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 12, 2014
Posted by Pablo Kjolseth on May 18, 2014
I can’t let a month featuring a Friday Night Spotlight on Australian Cinema go by without putting in a plug for a small gem coming up later this week; Peter Weir’s The Plumber (1979). Shot on 16mm and made for TV, this quickie project shot in under three weeks was a middle step-child between Weir’s The Last Wave (1977) and Gallipoli (1981), and as such is often overlooked. Interestingly, water plays an important and ominous role in all three films. [...MORE]
Posted by Pablo Kjolseth on February 23, 2014
“I thought you might want to go to the picture show. Miss Mosey is having to close it. Tonight’s the last night.” – Sonny Crawford (Timothy Bottoms)
How is it that nobody has done a modern version of The Last Picture Show? I realize that Peter Bogdanovich’s 1971 film, based on the novel by Larry McMurtry, is about much more than Miss Mosey having to close down the movie theater due to dwindling business and the rise of television, but let’s face it: the death of the Royal Theater in a small town, circa 1952, serves as a larger emblem of the many chapters in life that open and close for the characters of Anarene, Texas. It does so in ways that are understandable for anyone going through adolescence, their mid-life, and even death. Still: so much is implied by the four simple words of the title that it’s no surprise the book caught the eye of someone like Bogdanovich.
Posted by Pablo Kjolseth on December 15, 2013
My last post was spurred on (emphasis on “purr”) by the poster for Inside Llewyn Davis. The protagonist of that film at one point passes by a poster for The Incredible Journey (Fletcher Markle, 1963), which is a Disney movie about two dogs and one cat going trying to find their way home. The name for the cat that Llewyn Davis chases throughout the film is Ulysses, which was actually played by three tabbies – neither of which gets a credit in the film. (Sacrilege! Someone call P.E.T.A.) Whether the movie viewers then choose to consult Joyce or Homer for further inside references is a matter of taste. For me, because the story concerns a man who is ejected from his NYC environment who goes off on a series of adventures, which include alienating his family (and later getting back together with family), all while having some adventures on the road with a cat, I couldn’t help but think of Harry & Tonto (Paul Mazursky, 1975) – a film that starred two tabbies in the starring role of Tonto. But, mainly, it made me think of cats and movie posters. So here, as promised, are more images of exactly that. [...MORE]
Posted by R. Emmet Sweeney on July 30, 2013
Roger Corman’s career would be impossible today. There is no more infrastructure for low-budget genre experimentation, as filmmakers must increasingly rely on crowd-funding to get their modest projects off the ground (even Spike Lee took that route last week), with little hope of distribution. The only outfit as prolific as Corman’s New World Pictures is The Asylum, the mock-busters behind Sharknado, except their model doesn’t encourage the young but re-animates the old for a quick buck. Larry Fessenden’s Glass Eye Pix shares Corman’s huckster spirit and eye for talent, but only has the funds to make 2-3 films a year (New World could crank out 10). And while there is plenty of creativity on display in direct-to-video action movies (like Jesse V. Johnson and Isaac Florentine), they are totally isolated from Hollywood at-large, never graduating to larger productions like Corman alumni Martin Scorsese and Joe Dante. What we are robbed of from this lack is gonzo oddities like Dante and Allan Arkush’s Hollywood Boulevard (1976), a no-budget satire of an exploitation film production. Streaming on Netflix (cropped from 1.85 to 1.33, sadly), it’s a loving take-down of Corman’s shoestring flicks “shamelessly loaded with sex and violence”, per the tagline.
Posted by David Kalat on June 8, 2013
Recorder alert: set your DVRs for June 13th’s middle-of-the-night airing of the underrated screwball gem Next Time I Marry. This fun B-movie is a thinly-disguised knock-off of It Happened One Night, starring Lucille Ball in one of her most characteristic screen appearances, directed by the great Garson Kanin. There’s no good excuse for this treasure to be so little known, or to be relegated to such a bleary-eyed time slot, and if you don’t set a timer you’ll probably miss this chance to catch up with it.
(For some reason the movie poster doesn’t look anything like Lucille Ball, or costar James Ellison)
Posted by R. Emmet Sweeney on April 2, 2013
When director George Sherman passed away at the age of 82 in 1991, he was noted only for the quantity of his output. The obituaries in both the Los Angeles and New York Times pointed out the “175″ credits he had accrued as a director for screens both large and small (IMDb lists 126), although nothing as to their quality aside from their “low-budget” origins. I recently enjoyed some of Sherman’s Three Mesquiteers Westerns that he made for Republic (which I wrote about here), but a recent column by Dave Kehr has made me ravenous for more. Reviewing Dawn at Soccoro (1954, released as part of a TCM Vault Collection), Kehr describes him as “experimental”, and the film as, “a western that might have been imagined by Kafka.” Fortuitously, more of Sherman’s work has been reaching home video. Last month Universal released a budget-priced “Classic Westerns” set of 10 films that include two Shermans: Comanche Territory (1950) and Tomahawk (1951), while Olive Films finished off their stash of John Wayne Mesquiteers films with Wyoming Outlaw (1939).
Posted by Pablo Kjolseth on November 4, 2012
Going to the movies has long been considered a mostly passive experience where you quietly sit in darkness to be carried off by a visual experience. A growing number of small exhibitors, however, are changing their tune. Instead of telling their customers to stay quiet during the film, they have been actively encouraging everyone at specific shows to sing-along, quote-along, and even share their texted heckles to hecklable-ready films via HECKLEVISION. There will, of course, always be new ways to have fun at the expense of poorly made films, but I’m more interested in the first two categories because of their celebratory nature. To sing a song from a film with other devotees, or to quote its lines in chorus, these add a rather touching and joyous element that one can easily imagine would warm the hearts of those who worked hard to make the film in question. Having missed my chance to attend a recent Dr. Horrible’s Sing-Along, I’m looking forward to a pending screening in my area, made possible by Alamo Drafthouse Cinema, of a Labyrinth Sing-Along. I recently had the opportunity to ask Greg MacLennan, the Director of Interactive Programming at the Alamo Drafthouse Cinema, some questions about some of the other films that are currently enjoying revivals thanks to different forms of crowd participation.
Posted by Pablo Kjolseth on August 26, 2012
In my last post I provided a look behind the curtain for the first five weeks of film programming for my fall film calendar. This week we look at the remaining 24 titles that round out the schedule. It features everything from classics such as Vertigo to the state premiere of the latest uncompromising and visually arresting film by Bruno Dumont, Outside Satan (a scene of which is pictured above). [...MORE]
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