Posted by R. Emmet Sweeney on January 27, 2015
Woman They Almost Lynched is a funhouse Western, exaggerating and undermining the genre’s familiar tropes. Its Civil War border town is named Border City, with the line between North and South cut down the middle of the town bar. Every male character is an outsized historical personage (Jesse James, Paul Quantrill and Cole Younger all make appearances), but the plot shunts them aside to focus on the women – who shoot straighter and punch stiffer than their male counterparts. Even the iron-fisted mayor is a woman. The film inhabits its inverted world so convincingly that by the end it seems normal, almost sincere, and its broad, swaggering characters gain some measure of pathos. It is the only Hollywood film I can think of that builds a sympathetic portrait of a matriarchal society (at least until John Carpenter’s Ghosts of Mars). Only Allan Dwan could have made it. A prolific worker since the silent era, Dwan had fun where he could, and playfully subverted all manner of genres. He had already taken the Western down a peg in in his 1916 parody Manhattan Madness , made with Douglas Fairbanks, Sr. Woman They Almost Lynched further displays his natural inclination towards play, and it is now available on Blu-ray from Olive Films, so future generations can now puzzle over its beautiful excesses for decades to come.
Posted by Susan Doll on January 26, 2015
Tomorrow, January 27, TCM will celebrate Donna Reed’s 94th birthday by showing a selection of nine early films, including her first feature The Get-Away. My favorite film on the list is the crime thriller Eyes in the Night, which I have singled out as a Forgotten Film to Remember.
MGM signed Donna Belle Mullenger to a contract in 1941, just after she graduated from Los Angeles City College with a secretarial degree. During the production of The Get-Away, the studio fumbled around for a more marquee-friendly name. Donna Adams was trotted out for size until it was discovered that another actress was using the same name; someone suggested Donna Drake, but that was too close to big-band singer/actress Dona Drake. Even Donna Denison was considered, because the actress hailed from Denison, Iowa. Finally, MGM casting director Billy Grady came up with Donna Reed, a name the actress never really liked. When Eyes in the Night was released in October 1942, it was Reed’s eighth film appearance, more or less. (Two of her roles were uncredited and don’t always show up in filmographies.)
In many ways, Eyes in the Night is a typical b-movie from the Golden Age. Though b-movies are low budget and small scale, they tend to make good use of the skills and talents of the cast and crew, raising the level of the material. This stylish crime thriller is tautly directed by Fred Zinnemann (High Noon; From Here to Eternity; Julia) and benefits from a solid cast of rising stars (Reed), returning stars (Ann Harding), established character actors (Edward Arnold, Allen Jenkins, Reginald Denny), and a scene-stealing canine named Friday the Seeing Eye Dog.
Posted by Kimberly Lindbergs on January 22, 2015
It’s easy to assume that this memorable line I borrowed from THE WAY WE WERE (1973) summarizes Robert Redford’s own life and career. After all, Redford was blessed with all-American good looks and is an incredibly likable performer with limitless charisma. But in truth, Redford’s early years were complicated and he spent more than a decade working in television and film before his iconic role in BUTCH CASSIDY AND THE SUNDANCE KID (1969) made him a bona fide star at age 33. After appearing in one of the top-grossing films of all time you’d expect Hollywood to embrace the sun-kissed actor without reservation but Redford had to fight incredibly hard to continue to make the kind of movies he wanted to make. Behind many of the popular box office successes and critically acclaimed films that followed, Redford was battling studio heads, arguing with writers, waging war with producers and doing everything in his power to make meaningful films that provided him with complex and challenging roles throughout the 1970s. Today Redford’s impressive filmography during that decade is a testament to his artistic integrity at the time and illustrates his commitment to making quality pictures that entertained but also left audiences with a lot to think about. And some of the best films Redford appeared in during this period were directed by his longtime collaborator and friend, Sydney Pollack.
Posted by R. Emmet Sweeney on January 20, 2015
Struggling stage actors Henry Fonda and Margaret Sullavan were married on December 25, 1931. They divorced two months later. In 1936, Fonda and Sullavan were both burgeoning movie stars, and appeared together in the romantic comedy The Moon’s Our Home, whose story of whirlwind romance and hurricane breakup recalled their brief fling. Recently released on DVD from the Universal Vault, the studio’s burn-on-demand service, the film is an aggressive farce that gained added oomph from Fonda and Sullavan’s fraught, passionate relationship (the transfer looks soft and interlaced, but it’s watchable). Director William A. Seiter was a sensitive shaper of star personas, having helped mold the Dadaist antics of Wheeler and Woolsey and the blossoming sass of Ginger Rogers. The Moon’s Our Home, with the aid of some acidic dialogue contributed by Dorothy Parker, is a bumptious battle of the sexes, with Sullavan a bite-sized Napoleon and Fonda her arrogant outdoorsman opponent. Their fights are shockingly violent, and the film ends with one of them in a straightjacket.
Posted by R. Emmet Sweeney on January 6, 2015
In the grim police procedural Between Midnight and Dawn, violence is a spigot that cannot be turned off. It begins with a thrill – a tense night time shootout in an auto-body shop with some generic young hoods. But for beat cop prowl car partners Rocky Barnes (Mark Stevens) and Daniel Purvis (Edmond O’Brien), it’s just one of their nightly spasms of gunfire. Rocky is able to retain his humanity, working off his nerves through a constant patter of jokes, but Purvis has worn out his concern for human life. Once it turns dark, all women are tramps, all men are thugs, and Purvis’ misanthropic disgust flows into his trigger finger. The movie strays into unconvincing romance — the brightness looking sallow and jaundiced against the sepulchral evening blacks of DP George Diskant (much shot on location in Los Angeles city streets) — but it retains a bitter aftertaste upon its close. Between Midnight and Dawn is available on the TCM Vault Collection’s “Columbia Film Noir Classics IV” DVD box set.
I’m here to talk about farces. About romantic comedies, TV sitcoms, and silent slapstick. About Charley Chase, the Marx Brothers, and Charles Coburn. I’m inspired this week by the lovely 1943 romantic comedy The More the Merrier, with Jean Arthur, which TCM is running Monday night. But I’m also hoping you’ll not only set your DVR for that gem, but maybe seek out a DVD of Charley Chase’s Mighty Like a Moose… but I’m getting ahead of myself.
Posted by Kimberly Lindbergs on January 1, 2015
Thanksgiving, Christmas and now New Year’s Day. All the major holidays fell on Thursday in the last few months making me the Movie Morlock’s unofficial holiday ambassador. I thought I’d use this occasion to thank all our loyal readers who take time out of their busy lives to stop by week after week to read what we have to say and share their own thoughts about the films and filmmakers we feature here. Your continued support, particularly when there are plenty of other distractions online, is much appreciated and I think I can speak for all the Morlocks when I say we truly value our readership and hope you’ll continue to make the Morlocks one of your regular stops on the information superhighway. So from myself and Bette Davis (pictured above) I want to wish you all a very Happy New Year! And for your enjoyment, some more pictures of classic film stars celebrating the holiday . . .
Posted by R. Emmet Sweeney on December 30, 2014
Paul Muni snarled to prominence as the amoral gangster kingpin Scarface (1932), and followed it up with an expose of the prison system, I Am a Fugitive From a Chain Gang (1933). He had already received an Oscar nomination for his debut performance in The Valiant (1929), so by 1934 he was a star, and a serious-minded one. Born to a Jewish family in the Austro-Hungarian empire, he came up through the Yiddish theater, made it to Broadway, and eventually earned unprecedented freedom in choosing the parts he wanted to play in Hollywood. So when histories of Muni’s career are written, few mention his little newspaper comedy from 1934, Hi, Nellie. A standard Warner Brothers quickie, it packs in screwball, romance, mystery and gangster movies into one 75 minute package. Muni clearly revels in trying out comedy, channeling his wiry energy into the clipped, slangy dialogue of a Hecht/MacArthur knockoff. And the rest of the cast is up to his challenge, with acidic performances from Glenda Farrell and Ned Sparks. Hi, Nellie is now available on DVD as part of the Warner Archive’s Forbidden Hollywood Volume 8 set of pre-codes (also including Blonde Crazy, Strangers May Kiss, and Dark Hazard).
Posted by Kimberly Lindbergs on December 25, 2014
There are some universal truths in life that we can probably all agree on. The world is round. Cary Grant looks damn good in a suit. Washington, D.C. is the capitol of the United States. And classic Hollywood sure liked to drink. The bottled spirits flowed freely in movies made from the silent era, through the Prohibition and well into the 1970s. So freely in fact that you’d be hard-pressed to find an adult film that didn’t show a scene of someone drinking, refer to booze or offer a glimpse of something vaguely referencing the sauce that seemed to keep Hollywood running. It may have just been a bottle of empty scotch placed casually in the background of a scene or a six-pack of beer spotted in an open fridge. There’s just no denying that many of our favorite film performers regularly shared bottles of the bubbly (and not so bubbly) on screen but this love of liquor also continued off-screen.The recently published book, Of All the Gin Joints: Stumbling through Hollywood History by Mark Bailey, offers readers an interesting look into the drinking habits of some of Hollywood’s most beloved and recognizable stars including Charlie Chaplin and Errol Flynn. To celebrate the holidays I thought I’d share a few cocktail recipes from the book that you can make at home but before the adults in the room read any further please remember to always drink with caution!
Posted by R. Emmet Sweeney on December 23, 2014
Let the proliferation of year-end lists wash over you with a resigned calm. And let me add another one to the ocean of opinion. Today I’m presenting my top ten new-to-me movies of 2014. That is, older films that I have seen for the first time. They are the backbone of any movie-going year, whether it’s catching up to acknowledged classics (for me, The Best Years of Our Lives) or going trawling for obscure auteurist gems (Lubitsch’s Broken Lullaby, Edward L. Cahn’s Redhead). It’s a way to draw attention to a wider range of filmgoing possibilities, so you don’t have to read about Boyhood for the bazillionth time (though, if you do, my appreciation is over here). All credit goes to prodigious blogger Brian Saur from Rupert Pupkin Speaks, who collects “Favorite Film Discoveries” from writers, programmers and filmmakers every year, and asked me to contribute once upon a time. I found the exercise invigorating, more so than the usual end-of-year recycling, so you have him to thank or blame.
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