Posted by R. Emmet Sweeney on December 10, 2013
Staring disconsolately at a blank wall as the Buffalo Bills are eliminated from playoff contention is one of my longest held traditions. It’s been fourteen years since that benighted franchise has played in the second season, and any damp flickerings of hope this go ’round were quashed after consecutive demolitions by league doormats (Falcons and Buccaneers). To avoid reflecting on these latest humiliations, I escape into pigskin fantasies of the silver screen. Luckily, TCM is airing a whole day of football flicks tomorrow, from 6:45 AM to 8PM. For heartsick fans of other downtrodden teams, may I suggest William Wellman’s College Coach (1933) and Jacques Tourneur’s Easy Living (1949)? The first is a speedy campus comedy with Pat O’Neil in short pants and a crooning Dick Powell, while the latter is a downbeat relationship drama with declining QB Victor Mature and his glory-hogging wife Lizbeth Scott. Neither will rescue your franchise from irrelevance, but they will pass the time until the indignities of next football Sunday.
Posted by Kimberly Lindbergs on December 5, 2013
2013 has quietly developed into a groundbreaking year for black actors and directors. Steve McQueen’s 12 YEARS A SLAVE starring Chiwetal Ejiofor, Ryan Coogler’s FRUITVALE STATION starring Michael B. Jordan and Lee Daniels’ THE BUTLER starring Forest Whitaker are all possible Oscar contenders for Best Picture, Best Director and Best Actor and Idris Elba’s performance in MANDELA: A LONG WALK TO FREEDOM has also garnered considerable critical attention in recent months. These talented individuals may end up making history at the 86th Academy Awards ceremony next year if they receive the award nominations many claim they deserve. And while I don’t think you can measure a film’s value by the awards it receives it would be naïve to assume that those gold statues and the publicity they generate don’t hold any weight. In Hollywood winning an Oscar can open doors and close deals. The attention they procure can introduce you and your work to vast communities of people who may have never taken notice or been exposed to it before. Despite its fluctuating ratings, the Academy Awards is the most watched award show in the world and that kind of exposure makes Oscar gold invaluable. And few people understand the value of Oscar gold as well as Sidney Poitier.
Posted by R. Emmet Sweeney on December 3, 2013
For Jack Benny The Horn Blows at Midnight was a punchline, the crowning clunker in his failed movie career. He made it the object of self-deprecating scorn on his radio and TV shows, and as late as 1957 on The Jack Benny Program he staged a slow burning sketch that ended with a security guard spotting Benny on a studio lot: “-Jack Benny? -Yes. -The one that starred in The Horn Blows at Midnight? -Yes, yes. I made that for Warner Brothers years ago. Did you see it? -See it? I directed it!” As his last feature in a starring role, Benny kept the film alive as a joke, but as the recent Warner Archive DVD release shows, it’s worthy of more than his deadpan putdowns.
A true oddity that seeped through the Warner Brothers studio filter, it depicts heaven as a corporate bureaucracy in which Jack Benny is just another angelic cog, a variation of which Albert Brooks used in Defending Your Life. Earth is an anonymous planet slated for destruction by harried middle manager Guy Kibbee, who sends Benny to do the deed. After a series of mortal mishaps, Benny gets stuck in NYC, and cultivates a liking for the finer things in flesh-bound life. The script is a pileup of increasingly improbable gags, which director Raoul Walsh speeds through with verve and a definite lack of religious deference. Aided by the kaleidoscopic special effects of Lawrence Butler, the celestial choir is turned into a faceless mass of cardboard cutouts, making life in the swing clubs and ballrooms all the more desirable.
Posted by Kimberly Lindbergs on November 28, 2013
In October I shared some of Vincent Price’s recipes and cooking tips in a post titled In the Kitchen with Vincent Price and the response was overwhelming positive. In celebration of Thanksgiving I thought I’d share a few holiday recipes from some of Hollywood’s most loved and admired stars. The recipes are variants of traditional dishes and desserts often served in American homes during Thanksgiving and Christmas. Most were compiled from newspaper archives and a few were borrowed from books. I hope the variety of the recipes I’ve gathered together might inspire you to spend some time in the kitchen cooking with the stars this holiday season. The first item on today’s menu? Marilyn Monroe’s Stuffing!
Posted by R. Emmet Sweeney on November 26, 2013
This tongue-in-cheek quote from director Christian Petzold identifies the severe economy of style associated with the “Berlin School” of filmmakers, now receiving a retrospective at the Museum of Modern Art. Petzold, Thomas Arslan and Angela Schanelec each attended the Deutsche Film und Fernsehakademie Berlin (dffb) in the early 1990s under the tutelage of Harun Farocki and Hartmut Bitomsky. The three directors made recalcitrant, intensely observational genre films as a reaction to the 1990s “cinema of consensus” in Germany, as described by Eric Rentschler. The end of East Germany became the fodder for comedies like Go Trabi, Go (1991), along with the sober historical dramas that continue to this day (Downfall, The Lives of Others). This first generation of “Berlin School” directors instead wished to focus on the dislocations of the present, whether of the influx of Turkish immigrants, or internal displacement wrought by the shift from socialism to capitalism. Other directors with similar interests, who did not attend the dffb (including the editors of Revolver Magazine, Benjamin Heisenberg and Christoph Hochhausler), were later grouped with Petzold, Arslan and Schanelec as the “Berlin School” of filmmaking, which would produce the most critically-acclaimed German films since the “German New Wave” of Fassbinder, Herzog and Schroeter. It is a critic’s construct, first coined by German reviewer Merten Worthmann, and perhaps has led to the films being ignored in the United States. While “New Wave” suggests the vibrancy of youth, “Berlin School” elicits visions of pedantic schoolmasters chastising viewers with ruler thwacks to the wrist.
Posted by R. Emmet Sweeney on November 19, 2013
The violence in Assault on Precinct 13 is a result of simple geometry. Director and writer John Carpenter sets up four narrative lines that collide at a soon-to-be-shut-down police station. Taking advantage of the wide Panavision frame, Carpenter emphasizes horizontals, from long shotgun barrels to threatening gang members strung out across a darkened road like holes in a belt. This nearly wordless group of thugs has the station surrounded, its cowering occupants an uninspiring group of rookie cops, wounded secretaries and wiseass convicts. Enclosed and in the dark, these panicked heroes learn how to turn the space to their advantage, choking off the gang’s freedom of horizontal movement and funneling them into a narrow chamber that evens the odds. Reducing the action film to its basic elements, Assault on Precinct 13 still packs the force of a blunt object to the cranium. The textured transfer on the new Blu-Ray, out today from Shout! Factory, is the ideal way to re-acquaint yourself with its concussive impact.
Posted by R. Emmet Sweeney on November 12, 2013
“It didn’t take those women at the stage door to convince me I was nobody’s hero. I’d looked into a mirror once or twice. These light eyes, these limp features, these scars all over my face!”
-Lee Tracy, Picture Play Magazine, 1933
Although his career lasted until 1965, the image of Lee Tracy will forever be of a chatterbox on the make, established during his prolific run of pre-codes in the early 1930s. Whether he plays a tabloid reporter or ambulance chasing lawyer, Tracy’s characters were always looking for an angle as sharp as the crease in his fedora. His catalytic personality, a shotgun blast of nasal putdowns, led him to leading man roles, overcoming the perceived shortcomings of his pockmarked face, thinning hair and bantamweight build. Audiences, though, liked to root for this ruthless underdog. The Warner Archive released three Tracy pre-codes on DVD last week: The Half Naked Truth (’32) , Turn Back The Clock (’33) and The Nuisance (’33). In The Half Naked Truth, Tracy is a con-man/publicist as he turns hoochie coochie dancer Lupe Velez into a Broadway star. A hidden gem directed by Gregory La Cava, I wrote about it last year. So today I’ll focus on the latter two. He is cast against type in Turn Black the Clock, a proto It’s A Wonderful Life where his meek tobacconist is granted a time-traveling chance to re-live his life for money instead of love. The Nuisance, though, is a prime rat-a-tat Tracy, in which he hammers the local train company with phony injury claims, with the aid of his drunken doctor pal Frank Morgan. Cinematographer Gregg Toland and director Jack Conway make sure the camera moves with as much agility as Tracy’s tongue.
Posted by R. Emmet Sweeney on November 5, 2013
In the third quarter of 2013, Netflix’s streaming service passed HBO in its number of subscribers, reaching 31.1 million. Buoyed by the success of its original series, as well as exclusive “season-after” deals on shows like The Walking Dead, the streaming business continues to grow exponentially. In comparison, the company’s original DVD-by-mail operation has become an afterthought. Only 7.1 million still receive those red envelopes, less than half of DVD subscribers from just a few years ago, and the company has been shutting down distribution centers in response (down to 39 from a high of 58). While CEO Reed Hastings pays lip service to the importance of physical media, all of its actions indicate that Netflix DVD-by-mail is close to extinction (for more, read this article by Janko Roettgers). These are distressing times for movie lovers, as each technical innovation paradoxically makes it more difficult to view the vast majority of film history. With higher resolutions come higher print standards for transfers, and so many original negatives no longer exist from Hollywood’s early days. This leads to the recycling of established classics with HD-ready material, while the unlucky unacknowledged get kicked into the analog dustbin of history. A once-totemic figure like Frank Borzage, who was honored in a Fox box set in the long-ago year of 2008, has no titles streaming on Netflix. But for years the Fox discs have been available to rent from Netflix. As one of the 7.1 million still renting physical media from Netflix, I took advantage and watched 7th Heaven for the first time.
Posted by Susan Doll on November 4, 2013
George Eells recounts this sad exchange in Final Gig, which is perhaps the only full-length biography of Gig Young, which reveals—or rather exposes—the actor’s tragic life. Between his father who belittled him because his conception was an accident and his mother who withdrew into neurosis, Young experienced insecurity on all fronts. According to Eels’s bio, he spent a lifetime searching for love and approval; his fans, Academy Award, and five wives were not enough. Nothing was ever enough. In some ways, his life seems at odds with his suave, sophisticated star image, but in other ways, it fits.
This afternoon, TCM is airing eight films starring Gig Young in celebration of his 100th birthday. The films are from his earliest career, during the late 1940s and early 1950s, when he was a supporting character and his star image was evolving into the affable gent with a debonair smile.
Posted by Kimberly Lindbergs on October 31, 2013
This post is part of my month-long celebration of Vincent Price–TCM’s October Star of the Month. For further reading see Vincent Price Takes Center Stage, Vincent Price’s Small Screen Successes, Vincent Price & Gene Tierney: A Doomed Romance and In the Kitchen with Vincent Price.
Vincent Price will be headlining TCM’s terrific Halloween line-up tonight, which kicks off at 5PM PST/8PM EST with THE PIT AND THE PENDULUM (1961) followed by THE HAUNTED PALACE (1963), THE MASQUE OF THE RED DEATH (1964), THE ABOMINABLE DR. PHIBES (1971), TWICE TOLD TALES (1963), THE TOMB OF LIGEIA (1964) and finally THE CONQUEROR WORM aka THE WITCH FINDER GENERAL (1968). I’ve had the pleasure of seeing all these films before and recommend them without hesitation but if you can only watch a few I suggest setting aside some time to enjoy the Roger Corman films airing this evening, which make for some genuinely thrilling entertainment on All Hallows’ Eve.
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