Posted by Kimberly Lindbergs on December 29, 2016
Biopics can be predictable and formulaic affairs. They often rely on a checklist of theatrical high points and low points, which restrict the scope of the drama and transform the rich panorama of life into a cheap paint by numbers routine. John Huston’s Moulin Rouge (1952) is an exception to that tired rule thanks to some innovative directing choices that challenged standard Hollywood tropes at the time it was made. In turn, this stirring dramatization of French artist Henri de Toulouse-Lautrec’s brief life is a brooding contemplation of the artistic process and a celebration of nineteenth-century bohemian Paris.
Posted by Jill Blake on November 12, 2016
Mary of Scotland (1936), released by RKO, is an interesting historical drama with a touch of romance directed by John Ford. In 1936, Ford was hardly a novice; he had directed over eighty productions, including Academy Award nominated films Arrowsmith (1931), The Lost Patrol (1934) and The Informer (1935). Although he had success in some of his early films, Ford had yet to hit his creative stride, which arguably didn’t begin until the 1939 masterpiece, Stagecoach. In Mary of Scotland, we only catch but a glimpse of Ford’s genius.
Posted by Nathaniel Thompson on September 21, 2016
I have a real soft spot for that strange period after the ‘70s when all the British filmmaking enfants terribles tried to wedge their styles into a movie landscape that had radically changed in front of them. Ken Russell tore into the American cinematic arena with Altered States (1980) and Crimes of Passion (1984); Lindsay Anderson veered from satirical outrage with Britannia Hospital (1982) to genteel drama with The Whales of August (1987); John Boorman went phantasmagorical with Excalibur (1981) and primitive with The Emerald Forest (1985); Derek Jarman dispensed with narrative entirely for The Angelic Conversation (1985) and The Last of England (1988). Then there’s the strange case of Nicolas Roeg, who was riding high after the triple punch of Walkabout (1970), Don’t Look Now (1973), and The Man Who Fell to Earth (1976). Needless to say, the early ‘80s took him in some very surprising directions, first with the very ill-received Bad Timing (1980), which is now regarded as a transgressive classic, and what remains one of his most neglected and misunderstood films, Eureka (1983), airing on TCM in the appropriately wee hours of Friday. [...MORE]
Posted by Susan Doll on June 13, 2016
Tomorrow, TCM devotes its daytime programming to biopics, or biographical pictures. Fans of this genre know not to expect an accurate chronicle of the life of a famous person; instead, biopics (or, “bi-opics” as a former coworker used to insist on calling them) offer the mythic version of that life. In other words, biopics use the lives of the famous to depict a universal truth, to offer a life lesson, or to represent a value we can all relate to. TCM has selected several film biographies that focus on prominent leaders throughout history, including Alexander the Great, Marie Antoinette, and Gandhi. Expect stirring stories of individual self-sacrifice for the greater good of the people.
Personally, my favorite biopics are those about show business figures, especially movie stars. Biopics are almost as old as the medium of cinema itself (The Life of Abraham Lincoln, 1908), but star-pics did not emerge until the postwar era. By that time, the first generation of popular movie stars had evolved into legendary icons as reflected in The Jolson Story (1946) and Jolson Sings Again (1949), Valentino (1951), and The Story of Will Rogers (1952). Also during the postwar era, the studios lost vertical control of the industry, meaning they were forced to loosen that vice-like grip on production, distribution, and exhibition. The systems and practices that had led Hollywood to become the most successful film industry in the world began to break down. Not coincidentally, the industry released a spate of movies that looked back on its history, warts and all (Sunset Blvd., The Bad and the Beautiful). In contrast, the star-pics of the 1950s are affectionate re-creations of early Hollywood—nostalgic valentines to past legends and industry high points.
Posted by Susan Doll on May 2, 2016
Last week, I talked about the new indie film Elvis & Nixon, which is loosely based on the time that Elvis Presley made an impromptu visit to Washington D.C., to drop in on President Richard Nixon. The event resulted in the most widely requested photo in the National Archives.
Michael Shannon and Kevin Spacey star as the King and the President respectively. Shannon tackles the impossible task of playing Presley and does so with sincerity and sympathy. Thankfully, he was able to suggest the King’s Southern accent and vocal characteristics without resorting to impersonator-like tricks and gimmicks. Thin and gangly, with a kind of scarecrow look, Shannon does not remotely look like Elvis, which is distracting. But, he was compelling to watch. Elvis & Nixon reminded me of other films about Elvis Presley in which actors portray the King. Their interpretations range from the credible to the ridiculous.
Posted by Susan Doll on April 25, 2016
Elvis & Nixon opened over the weekend with little fanfare but with a barrage of unconstructive, ineffectual reviews. Liza Johnson directed this slice-of-Elvis-lore, which chronicles the time that Presley flew to Washington, D.C., on the spur of the moment to meet President Richard Nixon. Their meeting resulted in a famous photo of the two iconic figures shaking hands, which is the most requested image from the National Archives. Michael Shannon and Kevin Spacey star as Presley and Nixon.
The movie prompted me to go back to my collection of Presley bios and resources to reexamine the incident. I checked in All Shook Up: Elvis Day by Day, 1954-1977, which is my favorite reference because it objectively and succinctly chronicles Presley’s actions on a day by day basis. I also reread parts of Peter Guralnik’s definitive, two-volume biography. I offer a pared down version of the event here, not to accuse the film of inaccuracy but to provide a proper backstory. On December 19, 1970, after an argument with his family about overspending for Christmas, Elvis boarded a commercial flight in Memphis bound for Washington, D.C. He checked into the Washington Hotel as Jon Burrows, one of his aliases. That night, he boarded a flight to Los Angeles, arriving well after midnight. Jerry Schilling, a former member of Elvis’s Memphis Mafia, met him at the plane with a limo. After dropping off at least two stewardesses, whom Elvis had promised a ride, he and Schilling arrived at Presley’s house on Hillcrest Drive. The following morning, December 20, the pair flew to Washington, D.C., with Elvis using the alias Dr. John Carpenter (his character’s name in his last film, Change of Habit).
Posted by Susan Doll on March 14, 2016
Each Monday evening during the month of March, TCM celebrates “Art and Artists” by airing 18 movies about painters and sculptors. The most diverse films are those based on fictional artists or paintings, including everything from the horror classic The Mystery of the Wax Museum (March 21, 1:15am EST) to the comedy The Art of Love (March 28, 8:00pm EST). The series also spotlights dramatic biopics based on real-life artists, including tonight’s selection: Lust for Life, El Greco, Rembrandt, and Andrei Rublev.
With a background in art history, I am an unabashed fan of artist biopics, even though most of them are not really about the art. Directed by Alexander Korda in 1936, Rembrandt is an exercise in “good taste” as typified by big-budget British productions of that era. Charles Laughton as Rembrandt is given numerous opportunities to show off his gifts at dramatic recitation in a story that is mostly about enduring personal loss. El Greco, a TCM premiere, is a little-known Italian production with international star Mel Ferrer in the title role. The film posits El Greco as the outsider artist who butts heads with the closed minds of the Inquisition. The contributions of composer Ennio Morricone and set decorator Dante Ferretti, who would later team with Martin Scorsese, make this film worthwhile viewing. Of the four, Andrei Rublev by Russian auteur Andrei Tarkovsky is the most unconventional and the most cinematic. Tarkovsky eschewed a linear, cause-and-effect biographical structure in favor of experimental black-and-white imagery and a stripped down narrative in which little is explained but much is felt.
Posted by Susan Doll on October 5, 2015
The recent gangster biopic Black Mass stars Johnny Depp as real-life organized crime boss Whitey Bulger, a fixture in Boston’s criminal underworld from the 1960s through the 1990s. Depp gives an intense performance as the ruthless mobster, who was legendary for his unpredictable behavior and violent methods. The actor embraced the role, mastering the South Boston accent and adopting street-tough mannerisms. I recommend Black Mass, which was directed by Scott Cooper (Out of the Furnace; Crazy Heart) whose realist style serves the story well.
Posted by Kimberly Lindbergs on July 17, 2014
On December 3, 1926 the popular mystery author Agatha Christie vanished following an argument with her husband who was demanding a divorce. Agatha was devastated by his decision but he responded to her distress by leaving the lavish home they shared together with their young daughter to meet up with his mistress. No one knows for certain what prompted Christie to pack her own bags and follow him into that cold winter night but the next morning her abandoned car was found with the hood up and the lights on. Christie’s coat and suitcase were still in the car but the author was missing. The authorities were called in while massive search parties were organized and the mysterious disappearance of Agatha Christie captured the world’s attention. Was it a prearranged publicity stunt? Had she committed suicide? Or had Christie become the victim of a murder plot similar to the crimes outlined in her fiction? Speculation ran rampant in local as well as international newspapers until 11 days later when the missing writer was suddenly discovered unharmed at the posh Hydropathic Hotel in North Yorkshire. Christie claimed she’d suffered a head injury while driving and had temporarily lost her memory but she refused to discuss her disappearance with reporters. And when her posthumous autobiography was published in 1977, the author was suspiciously quiet about the strange event that had captured the public’s imagination some 50 years earlier. So what exactly happened to Agatha Christie in December of 1926? We’ll probably never know the entire truth but Michael Apted’s curiously engrossing film AGATHA (1979) does a superb job of dramatizing this fascinating event.
Posted by Susan Doll on January 20, 2014
This month, TCM’s Friday Night Spotlight is devoted to “Science in the Movies,” which showcases flicks with at least a nominal connection to science, including biopics of famous scientists. Let’s face it, most viewers, including myself, can name only two or three scientists at best, and, topping that list would have to be Thomas Edison. This Friday, January 24 at 8pm, TCM airs Edison, the Man, a 1940 biopic of the so-called Wizard of Menlo Park.
Edison, the Man is the sequel to Young Tom Edison, and I wish both films were part of “Science in the Movies,” because they were conceived at the same time. Mickey Rooney stars as the scientist in Young Tom Edison, while Spencer Tracy plays the role in the sequel. In 1938, Rooney and Tracy had costarred in Boy’s Town, the biography of Father Flanagan, which had been a hit for MGM. While the double Edison flicks did not exactly reteam Rooney and Tracy, they did take advantage of their successful pairing from Boys Town in a unique way. The Edison biopics were released only three months apart in 1940, which explains the less-than-exciting titles. The studio wanted to avoid potential confusion over two films about the same subject, while telegraphing to audiences that the second film continues from the first. MGM’s strategy proved sound: sequels rarely did big business at that time, but Edison, the Man drew a bigger box office than Young Tom Edison.
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