’s Bob and Madge. It’s something of an antagonistic pairing at first. Bob is a cartoonist who’s creating a scathing comic strip based on Madge’s family. But the ice starts to melt away as she warms to him.

By Katie Richardson

How could anyone not love George Burns and Gracie Allen? They were adorable, hysterically funny, and they loved each other so much.

I first discovered the pair through their Vaudeville work. I find the whole world that was Vaudeville to be completely fascinating, and George and Gracie are probably my favorite act that I’ve found.

The pair met in 1922 and performed on the Vaudeville circuit together. When their act first started, it was Gracie who was the straight man, but George quickly discovered that it worked better the other way around. The two fell in love while working together and were married in 1926.

By the early 1930s, Vaudeville was starting to die out, and George and Gracie had to find other ways to perform. While most of their work at this time was on the radio, they did make a few films, usually playing supporting roles, but always giving wonderful and bright support.

We’re Not Dressing (Norman Taurog, 1934)
We’re Not Dressing is a wonderfully strange little musical. It’s set on an uninhabited island after a shipwreck, and features Bing Crosby singing, Carole Lombard trying to sing at points, Ethel Merman and Leon Errol being goofy, and Ray Milland as one half of a duo of gold digging princes. Oh, and there’s a bear who sometime wears roller skates. So yeah, George and Gracie are actually the most normal thing in the movie. They play a couple of scientists (I think, I’m not sure we’re ever actually clear on what they do). They get a few really amazing Vaudeville-type bits, like Gracie’s “Moose Trap”. It’s a weird movie, and I kind of love it a lot, but Burns and Allen really make their scenes great.

Six of a Kind (Leo McCarey, 1934)
Despite the fact that this movie was directed by the amazing Leo McCarey, I’m not that crazy about it. I know it might be somewhat blasphemous, but I am not a WC Fields fan. He kind of grates on my nerves, especially in this movie. Though, admittedly, this is one film where he does that the least. It’s an interesting idea, making a movie using three great comedic duos: Burns and Allen, Charles Ruggles and Mary Boland, and Fields and Alison Skipworth. All the couple balance each other out pretty well. Gracie is easily the best thing about this movie, especially when she’s causing all manner of problems for Ruggles (like, oh, making him fall off a cliff).

A Damsel In Distress (George Stevens, 1937)
I’m not too crazy about this movie either. I find the story and pacing to be incredibly messy, and I think the romance between Fred Astaire and Joan Fontaine is really flat. Yet again, Burns and Allen are the high point of the movie. The trio of Astaire, Allen, and Burns is actually quite excellent. The movie might have been a lot better if more time was focused on it. And it would have been wonderful to see them in more movies together. They could have been Fred’s partners after he split from Ginger!

By Katie Richardson

While I didn’t have a lot of time to work on the site over the summer, I did find time to fall completely and totally in love with a sexy little show called True Blood. I’ve always enjoyed vampires, but I am a little bit picky when it comes to the subject. (I find Twilight offensive in so very many ways). But True Blood is just all kinds of awesome. And it made me think about all the great vampire movies that came out of the classic era. Of course there are the well known ones, like Dracula with Bela Lugosi, and the silent masterpiece Nosferatu: A Symphony of Horror. But there are some pretty good vampire movies that aren’t too well known.  So, in honor of my True Blood love, and the fact that the second season will be over in less than two weeks, I’ve decided to write about two of my favorite obscure classic vampire films. One lost silent, and its remake.

London After Midnight (Todd Browning, 1927)
Sadly, the only print of London After Midnight was destroyed in a fire in the 1960s. The only material that exists are several publicity shots and a shooting script. This was enough to create a very thorough reconstruction, however.

The film stars Lon Chaney, easily one of the finest actors of the silent era. Really, one of the finest actors in film history. His makeup is, as usual, wonderful, and even through stills you can tell that his character is quite chilling.

The leading man in this movie is Conrad Nagel. Regular readers of this site will know that I’m a huge fan of his. I think that’s one of the saddest things about the loss of this film. Nagel was a wonderful actor, but he’s so little known today, and a lot of his films are lost. It’s just a huge shame that this is yet another of his performances that’s forever gone.

So, even though the film is lost, a very good reconstruction exists. From the shooting script we can see that it has a pretty good story. From its publicity stills, we can tell that it was probably quite creepy. And the presence of Chaney and Nagel assure that the acting was good.

Mark of the Vampire (Todd Browning, 1935)
Mark of the Vampire is a remake of London After Midnight. Being made by the same director, it is apparently an extremely faithful remake, almost shot for shot.

It isn’t a brilliant movie, but I think it’s a lot better than its IMDb rating would have you believe. It’s a little bit hammy, but at the end of the day Todd Browning really knew horror, and despite the ham, the most has a wonderful atmosphere.

It also has an incredible cast. Lionel Barrymore and Bela Lugosi are they big names in this one, and both give good performances. That’s to be expected from them, though, especially Barrymore, who was really never anything but good. The rest of the cast is filled with wonderful character actors. Elizabeth Allan is the female lead, and Lionel Atwill and Jean Hersholt play support.

By Katie Richardson

I bet you all thought the site was dead, huh? Well, for the summer, I guess it was. My work and family schedule got so crazy that weeks would go by without me being able to get near a computer, so I really couldn’t run the site.

But with the school year back in full swing, putting my co-workers and family back into a normal schedule, I am now back on my normal schedule, with plenty of regular computer time.

It will naturally be a little slow going while we all try to get back on track. But in the next few weeks be expecting to see new reviews from us here at Obscure Classics. Maybe we’ll even be adding a new member or two to the team. We’ll also try to get the weekly debates off the ground, and see if we can’t get the podcast running again. My brother and I will also be releasing a (non-obscure classics) film podcast which I will post the links to whenever we get around to finally getting it up. We’ve already recorded one, but there were some MASSIVE technical difficulties, and the audio track wasn’t even usable.

So just hang in there with us, we’ll be back to normal soon.