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.
They called Claude Chabrol “the French Hitchcock,” but this was always more a marketing hook than a meaningful comparison. Alfred Hitchcock made crowd-pleasing suspense thrillers; Chabrol made vicious satires disguised as suspense thrillers. For decades, Chabrol had been crafting spiky, embittered dramas simmering with disgust for humanity in general and the French bourgeoisie in specific.
And in 1988, he took aim at Nazi-occupied France. That was impressive enough, but the bullet he fired was a tangled, M.C. Escher-like self-referential puzzle surfing waves he’d set in motion two decades earlier.
I was recently traveling in Oregon, and marveling at what Lewis and Clark must have thought as their years of travel across unknown terrain led them, at last, to such a wonderful and unexpected prize. It is hard in this modern day to find a similar thrill of discovery. The world is too well mapped, too known. It seems very very unlikely that we will ever again experience, on this world at least, the opportunity to find an uncharted island, to discover a new element, to describe a new species. You might as well hope to see a new color.
But, there are such thrills in other avenues of exploration. That is one of the attractions of watching obscure movies—to uncover lost treasures, so see something magical the rest of the world overlooked.
Consider what cult movie audiences in the 1970s and 80s must have thought as they stumbled unawares across the VHS release of Russ Meyer’s 1965 Faster Pussycat, Kill, Kill! Here was a thing that was not so old, yet almost throughly forgotten—a low-budget indie film that was at best destined for niche market appeal but which had sunk into oblivion on its initial run. It was so thoroughly drenched in 1960s style (That music! Those fashions!) but also so ahead of its time that we’re still playing catch-up with it. It was somehow sexist and feminist at once, a leering piece of cinematic oogling that also pushed men wholeheartedly away. What happens to a work of male gaze if men aren’t invited to do the gazing? What is the sound of one hand clapping?
Posted by R. Emmet Sweeney on October 20, 2015
When Helen Hayes was cast in the 1926 Broadway production of What Every Woman Knows, she was not yet “The First Lady of the American Theater”. According to the show’s producer William A. Brady, she had previously been “deep in the high heels and lipstick business – flapper roles”. It was with the part of the pragmatic “Maggie” in J.A. Barrie’s 1908 play, a Scottish battle of the sexes, that she established the Hayes persona, her civilized veneer holding back a mischievous spirit. The show ran for 268 performances and rave reviews. After further Broadway successes in Coquette (’27) and The Good Fairy (’31), she signed with MGM in 1931 to extend her career into the movies. It seemed natural to have her return to her breakthrough role, and What Every Woman Knows was directed by Gregory La Cava in 1934 – available now on DVD from the Warner Archive. But it was a frustrating experience for all involved, hampered by poor test screenings and re-shoots. Hayes was so disappointed in the process she stopped acting in films for nearly two decades. Regardless of the off-screen dramas, the film itself is a charming comedy about a smart young spinster who manipulates the men in her life into prominence, becoming a behind-the-scenes power broker. It is a rare treat to see Hayes reprise her star-making role, and it is a layered performance built on hundreds of stage repetitions, in which every glance is like a conductor’s wand, controlling the men around her.
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