Greg Ferrara’s thoughtful pieces on remakes last week and yesterday got me thinking again about Godzilla—which was the subject of my own thoughtless post last week. Maybe too many things get me thinking about Godzilla. But since Godzilla movies have been “rebooted” so many times over the years (1954, 1984, 1999, 2000, 2001, 2014 to choose the most obvious ones) there’s almost no remake-related issue that hasn’t been touched on in Godzillaland at least once.
Posted by gregferrara on July 3, 2015
Last week I did a post on how the remake Against All Odds paled next to its original inspiration, Out of the Past. I enjoyed writing it and reading the comments and discussion that followed, as always, and decided to keep doing it. Now, making the argument that Against All Odds is a faint shadow of Out of the Past is, admittedly, easy pickings. I mean, yes, there were some good things in Against All Odds, not least of which being James Woods fantastic supporting performance, but the fact is that Out of the Past is one of the best, maybe the best film noir ever made. Tonight, on the other hand, there’s a solid thriller running and almost forty years later, there was a remake of it and the remake isn’t half bad, really. I like the original better but the remake has much to recommend itself. The original is The Big Clock, with Ray Milland and Charles Laughton, and the remake is No Way Out, with Kevin Costner and Gene Hackman. Both have plenty to offer.
Posted by Kimberly Lindbergs on July 2, 2015
When asked what my favorite film decade is I always mention the sixties. So what is it about the swinging sixties that I find so damn appealing? There are a plethora of reasons including the influx of foreign films that had begun to influence and inspire American filmmakers while avant-garde as well as pop art sensibilities began to flourish around the world. Long-held prejudices were being addressed in American cinema and black, Hispanic and Asian actors were able to find significant starring roles that broke racial barriers. The Hollywood studio system may have been on the decline but many of the best films produced during the decade were directed by old masters such as Alfred Hitchcock, Otto Preminger, Billy Wilder, John Huston, John Ford, John Sturges and Orson Welles who seemed to embrace change and created some of their most challenging and important work during this period.
I mention all this because myself and Millie De Chirico (the lovely TCM Manager of Programming) were recently asked to participate in Brain Saur’s Underrated ’65 project currently ongoing at his blog, Rupert Pupkin Speaks. Brian is an ardent supporter of classic film and you can always find interesting recommendations there as well as regular updates about new and upcoming DVD releases. I was happy to take part because I love sixties cinema and there are plenty of undervalued films from 1965 that deserve more attention and thoughtful consideration. So many that I had a hard time narrowing my list down to a mere Top 10 but that’s what I did and I thought it was worth sharing here.
Posted by Richard Harland Smith on July 1, 2015
Nearly forty years after the advent of Blaxploitation, it becomes increasingly difficult to distinguish the parodies (CLEOPATRA SCHWARTZ, BLACK DYNAMITE) that followed from the genuine articles (CLEOPATRA JONES, BLACK SHAMPOO) that broke out of the Hollywood studio system in the 1970s to appeal an African-American movie-going demographic accustomed to searching high and wide for racial representation on the big screen. The unparalleled success enjoyed by United Artists with Ossie Davis’ COTTON COMES TO HARLEM (1970) and by MGM with Gordon Parks’ SHAFT (1971) led to a flood of films that made household names out of former character actors (Yaphet Kotto, William Marshall), stage players (Thalmus Rasulala, Paula Kelly), professional athletes (Jim Brown, Fred Williamson), fashion models (Richard Roundtree, Tamara Dobson), standup comedians (Richard Pryor, Rudy Rae Moore), and even the occasional receptionist (Pam Grier, Gloria Hendry). Yet even when fronted by predominantly all-black casts, Blaxploitation films (as they were later dubbed, not always flatteringly) were more often than not driven by white executives and overseen by white directors-for-hire. Such was the case for the Warner Bros. hit CLEOPATRA JONES (1973), a marriage of Blaxploitation elements with the outr tropes of the spy subgenre (particularized by the popular James Bond franchise, whose lead had changed from Sean Connery to Roger Moore for the Blaxploitation-flavored LIVE AND LET DIE), made by a creative team that was almost entirely Caucasian. [...MORE]
Posted by R. Emmet Sweeney on June 30, 2015
When I have an empty afternoon to kill, I go to the movies. This past Saturday my hours were filled to bursting with the “Glorious Technicolor: From George Eastman House and Beyond” series at MoMA, which runs through August 5th. The way the schedule fell, my matinees were made up of MGM’s frothy swashbuckler Scaramouche (1952) and the kindly circus folk of 20th Century Fox’s Chad Hanna (1940), with the prime evening slot held by the dark, violent Universal-International Western, Apache Drums (1952). This is a series after my own heart, a 60+ feature cavalcade of movies classic and obscure from 1922 – 1955, all exhibited on film (a rarer and rarer pleasure). My random sampling spanned two decades, three genres, and a variety of approaches to Technicolor. Scaramouche is all gleaming candy colors — you are almost invited to go up and lick the screen. Chad Hanna and Apache Drums are more subdued in their palettes, both making use of darkness and chiaroscuro to capture folds in upstate New York circus tents and candlelight in a Southwestern church under siege, respectively.
Posted by Susan Doll on June 29, 2015
Researching, re-viewing, and re-visiting film noir this summer through TCM’s Summer of Darkness has led me beyond the trio of hard-boiled novelists/screenwriters generally discussed as the genre’s literary architects: Dashiell Hammett, Raymond Chandler, and James M. Cain. A few weeks ago, I wrote about Daniel Mainwaring, author of Build My Gallows High on which Out of the Past was based, and I was delighted to discover the extent of his contributions to postwar Hollywood. Several readers suggested I also look into Cornell Woolrich, best known for penning the story that served as the basis for Rear Window. While every movie lover can connect his name to Rear Window, few know much beyond that—including myself. Not only is he the least familiar contributor to mystery fiction and film noir, but, in a genre created by a number of self-destructive, anxiety-ridden, and depressed writers, Woolrich was arguably the most troubled.
When the reclusive, alcoholic, diabetic died in 1968, he left behind several unfinished stories, including one titled “First You Dream, Then You Die.” The title seems a suitable epitaph for his wretched life—so suitable, in fact, that writer Francis M. Nevins, Jr., used it for his definitive, 600-page biography of Woolrich.
Posted by Pablo Kjolseth on June 28, 2015
The Passion of Joan of Arc (1928) is Carl Theodor Dreyer’s first masterpiece. It was critically acclaimed but a disappointment at the box-office. Dryer followed it with a second masterpiece, Vampyr (1932), which also failed to impress its investors, but this time he was criminally overlooked by the critics, probably due to the stigma that hounds the horror genre. Day of Wrath (1943) fared better, but due to its allusions to the tyranny of Nazi Occupation Dryer fled to Sweden and did not return to Denmark until after the war. Dryer grew up in a Danish foster home and was adopted by a newspaper typographer, and this later dovetailed into a career in journalism. In 1912 he got work as a title writer for Nordisk Film and for the next six years wrote many scripts before breaking out as a director. Dryer was influenced by Sergei M. Eisenstein’s work, but his films are in a class all of their own and have left deep imprints on many filmmakers, including Lars von Trier – who sometimes seems to be as haunted by Dryer as were all the people who worked on The Passion of Joan of Arc. [...MORE]
In the mid-sixties, United Productions of America’s Henry Saperstein went shopping for high quality monster movies for North American distribution. Toho Studios shared with Hammer Studios in England the reputation of producing a steady supply of monster movies with a consistent level of quality. Choosing to deal with Toho rather than Hammer, Saperstein eventually won the confidence of Toho producer Tomoyuki Tanaka.
Saperstein’s involvement began with Frankenstein Conquers the World, which was then already in preproduction, and continued for years—on to the likes of War of the Gargantuas, and later Godzilla’s Revenge and Terror of Mechagodzilla.
Monster Zero would be Saperstein’s first full-fledged co-production, and boy is it a doozy. (Check it out Sunday the 28th for yourself)
Posted by gregferrara on June 26, 2015
Today on TCM, one of my favorite movies of all time comes on, Out of the Past. It was released in 1947 and 36 years later was remade as Against All Odds. Jeff Bridges stepped into the shoes of Robert Mitchum, James Woods into the shoes of Kirk Douglas, and Rachel Ward into the shoes of Jane Greer. Despite the incredible talents of Bridges and Woods, they still couldn’t fill those shoes. Step into them, yes. Fill them, no. But the real problem was Rachel Ward. Not because she wasn’t up to the task, although it’s arguable she wasn’t but that’s a discussion for a different time and a different post on acting, but because they gave her the wrong character. Hell, they gave the movie the wrong character and that doomed the whole enterprise before the movie was even halfway done.
Posted by Kimberly Lindbergs on June 25, 2015
You can catch Arlene Dahl in a number of films airing on TCM in July:
Arlene Dahl was a stunning redhead and a capable actress who I’ve enjoyed watching in a number of films including REIGN OF TERROR (1949), SCENE OF THE CRIME (1949), WOMAN’S WORLD (1954) and JOURNEY TO THE CENTER OF THE EARTH (1959). However, her most successful career was in the multibillion-dollar beauty industry where she started as a syndicated columnist offering advice on dieting, plastic surgery, make-up, fashion and the latest hairstyling trends. By 1954 she was managing her own line of lingerie and cosmetics under the Arlene Dahl Enterprises banner and in 1965 she published her first of many books titled Always Ask a Man: The Key to Femininity. Dahl’s book capitalized on her Hollywood credentials and dished out beauty tips along with suggestions on how women could best attract and keep their men.
With the women’s movement on the rise and the sexual revolution bubbling loudly under the surface of polite society, the mid-sixties was a challenging time. Especially for women like Arlene Dahl who had accepted her place, no matter how begrudgingly, in a society that often treated her like a second-class citizen. And although she had admirably managed to create a successful business for herself at a time when American women still weren’t allowed to get an Ivy League education, Dahl makes it clear in Always Ask a Man that she was no bra burning radical. Her antiquated ideas about womanhood are supported, and in some cases weakened, by a surprising number of male actors who are quoted throughout her book. These beloved film figures, including Cary Grant, Marlon Brando, Bob Hope, Richard Burton and Burt Lancaster, freely offered their thoughts on femininity and beauty to Arlene Dahl, which she undoubtedly hoped would help sell her book and boost her arguments. 50-years-later, many of the actor’s casual comments are cringe-inducing reminders of a bygone era while others are more thoughtful and enduring. As history, particularly Hollywood history, their observations on women in 1965 makes for fascinating reading so I decided to collect some of the more provocative quotes and share them here.
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