Posted by Kimberly Lindbergs on October 23, 2014
Hammer Films produced four Mummy movies between 1959 and 1971 and this coming Saturday (Oct. 25th) TCM is airing one of my favorites, Seth Holt’s BLOOD FROM THE MUMMY’S TOMB (1971). This unabashedly sexy horror extravaganza was the last Mummy movie produced by the ‘Studio that Dripped Blood’ and thanks to a great cast and some creative directing choices it turned out to be one of their best. But before it reached the screen the production was plagued by some serious setbacks that seemed to resemble the effects of a ‘mummy’s curse’ that’s often associated with doomed adventure seekers and tomb raiders. Was it just circumstance and bad luck or did something supernatural interfere with the making of the film? Read on to find out!
Posted by gregferrara on October 22, 2014
Later tonight, as in tomorrow morning on the east coast, TCM airs The Fog, the 1980 John Carpenter movie that, like a lot of John Carpenter movies, opened to middling reviews only to be heartily welcomed into the horror canon later. This also happened with his 1982 remake of The Thing from Another World, this time around simply titled The Thing, which opened to downright bad reviews but now has a solid reputation among horror fans, including this one. Later, Carpenter’s Christine suffered much the same fate. I saw Christine when it opened and thought it okay. A few years ago I watched it again and found it superior to much of what modern horror produces. Even Halloween was only given a few loving notices by Roger Ebert and Tom Allen originally while Pauline Kael led the charge against it as derivative crap. So, Ebert/Kael… I mean, flip a coin on that one, right? Eventually Ebert’s side won and the film is today regarded as a classic. Why they all took so long I think is not related to Carpenter so much as it is related to horror. Horror misdirects and confuses the audience, uses plot devices easily belittled and picked apart, and generally uses storytelling techniques so far removed from subtlety they don’t even occupy the same hemisphere. Behind all that could be a great movie but sometimes critics, and audiences too, can get lost in the fog of horror.
Posted by R. Emmet Sweeney on October 21, 2014
Farrelly Brothers movies are akin to family gatherings. They are filled with extreme neuroses, unexpected violence, and deep undercurrents of affection. Their films are even populated with friends and relatives from their Rhode Island home. Listen to any of their audio commentaries and you’ll find that half the actors are bankers and car salesman who grew up with them back east. Every time I see a Farrelly feature I think of how Manny Farber described Howard Hawks’ “weird mother hen instinct.” The Farrellys have it as well, just weirder. Dumb and Dumber was their directorial debut and an enormous hit, a tale of ignorant male friendship that lowered scatalogical slapstick so far it went below lowbrow and out the other side. It’s also their first attempt at depicting the bonds of brotherhood, in which Jim Carrey and Jeff Daniels perform a kind of radical acceptance of each other’s flaws — through complete stupidity, but still (they treated the same theme with greater complexity in Stuck on You, their greatest film and biggest bomb). The long-gestating but certainly not maturing sequel, Dumb and Dumber To, comes out next month.
The Farrellys follow-up to the original Dumb and Dumber, though, will never get a sequel, though it did come out on Blu-ray last week. Kingpin is another tale of success-challenged males learning to live with the other’s failure, this time in the lacquered middle-aged crisis world of bowling. Though where Dumb and Dumber is an abstract performance piece, as Carrey and Daniels could have been performing in front of a blank wall to similar effect, Kingpin tries to embed its outrageous characters into a semblance of the real world. Each bowling alley and auto-body shop is lovingly detailed, and essential to the development of its sad sack characters. The lead failure Roy Munson, Jr. (Woody Harrelson) is from the made-up small town of Ocelot, Iowa, a corroded rust belt city where he was once its proudest son as State Bowling champion, while ending up in a pit-stained flophouse in Scranton, PA dodging his scrofulous landlord’s bill. He sees a way out in the smooth stroke of Amish naif Ishmael (Randy Quaid), who he thinks can win the big bowling competition in Reno, and take down his longtime nemesis Ernie McCracken (Bill Murray).
Posted by Susan Doll on October 20, 2014
A few years back, I was teaching the musical comedy when a male student remarked that he did not care for musicals because they were like chick flicks—too focused on romance and too filled with music that was old-fashioned. He did not find the production numbers with Fred Astaire from Top Hat to be particularly impressive; while he recognized that Astaire was good at his craft, anyone can take lessons and learn to dance, or so he claimed. For the next class, I came armed with a clip of the Nicholas Brothers performing their famous staircase dance from Stormy Weather (left). The class was dutifully impressed, and the student who dismissed musicals begrudgingly admitted that he liked the Nicholas Brothers whom he compared to athletes. The incident came to mind because today is Fayard Nicholas’s birthday, and it seemed fitting to acknowledge the talents of the Nicholas Brothers.
Posted by Pablo Kjolseth on October 19, 2014
A Night at the Movies: The Horrors of Stephen King (Laurent Bouzereau, 2011), an hour-long documentary with the iconic best-selling author, premiered three years ago on TCM and is being brought back this Saturday. The topics covered include the early horrors that both scared and inspired him as a kid, moving on to films like Dementia 13, Night of the Living Dead, both versions of The Thing, his love of B-movies, ghosts, vampires, religion, slashers, and a section I’m especially looking forward to seeing where he discusses the movies that were made from his books. With the latter in mind, I’m here to provide a few highlights from a 600+ page paperback released five years ago that I stumbled across while attending the last Telluride Film Festival titled Stephen King Goes to the Movies. [...MORE]
So, in case you haven’t heard, there’s this movie called Phase IV. It’s a 1970s apocalyptic sci-fi thriller about killer super-intelligent ants, and it was directed by Saul Bass of all people. And instead of special effects, the killer ants are played by real ants, filmed in close-up by National Geographic photographer Ken Middleham.
Either that is enough to make you drop everything and go see it (or go see it again) immediately, or you’re one of those people whose tastes make no sense to me.
But the thing is, as deliriously entertaining as Phase IV is, it’s a singular creation that could only have existed when it did, and couldn’t be (re)made today. And therein lies this week’s story…
Posted by Richard Harland Smith on October 17, 2014
This Sunday, October 19th, marks the 30th anniversary of the death of my sister Cheryl Ann, or Cheri, as we called her. She died just two weeks shy of her 29th birthday. I was 23 at the time, just turned; I’m 53 now and I guess that makes Cheri the baby these days, frozen as she is at that — it seems to me now in my middle years — very young age. I’ve been thinking about my late sister but also watching a lot of spooky movies for the Halloween season and it all came together for me this week how many portrayals there are in genre films of brothers and sisters lost in bad territory. I guess we have Hansel and Gretel to blame for that. Odd that the most famous brothers in western civilization are Cain and Abel and the most famous brother and sister Hansel and Gretel. Maybe it’s because I grew up with sisters that I prefer fairy tales to Bible stories. But anyway. By way of turning sorrow into light, I offer you my highly subjective and far from comprehensive list (please, no comments telling me “you forgot…”) of my favorite brother and sister acts in fright films. [...MORE]
Posted by Kimberly Lindbergs on October 16, 2014
The setting is London in the early 1900s, where a young Scottish woman named Phyllis Allenby (June Lockhart) is preparing to wed her beau (Don Porter). The happy couple’s plans are interrupted when someone or something begins killing locals at a nearby park. Terrified Phyllis is certain an old Scottish curse that has plagued her family for centuries is turning her into a bloodthirsty werewolf while she sleeps but her domineering aunt Martha (Sara Haden ) and lovesick cousin Carol (Jan Wiley) seem to think otherwise. Is Phyllis a werewolf? Is she going mad? Or is something else even more sinister stalking the nearby park under the cover of night? SHE-WOLF OF LONDON (1946) is often dismissed as one of the lessor entries in the Universal monster cannon but while watching this briskly paced B-movie again recently after decades of reading numerous dismissals, I was swept up by the films moody atmosphere and shaken by its surprising brutality. The film may not satisfy viewers anticipating a typical monster movie but SHE-WOLF OF LONDON has plenty of things to recommend it and with Halloween quickly approaching it seemed like the perfect time to praise its unsung sinister charm.
Posted by gregferrara on October 15, 2014
I recently wrote up Safari for TCM (it can be found here on the main site) and it airs later tonight, much later, so here’s my chance to elaborate on a few things I put in the article but couldn’t flesh out. First off, I liked Safari a good deal when I saw it but it has a couple of very disturbing moments when footage of actual animal kills are shown. In one, a large bull elephant is brought down by rifle and there is no doubt from the footage that it’s real. The bullet penetration in the elephant’s head can be quite clearly seen and the elephant immediately drops to the ground in a heap. That was no staging, it was an actual death, and the kind of thing that can make me never revisit a movie again. In fact, I may never revisit Safari again for just that reason even though the rest of the movie is a solid action adventure with good performances from the leads and some damn fine photography. Second, the movie provides a good example of a young director doing a kind of test run for the movies he will later be known for. The director is Terrence Young and those later movies have something to do with a gent named Bond, James Bond.
Posted by R. Emmet Sweeney on October 14, 2014
The Lusty Men is haunted by the Great Depression. It’s about economic displacement, wandering the countryside to make a buck at podunk rodeos, and where the dream of owning a home seems forever out of reach. As with most Hollywood studio projects, The Lusty Men was built out of compromise and circumstance, starting as a Life magazine article on the rodeo by Claude Stanush, and turning into a largely improvised character study by director Nicholas Ray and star Robert Mitchum. In between were a series of scripts, the first by David Dortort, and the second by Horace McCoy, who had made his name writing about Depression desperation, most famously in his novel They Shoot Horses, Don’t They? None of them satisfied Ray or producers Jerry Wald and Norman Krasna, so they often worked without a screenplay. It is a vulnerably acted film, as Ray teases out the fragility in Mitchum and co-stars Arthur Kennedy and Susan Hayward. It is a love triangle of sorts, but one enacted with complete honesty and forthrightness. The question is between the stability of Arthur Kennedy or the soulfulness of Mitchum, and while aesthetically it’s an easy decision (Mitchum has never been so beautiful), for characters raised dirt poor it’s a heart-wrenching choice. The Lusty Men, recently restored on 35mm by Warner Brothers, The Film Foundation and the Nicholas Ray Foundation, has finally been released on DVD by the Warner Archive (it also airs 11/4 at 1:30PM on TCM). Ever since the restored print screened at the New York Film Festival last year, I was patiently awaiting a Blu-ray release, but this will have to do. Luckily the DVD is in fine shape, aside from the beat-up archival rodeo footage which sets the stage for the drama to come.
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