Posted by R. Emmet Sweeney on March 31, 2015
Pity the poor DVD. Its death has been foretold for years, yet it soldiers on, providing pleasure for those not yet hooked into the HD-everything ecosystem. DVD sales have declined overall, but it remains the lifeblood of boutique distributors like Flicker Alley. Makers of luxe box sets of Chaplin’s Mutual comedies, Mack Sennett shorts and Cinerama travelogues, Flicker Alley is trying to get the good stuff out there. They’re our kind of people. But the shift to higher resolutions abandons films that have never had expensive HD transfers, making them cost-prohibitive for Blu-ray. This is the case for a huge number of silent films now out-of-print on DVD. In an admirable effort to get classics out on disc, in good transfers superior to the muddy messes on YouTube, Flicker Alley has partnered with the Blackhawk Films library to release nineteen classics (mostly silents) on manufactured-on-demand DVD – the same route the Warner Archive has gone to plunder their deep library. They plan to add two new MOD titles every month. Flicker Alley doesn’t have the deep pockets of WB to back them, but with the help of a modest crowdfunding campaign were able to get the program off the ground. From their initial slate I sampled D.W. Griffith’s tale of plainspoken rural heartbreakTrue Heart Susie (1919) and Ernst Lubitsch’s sophisticated urban bed-hopping roundelayThe Marriage Circle (1924).
Posted by R. Emmet Sweeney on March 24, 2015
William Witney directed over ninety serials and feature films in his career, and he considered Stranger at my Door (1956) to be his favorite. One of the great unsung action directors of the American cinema, Witney virtually invented the job of stunt choreographer. In the mid-1930s he was inspired by watching Busby Berkeley rehearse one high leg kick until “you could have shot a bullet down the line and not hit anyone.” From then on he worked out each shot of a fight sequence with his stuntmen, making sure each movement would match the next, creating an unbroken ribbon of action. He was able to hone his craft for decades at Republic Pictures, starting on adventure serials with friend and co-director John English (Daredevils of the Red Circle (1939) is the prime cut from this period), and transitioning to Roy Rogers Westerns after serving five years in a Marine Corps combat camera crew during WWII.
Stranger at my Door was a fifteen-day Western quickie produced at the end of his 20-year run at Republic, as the studio would cease active production in 1958. Made outside of the bankable series Witney usually worked in, it is a psychologically intense feature about preacher Hollis Jarret (MacDonald Carey), who believes he can save the soul of wanted bank robber Clay Anderson (Skip Homeier), putting his wife Peg (Patricia Medina) and son Dodie (Stephen Wootton) in mortal danger in the process. The self-sacrifice inherent in proper Christian practice is pushed to uncomfortable extremes as Hollis privileges Clay’s soul over the lives of his family. The fulcrum of the story is a terrifying sequence in which Rex the Wonder Horse goes feral, trying to stamp out the eyes of the preacher’s cute kid. Witney and horse trainer Glenn H. Randall Sr. worked with Rex every morning of that fifteen day shoot until they captured the authentic animal fury they were seeking. No director exhibited bodies in peril with more visceral impact than Witney, and Stranger at my Door pairs that talent with the finest script he was ever assigned (by Barry Shipman), which ponders what happens when a man of the cloth puts God before his family. Stranger at my Door comes out on DVD and Blu-ray next week from Olive Films, which will hopefully introduce Witney’s work to a wider audience.
Posted by R. Emmet Sweeney on March 17, 2015
Run All Night is a movie about tired men forced into motion. Ed Harris and Liam Neeson are happiest when sitting down, but their violent past conspires against their leisure, pitting them against each other in a fleet, melancholy NYC thriller. In theaters now, it is the third collaboration between director Jaume Collet-Serra and Neeson (following Unknown (2011) and Non-Stop (2014)), and they have proven to be ideal, adaptive collaborators. Unknown was adventurous in its Berlin location-shooting and experiments in POV. DP Flavio Labiano shot with a 35mm and Super 16mm camera locked side-by-side, a prism redirecting the same image to both cameras. They underexposed and force-processed the 16mm, creating a “broken but beautiful, dreamy kind of image” that they could use for Neeson’s amnesiac perspective. On Non-Stop they traded location challenges for the constraints of shooting on a single set — the interior of a plane making an international flight. Since it was an Agatha Christie-style whodunit, Labiano used tilt-shift lenses that would localize focus on individuals that Neeson was investigating. The story of Run All Night is less tied to Neeson’s perspective, so it is Collet-Serra’s most expansive, open-air production yet. With DP Martin Ruhe, Collet-Serra isolates Neeson and Joel Kinnaman, playing his son, in high angle establishing shots and CGI transitions that sweep through most of the five boroughs. Run All Night is a city movie, but it’s more about the old NYC that Harris and Neeson carry in their heads than the current metropolis, passing them by.
Posted by R. Emmet Sweeney on March 10, 2015
Ride the Pink Horse is a grim procedural of hate. Published in 1946, it was Dorothy B. Hughes’ ninth novel, and second to be adapted into a film, following The Fallen Sparrow (1943). A cynical gunman named Sailor travels to a remote New Mexico town during their yearly “Fiesta”, a Southwestern Mardi Gras. He is tracking down his former mentor “The Sen”, a corrupt ex-Senator, for shakedown money. Sailor is a single-minded racist brute, circling the small town in ritualistic repetitions, until the map of the main square is in ingrained in your head (one of the early Dell paperback editions included a map on the back anyway). Sailor is an outsider, and no matter how often he treads the city’s streets, it continues to constrict slowly around him. Robert Montgomery’s 1947 movie adaptation for Universal-International alters many of the plot details, but captures the doomed fatalism of Hughes’ work. Typecast as a light romantic comedy lead, Montgomery took on greater risks as a director, starting with the POV experiments of Lady in the Lake (1947) and continuing through the elaborate crane shots orchestrated by DP Russell Metty in Ride the Pink Horse. It has been a certified cult film ever since Jean Cocteau programmed it at the Festival du Film Maudit in Biarritz in 1949, but it has been hard to see until next week, March 17th, when the Criterion Collection releases it on DVD and Blu-ray.
But this was not the only adaptation of Ride the Pink Horse. In 1964 Don Siegel directed the telefilm The Hanged Man for NBC, after his adaptation of Hemingway’s The Killers was pulled from broadcast, deemed too “spicy, expensive and violent for TV screens.” This time he got his project on the air — the second made-for-TV movie ever shown. The setting is relocated to New Orleans during Mardi Gras, emphasizing the choked streets and vibrant colors that Robert Culp and Edmond O’Brien wander through with clenched determination.
Posted by Susan Doll on March 2, 2015
When Leonard Nimoy died at the end of last week, many from my generation mourned the loss by posting photos and quotes related to Mr. Spock, Nimoy’s iconic television character, to social media outlets. The outpouring of sorrow and the testimonials of childhood devotion reveal the profound impact that a beloved television program can have on a generation.
Like William Shatner, Nimoy did not always relish his identification as one of television’s most recognizable characters. When Star Trek ended in 1969 after three seasons, both tried to shake off their Trek personas by pursuing other roles. Nimoy even penned an autobiography titled I Am Not Spock in 1975. DeForest Kelley, the third in the trio of interstellar comrades, was not as vocal about moving on to new opportunities, but he, too, was eager to continue his career. It took several decades for the trio to realize what fans knew all along—Captain Kirk, Mr. Spock, and Dr. Leonard “Bones” McCoy were more than characters from an old TV series. Eventually, Shatner and Nimoy embraced their iconic characters, discussing them at length in their bios Star Trek Memories and I Am Spock.
Posted by R. Emmet Sweeney on February 24, 2015
Johnny Mercer is one of the finest lyricists the United States has ever produced, contributing “Moon River”, “Fools Rush In” and “Days of Wine and Roses” to the Great American Songbook. Before he wrote that string of immortal hits, he tried (and folded) his hand at movie stardom, appearing in some sprightly B musicals for RKO starting in 1935. In the early 1930s Johnny Mercer was just another hard working lyricist, with his steadiest paycheck coming from the Paul Whiteman Orchestra as both writer and singer. He had made a name for himself in 1933 with “Lazybones”, written with Hoagy Carmichael, which attracted the attention of the aging but still popular “Pops” Whiteman. The hope was that Mercer could replace the recently departed Bing Crosby in his touring road show. The Savannah-born Mercer was paired with legendary Texas trombonist Jack Teagarden, and they formed a kind of Southern comedy duo, interpreting Fats Waller and “Harlemania” for the white masses. Their routines were enough to get the attention of Hollywood, and RKO lured him West. Mercer had dreams of contributing songs to major musicals, but he had to prove his mettle in the Bs first. The Warner Archive recently released a DVD of Mercer’s first two silver screen forays, the irresistible college comedy Old Man Rhythm (’35) and morbid farce To Beat the Band (’35). These cheap B pictures are enlivened by the spectacular talents RKO had at its disposal, including choreographer Hermes Pan, production designer Van Nest Polglase and director of photography Nicholas Musuraca (Cat People, Out of the Past). They are Bs that look like As, and though none of Mercer’s tunes in these films became standards, there were no duds. Billie Holiday agreed, and would record “Eeny Meeny Miney Mo” and “If You Were Mine” from To Beat the Band later in ’35.
Posted by Susan Doll on February 23, 2015
Ever since reading Good Night, Sweet Prince, a biography of John Barrymore by his comrade in revelry, Gene Fowler, I have been fascinated with the Barrymore family. Handsome, tragic John has become my favorite Barrymore, because he was so flawed and yet so talented. Equally talented but not flawed was his older sister Ethel Barrymore. Next Saturday, February 28, at 9:15am, Ethel stars in Kind Lady, part of TCM’s 31 Days of Oscar programming.
Before noting Barrymore’s contribution, I would be remiss if I did not mention Kind Lady’s narrative pedigree. Originally a short story by Hugh Walpole titled “The Silver Casket,” it was turned into a beloved stage play by Edward Chodorov in 1935. The first film version was released in 1936 and starred Basil Rathbone as Elcott and Aline MacMahon as Mrs. Herries. The screenplay for the 1951 version, which was credited to Chodorov, Jerry Davis, and former Hitchcock collaborator Charles Bennett, made changes to the original material. Characters were eliminated to streamline the story, a key murder was moved toward the end of the film, and an exciting climactic sequence was added (a Hitchcockian approach). The film was aided enormously by the direction of John Sturges, who has earned a place in the history books for his widescreen, Technicolor films that exploited spectacular outdoor settings (Bad Day at Black Rock, Gunfight at the O.K. Corral, The Magnificent Seven, The Great Escape). Released in 1951, Kind Lady is a black-and-white thriller with a claustrophobic set, but Sturges seemed equally adept within these perimeters. He milked the limited setting to its full advantage to create tension while adding visual interest through camera movement.
Posted by Kimberly Lindbergs on February 19, 2015
Louis Jourdan in COUNT DRACULA (1977)
We lost Louis Jourdan on Valentine’s Day and since then there has been an abundance of considerate obituaries and tributes to the debonair French actor who stole film fan’s hearts and swept many of his leading ladies off their feet. Jourdan was strikingly handsome but I’ve always found him a bit intimidating on screen. In real life Jourdan had fought Nazis as an active member of the French resistance and by most accounts was a loyal husband to his wife (Berthe Frédérique “Quique”) for 68 years until her death in 2014 but something about his smoldering intensity and somber eyes made me uneasy. The characters he played were often hard to read and I found myself constantly questioning their motives. This is undoubtedly due to his exceptional performances in films such as LETTER FROM AN UKNOWN WOMAN (1948) where he plays a self-absorbed pianist who breaks Joan Fontaine’s heart and THE BEST OF EVERYTHING (1959) where he drives the gorgeous Suzy Parker mad with jealousy or JULIE (1956) where he stalks and terrorizes poor Doris Day. In retrospect Jourdan was incredibly apt at portraying men with questionable motives and he had a viper-like way of honing in on naive young women who became easy prey. It doesn’t surprise me that he eventually ended up playing a comic-book villain in SWAMPTHING (1982) and a James Bond baddie in OCTOPUSSY (1983). But if I had to select his most fearsome role I’d single out Jourdan’s outstanding turn as the infamous bloodsucking Count in COUNT DRACULA (1977).
Posted by Kimberly Lindbergs on February 12, 2015
Tune into TCM on Febuary 20th to catch Oliver Reed in OLIVER! directed by his uncle, Carol Reed.
Feb. 13th marks what would have been Oliver Reed’s 77th birthday if he was still with us. Reed died in 1999 but he has long been one of my favorite actors so to honor his memory I decided to contact filmmaker Kent Adamson who worked with Oliver Reed in the 1980s and is friendly with the actor’s son (Mark). What follows is a lengthy Q&A where Kent generously shares his own recollections and thoughts about the actor’s life and career. I hope you’ll enjoy reading our exchange as much as I enjoyed taking part in it.
Posted by R. Emmet Sweeney on February 10, 2015
I take comfort in Jason Statham. For more than a decade now he has been taking his shirt off in modestly budgeted action movies, ones that usually open in the first quarter of the year. These are the months of low expectations for studios, in which they release films they don’t deem worthy of expensive marketing campaigns, usually made up of genre films of low birth. These are the months, and the films, where Statham has found his niche as a leading man (he has been in blockbusters in supporting parts, as in The Expendables franchise and the forthcoming Furious 7 and Spy). They are directed by journeymen with titles as blunt as their plots: Homefront, Redemption, Parker, Safe, and The Mechanic. They are all about lone men with particular sets of fibula cracking skills, though Statham has made simpler, lower-budgeted projects since his work with the operatic Luc Besson on The Transporter series (2002 – 2008) and the ADD-aggro Crank films (2006 – 2009). Since filming The Mechanic (2011) in New Orleans, Statham and his producing partner Steve Chasman have followed the tax credits, forming their movies around which city gave them the best deal to shoot. This economic incentive has made for atmospheric, enclosed action films that allows for such absurdities as shooting Philadelphia-for-New York City in Safe. Statham is asserting more control over his work, and his latest feature, Wild Card, is the first made for his own production company, SJ Pictures. Released day-and-date in late January on VOD and very limited theatrical, it seems to have already disappeared without a trace. But it’s a low key charmer, an episodic tour through the dregs of Las Vegas society (partly filmed in, yes, New Orleans) that’s less action movie than a downbeat character piece with brief flashes of violence to keep the fans happy.
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