Posted by R. Emmet Sweeney on July 26, 2016
I am ending my Summer of Rohmer series with a film set in the spring. Yes, it is a shocking betrayal of the series’ seasonal brand, but I was eager to revisit The Romance of Astrea and Celadon (2007), and extend my stay in Rohmer’s world. Over the last six weeks I have traveled to a variety of France’s hottest vacation spots for romantic anxiety, from a Saint-Tropez country house in La Collectionneuse (1967) to Dinard, the beachside town in A Summer’s Tale (1997). The Romance of Astrea and Celadon transported me to the valley of the Sioule in Auvergne, a bucolic green landscape for star-crossed lovers in 5th-century Gaul to suffer in. For his final feature (he passed away in 2010), Rohmer adapted Honoré d’Urfé’s L’Astree (ca. 1607 – 1627), a 5,000 page hit at the royal courts. Rohmer focused on the spine of the digressive novel – the romance between the shepherd Celadon and the shepherdess Astrea, and the miscommunication, madness, and masquerades that delay their union. Though set millennia in the past, the film works over familiar Rohmerian ground, as it ponders the nature of love and fidelity, while trying to square the contradictory impulses of each.
Posted by R. Emmet Sweeney on July 12, 2016
My Summer of Rohmer has been held over for its fourth smash week! For the uninitiated, I have been writing about the summer-set films of Eric Rohmer, allowing my vacation-less self to live vicariously through his characters. I have already traveled to Saint-Tropez for La Collectionneuse (1967), the French Alps for Claire’s Knee (1970), and Normandy for Pauline at the Beach (1983). Today I join one of Rohmer’s most peripatetic souls, Delphine (played by Marie Rivière), through Cherbourg, the Alps, and Biarritz in The Green Ray (1986). Delphine has recently separated from her long-distance boyfriend, leaving her alone and without direction for her summer vacation. A melancholy romantic, she is fiercely protective of her independence, and forever seeking the man who is worthy to end it. She spends her holiday bouncing from resort town to resort town, staying long enough until her loneliness overwhelms her and she is forced to move on. She begins to see portents all around, creating meaning by turning the world into a Tarot card to be read. Rohmer finds the beauty in her intense ascetic solitude, and grants her an ending of offhand sublimity.
Posted by Kimberly Lindbergs on June 30, 2016
The remarkably durable Olivia de Havilland is celebrating her 100th birthday tomorrow. To commemorate the centennial of the actress’s birth, TCM is honoring de Havilland by making her the Star of the Month for July. For the next five weeks, viewers who tune in on Friday night will be able to see a broad selection of her work.
Her abilities and charm made de Havilland one of Hollywood’s most celebrated stars and throughout the 1930s and 40s the actress’s gentle manner and wide-eyed vulnerability led her to frequently play innocent ingénues, damsels in distress or women under duress, most notably in Gone with the Wind (1939). Despite this, I think she was often at her best in films such as The Dark Mirror (1946) and Hush, Hush Sweet Charlotte (1964), which allowed her to flex her acting muscles and exploit the darker aspects of her femininity. She was also a very funny lady and exhibited great comic timing in some of the films airing on TCM in July.
Posted by R. Emmet Sweeney on June 28, 2016
My Summer of Rohmer continues with Claire’s Knee (1970), the fifth of the director’s Six Moral Tales. It is a story of fidelity and an experiment in desire, in which a betrothed vacationer enters into a flirtation with two teenage girls. As with La Collectionneuse (which I wrote about last week), it takes place within the span of a summer holiday, this time on Lake Annecy in Haute-Savoie. Instead of enjoying the transcendent view of the Alps, Rohmer’s characters debate the nature of love, whether it is an act of will or something more…elusive. Summer is once again used as a crucible to test one’s belief. La Collectionneuse depicts the curdling of male desire outside of Saint-Tropez, while the male protagonist of Claire’s Knee is trying to trigger his lust in an attempt to overcome it.
Posted by Greg Ferrara on June 5, 2016
Today on TCM, the 1982 comedy My Favorite Year airs and it marked Peter O’Toole’s twentieth year as a star. His stardom began with his breakout role in Lawrence of Arabia in 1962 and continued, with some ups and downs, for the next 50 plus years. He even has a movie out in 2016, three years after his death. It’s The Whole World at Our Feet and obviously whatever part he has in it was filmed some time ago. His career, on the whole, probably has many more duds than hits and his selection wasn’t always the best. There were long dry spells in his career, enough that his starring role in The Stunt Man, released in 1980, was considered a comeback for him, even though he’d been nominated for Best Actor just eight years prior for The Ruling Class. The problem was, after The Ruling Class, he appeared in one flop after another. Still, there’s no doubt that O’Toole left this life a legend and also little doubt that his eventual status as a legend was probably cemented right out of the starting gate with that breakout role as Lawrence. For many others, the path has not been so clear.
Hi everybody! This isn’t my usual spot, but Mr. Sweeney’s out this week for very forgivable reasons. It’s not my story to tell, but let’s just say there’s about to be a slight uptick in the world’s population, and leave it at that. Since he didn’t want all y’all Morlockians to have to endure the indignities of a missing post, or a rerun, I’m filling in for the day.
And with the recent release of The Nice Guys, I’m in a bit of a Shane Black reverie. It cast my mind back to the 1997 action thriller The Long Kiss Goodnight and a certain scene that, to my mind, encapsulates everything you need to know about contemporary commercial Hollywood cinema. If you had a space alien, or some Rip Van Winkle type, who wondered “what’s the deal with movies these days?,” you could just fire up the DVD player, scan forward to this scene, and let ‘er rip:
Posted by R. Emmet Sweeney on May 3, 2016
The light comedy The Man and the Moment (1929) was considered lost until a dupe negative was recently discovered at Cineteca Italiana di Milano. This part-talkie from First National Pictures was restored in 2K by Warner Bros. at L’Immagine Ritrovata laboratory in Bologna, and was released on Warner Archive DVD last month. A charming proto-screwball comedy, it’s about a marriage of convenience between a rich playboy and an impetuous adventuress that ends up destroying planes, boats and nightclub aquariums. Made during the transition to sound, it exemplifies the stereotype of that era’s stiff, static line readings. It has snap and vigor in the silent sequences, and grinds to a halt for dialogue. This is not aided by leading man Rod la Rocque, who is a debonair charmer in the silent sequences and a wooden statue during dialogue. His co-star Billie Love is more of a natural, and she waltzes away with the film.
Posted by Kimberly Lindbergs on January 21, 2016
Gila Golan in Our Man Flint (1966)
I’ve said it before but I’ll say it again: I love ’60s spy movies! They typically contain more style than substance and seem to delight in ridiculous plot lines, campy performances, sexual innuendoes and questionable morals but that’s part of their appeal. Next Monday viewers who tune into TCM in the evening hours will be treated to an assortment of “’60s Spy Stories” beginning with Arabesque (1966) at 8PM EST/5PM PST followed by The Ipcress File (1965), Our Man Flint (1966), Our Man in Havana (1959 -not exactly a ’60s production but it will fit right in), The Prize (1963) and Our Man in Marrakesh aka Bang! Bang! You’re Dead! (1966). I’ve written or referenced most of these films here at the Movie Morlocks in the past but today I wanted to focus my attention on one of my favorite female undercover agents, the gorgeous and deadly Gila Golan who takes on James Coburn in Our Man Flint.
Posted by R. Emmet Sweeney on January 19, 2016
The books of my childhood have no hold on me, no permanent perch in my imagination. I was immersed in the boys-solving-crimes genre of The Hardy Boys and Encyclopedia Brown as a lad, and today I couldn’t dredge up a single plot point from the dozens I read. My wife, however, is continually revisiting the worlds of Laura Ingalls Wilder and L.M. Montgomery, with Little House on the Prairie and Anne of Green Gables deepening for her over time. They evoke a rambunctious, adventurous girlhood as well as a very tactile sense of place. The forbidding tundra of Little House’s upper midwest and idyllic Prince Edward Island of Anne are landscapes that she has incorporated into her being. If she ever goes starry eyed, she has probably escaped to the Ingalls cabin in her mind. As a selfish male, I desired access to this secret girls club. But as a lazy one, I haven’t had time to read the novels. So instead I viewed the 1934 adaptation of Anne of Green Gables, newly on DVD from the Warner Archive. It’s a polished RKO production that softens the book’s tragedies, but still captures the stumbling energies of Anne’s incorrigible youth.
Posted by Kimberly Lindbergs on December 3, 2015
Since I began writing for the Movie Morlocks five years ago I typically compile a blog post with summer reading suggestions or a list of favorite film related books released at the end of the year. This year I’ve had access to so many great books that I decided to compile two book lists.
My first was “Midsummer Reading Suggestions” where I covered The Lives of Robert Ryan, Sex, Sadism, Spain, and Cinema: The Spanish Horror Film, Orson Welles’s Last Movie: The Making of The Other Side of the Wind, So Deadly, So Perverse: 50 Years of Italian Giallo Films and Audrey (Hepburn) at Home: Memories of My Mother’s Kitchen along with other titles. What follows is my “Holiday Edition” where I share some of the best books (pictured above) that I’ve encountered since July. I hope both lists will encourage you to do some reading during the holidays or provide you with some shopping suggestions while you’re purchasing gifts for fellow film buffs.
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 Children 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 Fantasy Movies 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 1930s 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 Film Hosts 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 Magazines Movie Posters 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 Russian Film Industry Satire Scandals Science Fiction Screenwriters Semi-documentaries Sequels Serials Set design/production design Short Films Silent Film silent films Social Problem Film Spaghetti Westerns Sports Sports on Film Stereotypes Steven Spielberg Straight-to-DVD Studio Politics Stunts and stuntmen Suspense thriller Swashbucklers TCM Classic Film Festival TCM Programming TCM Underground Telephones 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