This morning (Saturday the 20th) TCM is running the notorious flop The Horn Blows at Midnight. Chances are by the time you read you’ll either have already seen it or already missed it, and nothing I can say here will retroactively change that. But I’m going to yammer on about it for a few paragraphs because that’s what I do.
Regular readers of this blog know that “notorious flops” are always ripe for redemptive reappraisals. I’ve personally come out swinging on behalf of the likes of Popeye and Neighbors, my fellow Morlocks have defended the honor of Ishtar and Heaven’s Gate (not posted here, but by Greg Ferrara nonetheless. Go on click the link, you know you want to.)
But The Horn Blows at Midnight offers a special sort of edge case for this sort of approach, as we shall see.
Posted by R. Emmet Sweeney on September 9, 2014
Night of the Crossroads was the first film adaptation of Georges Simenon’s phenomenally popular Inspector Maigret novels, and was lent a thick, hallucinatory atmosphere by director Jean Renoir. Yet, sandwiched as it is between Renoir’s classics with Michel Simon, La Chienne (1931) and Boudu Saved from Drowning (1932), it has escaped much serious critical attention. It does not even get an entry in Andre Bazin’s collected writings on Renoir. Anthology Film Archives arranged a very rare screening of the feature this past weekend, with Simenon’s son John in attendance to discuss the production beforehand. It’s a traditional whodunit, except all of the motivations are missing. Instead of attributing the crime to a single perpetrator, the whole town becomes culpable through their xenophobia and greed. As Renoir’s character Octave says in The Rules of the Game, “everyone has their reasons”. To that Night of the Crossroads would add, “for murder.”
How steve mcqueen blew it on a movie that almost had stampeding elephants, and other stories behind CALIFORNIA SPLIT
Posted by Pablo Kjolseth on September 7, 2014
I spent the Labor Day weekend at the 41st Telluride Film Festival. There were many highlights, but at the top of my list was a 35mm print screening of California Split (Robert Altman, 1974), which was presented by TCM. And, no, I’m not just sucking up to the folks who sign my paycheck on this one, because if you search “California Split” on the Morlock site you’ll see that I refer to it in a 12.30.12 post as a title I’ve been wanting to watch for quite a while. Since writing that post I did purchase an out-of-print DVD that then proceeded to collect dust along about 100 other “must-watch” titles that currently sit on a bookshelf near my entertainment system. In retrospect, I’m glad it got lost in the shuffle. Why? Because thanks to Kim Morgan and Guy Maddin (this year’s Guest Directors at Telluride), I got to see a nice, uncut, Panavision print of California Split that was followed by a very entertaining Q&A with actors George Segal and Joseph Walsh (who was also its producer and wrote the script based on many autobiographical elements). Frosting on the cake? The film print is three minutes longer than the DVD, due to legal issues involving musical clearances (strange how the ubiquitous “happy birthday” song can cause so many problems). I want to give an additional shout-out to both Morgan and Maddin for the excellent lineup of other selected films, which included A Man’s Castle (Frank Borzage, 1933), Il Grido (Michelangelo Antonioni, 1957), The Road to Glory (Howard Hawks, 1936), and Wicked Woman (Russell Rouse, 1953). The fact that all of these titles were screened on 35mm film and are each rare and off-the-beaten-path works worthy of a future lengthy post is testimony to both a great film festival and inspired curators. But, for now, let’s get back to California Split, and the story behind how it was almost appropriated by Steven Spielberg, Dean Martin, and a pack of rampaging elephants. [...MORE]
Posted by R. Emmet Sweeney on September 2, 2014
Jeff Markham knew Kathie would not arrive, but he sat there and drank anyway. He was resigned to his premonitions, seemingly able to tell the future but powerless to stop it. “I think I’m in a frame…I don’t know. All I can see is the frame. I’m going in there now to look at the picture.” The picture remains obscure to Jeff throughout Out of the Past, though the film image itself is luminous in the new Blu-ray from the Warner Archive. Jeff, played by Robert Mitchum as a slow-motion somnambulist, can see the outline of his fate, but not the details. Director Jacques Tourneur and cinematographer Nicholas Musuraca previously collaborated on Cat People, and continue their use of low-key lighting to produce dream-like suggestions of violence. All of the deaths in Out of the Past are hidden off-screen, the specifics elided. They simply accrue in the fog of Jeff’s rueful investigation, a case that turns into a series of delaying tactics to stay alive. But he can only pause to smoke so many times before the darkness finally deigns to meet him.
Posted by R. Emmet Sweeney on August 26, 2014
“I’ve tried to break him of it…but he just loves people!” -Lucille (Ann Sheridan) complaining about her husband Sam (Gary Cooper) in Good Sam
In 1948 Leo McCarey was coming off the biggest hits of his career, as Bing Crosby’s singing priest in Going My Way (1944) and The Bells of St. Mary’s (1945) topped the box office. Both films were amiable attempts at humanizing Catholicism, moving from the inaccessible Latin mass to the lucid curative powers of pop crooning. They also feature McCarey’s talent for improvisation - Bells features a Nativity scene enacted by children who replace “O Holy Night” with “Happy Birthday”. For Good Sam, McCarey again returned to a religious theme, placing a man of saintly selflessness in the bourgeois suburbs. Sam’s insistence on giving away his time and money to those around him frustrates his wife Lucille, who has to deal with the human consequences of his do-goodism. That is, she has to care for all the strays he brings home as their nest egg slowly dissipates. Lucille is the cynical realist to Sam’s idealist Christian (they’re Episcopalian), but their love allows them to bridge the philosophical gap. It is, for the most part, a bitterly funny film. It posits the impossibility of saintliness in a materialist society, and McCarey mourns this loss through comedy rather than tragedy. Decades later, after the film had disappeared from view, McCarey stated, “the moment was ill chosen to make a film about apostleship.” This fascinating, frequently hilarious apostle-out-of-time feature is now available on Blu-ray from Olive Films.
Posted by Susan Doll on August 25, 2014
Today, TCM pays tribute to Dick Powell, airing 14 of his films as part of Summer Under the Stars. Earlier this month, a day had been devoted to William Powell. As a major fan of both stars, I can’t decide if I was more excited to listen to Dick Powell croon and crack wise, or watch William Powell woo his costars with wit and style.
Like several male stars from the Golden Age, neither Powell was classically handsome. Yet, both are attractive and appealing because of their cultivated charisma and star images. WP was the elegant gentleman who exuded romance and class, while his keen sense of humor prevented his characters from becoming too high brow or pompous. Though he played oily cads very early in his career, his star image as the suave gent was cemented by the 1930s and remained remarkably consistent until his last movie, Mr. Roberts, in 1955. I admire those Golden Age movie stars who were able to maneuver their images through the changes in the industry and the ravages of aging. But, then again, who doesn’t respect Dick Powell for completely changing his star image from the sweet-faced crooner of backstage musicals to the wise-cracking, hard-boiled anti-hero of film noir.
Posted by Kimberly Lindbergs on August 21, 2014
Last week this blog started to resemble the obituary section of my local newspaper and while I hate to continue that trend I couldn’t let Brian G. Hutton’s demise go unmentioned. The New York born director and actor is best remembered today for his work on two popular big-budget WW2 films, WHERE EAGLES DARE (1968) and KELLY’S HEROES (1971) but he also appeared in some memorable films such as John Sturges’ GUN FIGHT AT THE O.K. CORRAL (1957) and the Elvis vehicle, KING CREOLE (1958) as well as many popular television shows including GUNSMOKE, PERRY MASON, RAWHIDE and ALFRED HITHCOCK PRESENTS. The last film Hutton helmed was the Indiana Jones inspired HIGH ROAD TO CHINA (1983) and soon afterward he retired his directing chair. According to the fine folks at Cinema Retro, Hutton’s self-deprecating sense of humor often led him to criticize his own movies and he didn’t look back all that fondly at the time he spent in Hollywood but many film enthusiasts like myself appreciate the eclectic body of work he left behind.
I had planned to run something else here this week, but in light of this week’s tragic news regarding Robin Williams, I’ve shoved that essay to a later week and opted to re-run an oldie but a goodie, my fifth ever Movie Morlocks post from four years ago about one of my very favorite movies, which happens to star Robin Williams (apparently when I re-posted it, the original comments reposted with it!).
The actual piece itself makes a passing mildly unkind remark about Williams, within the context of praising one of his most notorious flops. I thought about rewriting that section but decided against it because it felt dishonest. And as schmaltzy as Williams ever was, he was never dishonest.
There is a curious distinction to be drawn between “pop culture” and “popular culture.” It’s a divide that’s been opening up in American entertainment ever since the days of Elvis–arguably ever since jazz–but the 21st century’s media fragmentation and Internet communities have only hastened the pace. To put it simply, “pop culture” loves Community; “popular culture” loves NCIS. And there was a time when Robin Williams was an anarchic rebel force from pop culture, and a time when he opted to make career choices driven by popular culture. The hipsters of pop culture never forgave that defection; the vast majority of America never saw it as a defection in the first place.
Below the fold: the story of an oddity that belongs to neither pop culture nor popular culture, despite being a splashy musical comedy from some of America’s most accomplished satirists and starring its then-up-and-coming beloved comedian superstar, adapted from one of the most ubiquitous and enduring characters of 20th century pop/popular art.
At the risk of being absurdly reductionist: there are two kinds of special effects. The first is the Invisible effect—the kind that you aren’t meant to notice.
Back in the days of classic film, these sorts of effects included matte paintings used in establishing shots, or rear projection effects. Of course, keen eyed observers probably did notice these effects from time to time, and modern eyes are even more attuned to spot them, but the point was that you weren’t really supposed to remark on these things—they were executed by the production team simply as a means of filling out the scenery and frame within which the important stuff happened. Nowadays there are even more sophisticated CGI techniques to perform similar functions. When film fans (like those of us congregated here) argue over the relative merits of CGI vs. old school practical effects, we’re generally arguing over the second kind of special effect, which I’ll get to in the next paragraph. The fact is, the vast majority of CGI effects and digital compositing pass you by without you even noticing, because they’re Invisible. Here’s a link to a surprising video montage of the extraordinary ubiquity of digital effects in the most ordinary of situations:
Which brings us to the second category of special effects, which is the one most people think of when you say “special effects,” and that’s the Spectacle. Instead of techniques used to help dress the set and set the stage for the real drama, these are effects that are the drama in and of themselves.
Posted by Kimberly Lindbergs on August 8, 2014
Carole Lombard will be headlining TCM’s Summer Under the Stars line-up on Sunday, August 11th.
While pursuing my personal interest in local history here in Napa I was pleasantly surprised to discover how one of my favorite funny ladies, the brassy blonde bombshell Carole Lombard, had made a lasting impression on the area when she visited California’s Wine Country in 1939 to star in Garson Kanin’s THEY KNEW WHAT THEY WANTED (1940). This notable RKO production was based on a Pulitzer Prize winning play written by Sidney Howard that chronicled a complicated love triangle between an ambitious San Francisco waitress (Carole Lombard), a simple-minded Italian grape farmer (Charles Laughton) and his affable ranch hand (William Gargan). Much of the film was shot on location in the Napa Valley and during that time Lombard, along with her costars and husband Clark Gable, toured wineries, mingled with locals and befriended some well-heeled residents who still fondly recall family stories about encountering the lovely Lombard.
MovieMorlocks.com is the official blog for TCM. No topic is too obscure or niche to be excluded from our film discussions. And we welcome your comments on our blogs and bloggers.
See more: facebook.com/tcmtv
See more: twitter.com/tcm
3-D Action Films Actors Actors' Endorsements Actresses animal stars Animation Anime Anthology Films Art in Movies Australian CInema Autobiography Avant-Garde Aviation Awards B-movies Beer in Film Behind the Scenes Best of the Year lists Biography Biopics Black Film Blu-Ray Books on Film Boxing films British Cinema Canadian Cinema Character Actors Chicago Film History Cinematography Classic Films College Life on Film Comedy Comic Book Movies Crime Czech Film Dance on Film Digital Cinema Directors Disaster Films Documentary Drama DVD Early Talkies Editing Educational Films European Influence on American Cinema Experimental Exploitation Fairy Tales on Film Faith or Christian-based Films Family Films Film Composers Film Criticism film festivals Film History in Florida Film Noir Film Scholars Film titles Filmmaking Techniques Films About Gambling Films of the 1960s Films of the 1980s Food in Film Foreign Film French Film Gangster films Genre Genre spoofs HD & Blu-Ray Holiday Movies Hollywood history Hollywood lifestyles Horror Horror Movies Icons independent film Italian Film Japanese Film Korean Film Literary Adaptations Martial Arts Melodramas Method Acting Mexican Cinema Moguls Monster Movies Movie Books Movie Costumes movie flops Movie locations Movie lovers Movie Reviewers Movie settings Movie Stars Movie titles Movies about movies Music in Film Musicals Outdoor Cinema Paranoid Thrillers Parenting on film Pirate movies Polish film industry political thrillers Politics in Film Pornography Pre-Code Producers Race in American Film Remakes Revenge Road Movies Romance Romantic Comedies Satire Scandals Science Fiction Screenwriters Semi-documentaries Serials Short Films Silent Film silent films Social Problem Film Sports Sports on Film Stereotypes Straight-to-DVD Studio Politics Stunts and stuntmen Suspense thriller Swashbucklers TCM Classic Film Festival TCM Underground Television The British in Hollywood The Germans in Hollywood The Hungarians in Hollywood The Irish in Hollywood Theaters Thriller Trains in movies Underground Cinema VOD War film Westerns Women in the Film Industry Women's Weepies