Ugly American: Run of the Arrow (1957)

Run00010

In the summer of 1956, Sam Fuller took a 50% stake in Globe Enterprises, an independent production company that would strike deals with RKO, Twentieth-Century Fox, and Columbia for financing and distribution. He received creative control over his projects, and though this setup only lasted through 1961, he made six strong films with Globe: Run of the Arrow, China Gate, Forty Guns, Verboten!, The Crimson Kimono, and Underworld U.S.A. His first Globe production, Run of the Arrow (’57), is now available on a long-overdue DVD from the Warner Archive, and reflects the unusual freedom Fuller secured himself in this period. It is a prickly, jumpy Western in which a post-Civil War Confederate loyalist named O’Meara (Rod Steiger) joins the Sioux in order to fight against the United States. It depicts America as a land of perpetual warfare, one in which race and cultural hatreds are reconfigured to justify the current battle, whether without or within. It is a film of jagged rhythms, its chase scenes broken into extreme long shots and close-ups, which are then followed by minutes-long takes of two-shot conversations. At no point does one feel settled or comfortable regarding a character’s motivations or their position in space, and that is how Fuller wanted it.

[...MORE]

jpg00039
July 11, 2015
David Kalat
Posted by:

William Powell vs. the World

William Powell the unflappable. That was his screen persona—memorialized in the likes of The Thin Man. He had a voice like single malt Scotch and a suave manner somehow equal parts immensely cultured and rough. In the glory days of 1930s romantic comedies, he was a king. William Powell was the 1930s equivalent of Fonzie. He was untouchably cool.

On screen, that is. No man is ever really so unmoved. And in 1938, the off-screen William Powell was in personal and professional turmoil. The love of his life, Jean Harlow, died tragically of renal failure at the age of 26. Still reeling from grief at this loss, Powell found his contract at MGM, the studio that practically made him a star, over. He was adrift, in more ways than one—but he would be called on to put on a happy face for the cameras to play opposite French actress Annabella in her American debut for a one-off romantic comedy made at 20th Century Fox. Almost immediately after completing the film, Powell would be diagnosed with cancer, and spend most of the next two years fighting for his life. That The Baroness and the Butler is even watchable is a testament to Powell’s professionalism. (Watch it tonight on TCM, or use the spiffy new TCM app to stream it at your leisure)

[...MORE]


KEYWORDS: Screwball Comedy, The Baroness and the Butler, Walter Lang, William Powell
COMMENTS: 11
SUBMIT

Appassionata: I’ve Always Loved You (1946)

ivealwaysloved10005

 

“The color overshadows the plot.” – Frank Borzage on I’ve Always Loved You (’46)

 In 1945 Frank Borzage signed a lavish five-year deal with the penurious Republic Pictures, and it granted him unusual autonomy over his projects.  I’ve Always Loved You was the first film he made for Republic, and he invested it with the full force of his religious romanticism, where love is the one true savior. Limited only by the restraints of the Production Code, the film has the barest of plots, its three main characters floating around each other on a plane of pure feeling, their shifting passions expressed through music and color scheme – it was the only film ever shot in three-strip Technicolor for Republic. Set in and around the classical music world of Carnegie Hall, the most impassioned contact occurs during cross-cutting between separate renditions of Rachmaninoff’s “Second Piano Concerto”. If you give yourself over to it (and you can on the Olive Films Blu-ray, out now), the last act miracle achieves an emotional intensity akin to that of Rossellini’s Voyage to Italy. French filmmaker and critic  Luc Moullet wrote it was “perhaps Borzage’s masterpiece….The excess of insipidness and sentimentality exceeds all allowable limits and annihilates the power of criticism and reflection, giving way to pure beauty.” In Film Comment, Kent Jones described it as an “extreme film brought to the brink of madness.” Beauty and madness are the son and the Holy Spirit in Borzage’s trinity, in which God is love.

[...MORE]

Technicolor Daze: Scaramouche, Chad Hanna, and Apache Drums

 

scaramouche-janet-leigh-stewart-everettChad-Hanna-Half-Sheet20002

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.

[...MORE]

jpg00020
June 27, 2015
David Kalat
Posted by:

Uh oh, Monster Zero

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)

[...MORE]


KEYWORDS: Godzilla, Henry Saperstein, Kumi Mizuno, Nick Adams
COMMENTS: 6
SUBMIT

Classic Hollywood Actors Discuss Women, Beauty & Femininity with Arlene Dahl

adahlb00

You can catch Arlene Dahl in a number of films airing on TCM in July:
• SCENE OF THE CRIME (1949) JULY 03
• NO QUESTIONS ASKED (1951) JULY 17
• LIFE WITH FATHER (1947) JULY 29

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.

[...MORE]

Postwar Amnesiac Blues: The Clay Pigeon (1949)

Clay-Pigeon

 

After the conclusion of WWII, the subject of the returning soldier became a popular one in B-movies, with the image of a dazed G-man wandering desolate back alleys becoming cinematic shorthand for post-traumatic stress. While the prestige pics explored how the soldiers’ physical toll left psychological scars (The Best Years of Our Lives, Pride of the Marines), the Bs were blunter in opting for amnesiac narratives, in which the veterans have lost all memory of their war efforts, and have to piece it back together, usually in a labyrinthine urban environment (Somewhere in the NightThe Crooked Way). These stories usually find a way to reconstitute these broken men and integrate them back into America. The Clay Pigeon (1949) is a particularly effective film noir of this type, directed by Richard Fleischer from a Carl Foreman script for RKO, soon after Howard Hughes took over. Released by the Warner Archive on DVD this month, its post-war America is one of paranoia and betrayal, where one is guilty until proven innocent.

[...MORE]

Ozark Elegy: The Shepherd of the Hills (1941)

Poster - Shepherd of the Hills, The (1941)_04

 

After the success of Stagecoach (1939), John Wayne was in demand. While still under contract to poverty row Republic Studios, he was lent out to United Artists for The Long Voyage Home (1940), Universal for Seven Sinners (1940) and Paramount for The Shepherd of the Hills (1941). While still making interesting features for Republic, including Raoul Walsh’s Dark Command (1940), he was positioning himself as prestige-picture ready. Shepherd of the Hills was a prime property adapted from a million-selling novel, to be shot in Technicolor by director Henry Hathaway and DPs Charles Lang and W. Howard Greene. Hathaway was an advocate for location shooting, and had already filmed Trail of the Lonesome Pine (1936) in Technicolor at Big Bear Lake in California, where Shepherd would end up as well. The ongoing “Glorious Technicolor” series at the Museum of Modern Art is screening both Trail of the Lonesome Pine and The Shepherd of the Hills as part of its sixty feature extravaganza. Shepherd is a delicate, strange and mournful drama of the breakdown of an insular Ozark Mountain community, one trapped in a cycle of intergenerational violence. John Wayne stars alongside his childhood Western hero Harry Carey, and the film acts as a series of lessons from Carey to Wayne, on and off screen.

[...MORE]

Harry-Langdon-comedian
June 13, 2015
David Kalat
Posted by:

The Blank Stare of Harry Langdon

Back when I started my endless ramblings about the transition from silent slapstick to screwball comedies, I led by singling out Harry Langdon’s Tramp, Tramp, Tramp as a fulcrum point where screwball becomes imperative. So it’s time to come back to Harry Langdon, and indulgently celebrate what made him so gloriously awesome, even if his style of comedy was unsustainable over the long run. Harry, this one’s for you.

[...MORE]


KEYWORDS: Harry Langdon
COMMENTS: 4
SUBMIT

Men Among Monsters: Remembering Christopher Lee & Richard Johnson

leejohnsonChristopher Lee & Richard Johnson

Horror fans received a double blow this week. It started with the news that Richard Johnson (1927-2015) had died and today we woke up to the news that Christopher Lee (1922-2015), arguably the last of the great classic horror film icons, had shuffled off this mortal coil to join his old pal Peter Cushing in repose.

Both Lee and Johnson worked in a variety of film genres and played remarkably similar roles throughout their careers including soldiers, kings, adventure seekers, fortune hunters, cops, criminals, doctors, professors, investigators, government spies and spy villains. But for myself and many others, it is their distinct body of work in horror films that has made the most impact and will undoubtedly survive them for many decades to come.

Before learning about Lee’s passing I was preparing a written tribute to Richard Johnson, which you’ll find below, but I couldn’t possibly let Lee’s death go unmentioned. He remains one of my favorite performers and a giant among men both figuratively and literally. The tall, dark and strikingly handsome actor will undoubtedly receive many well-deserved accolades today and in the weeks to come but I hope you’ll make time to watch TCM’s touching video tribute.

[...MORE]

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  Academy Awards  Action Films  Actors  Actors' Endorsements  Actresses  animal stars  Animation  Anime  Anthology Films  Art Direction  Art in Movies  Asians in Hollywood  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 Festival 2015  film festivals  Film History in Florida  Film Noir  Film Scholars  Film titles  Filmmaking Techniques  Films About Gambling  Films of the 1960s  Films of the 1970s  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  Memorabilia  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  New Releases  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  Set design/production design  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  U.S.S. Indianapolis  Underground Cinema  VOD  War film  Westerns  Women in the Film Industry  Women's Weepies