Posted by R. Emmet Sweeney on July 15, 2014
The year after he directed the Emmy-winning football weepie Brian’s Song, Buzz Kulik made the now-forgotten coming of age drama To Find a Man. Brian’s Song packed big emotions into the small-screen, while To Find a Man is a big-screen feature after the small things: privileging atmosphere over grand gestures. It’s a teen sex movie interested in the kids’ milieu and personalities rather than their libidos, which it treats as a given. The plot is straightforward: it’s Christmas break on the Upper East Side of NYC, and nerdy ginger kid Andy (Darren O’Connor) is tasked to find a discreet abortion doctor for his beautiful and increasingly demanding childhood friend Rosalind (Pamela Sue Martin). New York State legalized abortion in 1970, when the film was in pre-production, necessitating full-scale changes in Arthur Schulman’s screenplay, which proceeded as if the procedure was still illegal (Schulman had covered similar ground in his Oscar-nominated script for Love With the Proper Stranger (1963)). With naturalistic, awkward performances from O’Connor and Martin, it was selected for a competition slot at the 1972 Cannes Film Festival, but it didn’t make an impression stateside, and was eventually retitled by Columbia Pictures as The Boy Next Door and Sex and the Teenager to lure the trenchcoat crowd (to no avail). It has been almost impossible to see until it recently appeared as a digital download at iTunes and Amazon, though in a cropped 1.33:1 version, probably made from a television broadcast master some decades ago. But it’s either viewing it this way or not at all, and it is a valuable time capsule of NYC in the early 1970s, as well as being an affecting portrait of how freeing the loss of youthful illusions can be.
Posted by Susan Doll on June 30, 2014
Today, June 30, marks the birthday of one of Warner Bros.’s brassiest blondes, Glenda Farrell. Farrell was a working actress from the age of 7 until she died in 1971 at age 66. She began her career in the theater, playing Little Eva in Uncle Tom’s Cabin, and she ended it there, starring as the lead in 40 Carats on Broadway. However, Farrell made her greatest contribution to popular culture during the 1930s, when she was one of several tough-talking blondes under contract to Warner Bros.
The studio that used Depression-era headlines as a source for scripts catered to a traumatized working class, specializing in tales of gangsters, kept women, working stiffs, and tough-talking dames—especially blondes. Ginger Rogers, Joan Blondell, Una Merkel, and Glenda Farrell all played characters described as wise-cracking dames, with each star putting their own spin on this archetype. Farrell was perhaps the brassiest—a fast-talking, bleached blonde who could never be accused of naiveté.
Posted by Kimberly Lindbergs on June 19, 2014
Like many people, I tend to do a lot of reading when the weather warms up and with summer officially about to start on June 21st I thought it would be a good time to share some of the books I’ve been enjoying with my fellow film buffs. My own tastes tend to be somewhat eclectic but I hope readers of all types and stripes will find something that piques their interest when pursuing my list of Summer Reading Suggestions.
Posted by Kimberly Lindbergs on May 29, 2014
Ava Gardner in a publicity shot for THE BAREFOOT CONTESSA (1954)
Ava Gardner makes one of my favorite film entrances of all time in Joseph L. Mankiewicz’s THE BAREFOOT CONTESSA (1954), which airs on TCM June 1st. If you want to kick off the new month with a bang I highly recommend making time for this verbose Technicolor-noir that critiques Hollywood excess and the powerful studio system that frequently exploited its stars. Mankiewicz’s film is a heady brew of CITIZEN KANE (1941), LAURA (1944), SUNSET BLVD. (1950) and the director’s own ALL ABOUT EVE (1950) shot with abundant style by master cinematographer Jack Cardiff. It dramatically depicts the rise and fall of Maria Vargas aka “The World’s Most Beautiful Animal” (Ava Gardner), a seductive Latin dancer and renowned beauty who is discovered in a Madrid nightclub and carted off to Hollywood where stardom awaits. Her fascinating story is told in flashbacks by the men who knew her and begins in a rain soaked cemetery where our chief narrator, veteran director and recovering alcoholic Harry Dawes (Humphrey Bogart), is attending Maria’s funeral.
Posted by Kimberly Lindbergs on May 8, 2014
TCM is celebrating Mother’s Day (Sunday, May 11th) with a great program of classic films showcasing notable mothers. While looking over Sunday’s line-up I was surprised to spot NOW, VOYAGER (1942), which features Gladys Cooper as the incredibly cold and domineering mother of Bette Davis. Cooper won an Oscar nomination for her memorable performance and went on to play another overbearing mother in SEPARATE TABLES (1958) who torments poor Deborah Kerr. While considering Gladys Cooper’s portrayal of two heartless mothers I started thinking about other horrible movie moms that I’ve enjoyed watching over the years. Many good actresses have portrayed nurturing mothers who treasure their children but it takes incredible range, a lot of skill and a strong backbone to portray the kind of rotten mother that Gladys Cooper was so apt at playing. In honor of Mother’s Day I decided to pay tribute to a few of my other favorite bad movie moms. These women would never be nominated for a Mother of the Year Award but a few of them were nominated for an Academy Award.
Posted by R. Emmet Sweeney on April 22, 2014
From the beginning documentary filmmaking was synonymous was artifice. For Nanook of the North (1922), Robert Flaherty re-staged scenes of an Inuit family at home, complete with an igloo constructed for the shoot. Getting to truth through fiction was an accepted practice for that non-fiction pioneer. It was a common sense approach, using all the filmmaking tools available to capture as much of a multifarious reality as he could. Today the model, best exemplified by An Inconvenient Truth, is that of a TED talk, in which a pre-determined position is supported by talking heads, explanatory slides and jaunty animations. Most of these message documentaries, well-intentioned or not, have no need for moving images at all. Flaherty’s model has survived, but it lives at the periphery of the film world, in academic contexts like Harvard’s Sensory Ethnography Lab (SEL), or documentary boot camps like the yearly Robert Flaherty Seminar, which programs formally innovative non-fiction work by a rotating cast of curators. Programmers Dennis Lim and Rachael Rakes have gathered the tendrils of these non-fiction experiments into the definition-expanding series “Art of the Real”, which runs through April 26th at the Film Society of Lincoln Center.
Posted by Kimberly Lindbergs on April 3, 2014
She can sing, she can dance, she can act and she can make us laugh. She’s been directed by a number of recognizable talents such as Alfred Hitchcock, Charles Vidor, Michael Curtiz, Gene Kelly, Stanley Donen, George Abbott, Roy Del Ruth, Delbert Mann, David Butler, Norman Jewison, George Seaton, Gordon Douglas, Richard Quine and Frank Tashlin. And some of her most notable costars include Rock Hudson, Gordon MacRae, Kirk Douglas, James Cagney, Ronald Reagan, Jimmy Stewart, Louis Jordan, Clark Gable, Jack Carson, Howard Keel, Frank Sinatra, Jack Lemmon, David Niven, Rex Harrison, Cary Grant, James Garner, Rod Taylor and Richard Harris. Her career and personal life have been marked by incredible highs and crushing lows but through it all Doris Day has maintained a loyal base of appreciative fans that continue to grow in number every year. Today marks her 90th birthday and TCM is celebrating the event by airing a collection of her films including some of my personal favorites such as LOVE ME OR LEAVE ME (1955) and LOVER COME BACK (1961). I thought I’d join in the fun by sharing some interesting anecdotes and fascinating facts about one of America’s most beloved movie sweethearts.
Posted by R. Emmet Sweeney on March 18, 2014
Joe Don Baker is introduced in Mongo’s Back in Town getting off a bus in San Pedro, a scar still pulsing on his left temple. In Lifeguard, Rick (Sam Elliott) strolls in a tight white t-shirt and shades to his perch on a Santa Monica Bay beach. Each is an act of refusal. The hitman Mongo is intent on destroying himself and his hometown, while the thirty-something Rick has rejected bourgeois career building in favor of life as a beach bum. Mongo’s Back in Town is a hard-boiled noir made for TV, first broadcast on CBS in 1971 (now available on DVD). Lifeguard is a relaxed Paramount character study that moves with the sunburnt sloth one feels after a long day at the beach, and is available on DVD from the Warner Archive. Though they exist in vastly different genres, both aim for a kind of stasis, one in which its people prefer to watch than move.
Posted by Susan Doll on February 17, 2014
Throughout the month of February, TCM’s 31 Days of Oscar has offered a variety of fan favorites and familiar classics. On Thursday morning, February 20, a lesser-known Oscar-related gem airs at 6:15am. The Letter stars Jeanne Eagels in the first film adaptation of Somerset Maugham’s story. The 1929 drama lacks the star power of the well-crafted remake from 1940, which featured Bette Davis in her prime, but this version has film history on its side. The Letter represents Eagels’ only surviving sound film, and therefore the only record of the acting style that made her a Broadway legend during the 1920s. And, for those intrigued by Oscar trivia, Eagels is the first performer to be posthumously nominated for an Academy Award. While six actors have been posthumously nominated, including James Dean (twice), Spencer Tracy, Peter Finch, Ralph Richardson, Massimo Troisi, and Heath Ledger, Eagels is the only actress to be nominated after death.
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