Posted by Nathaniel Thompson on December 28, 2016
As with many years past, I’m spending the transitional period between Christmas and New Year’s in Los Angeles — and as anyone else around here can tell you, it’s a calm but vaguely spooky environment. All of the usual traffic jams and chattering people have temporarily vanished into the ether, leaving a city still filled with sunlight, palm trees and holiday decorations everywhere. We’ve seen a lot of notable films shot in L.A. over the decades (and you can sample most of them in the superb documentary Los Angeles Plays Itself), but the one that really captures this eerie feeling of being in L.A. at winter time (even if it isn’t specifically set at that time of year) is The Long Goodbye (1973), one of the great ’70s noir films and a highlight in the career of director Robert Altman. [...MORE]
Posted by Nathaniel Thompson on November 16, 2016
Though he still doesn’t quite enjoy household name status, Cornell Woolrich might be the most influential American mystery writer of the past century. The adaptations are an obvious place to start with Alfred Hitchcock’s Rear Window (1954) leading the pack, but his real legacy is the way he permanently embedded modern thrillers with recurring themes of the unreliability of memory, the pitfalls of falling in love with someone you think you know and the inescapable darkness that can claim even the most virtuous of souls. If you want to find out where films like Memento (2000) and The Usual Suspects (1995) came from, look no further than this master storyteller.
Hollywood really jumped on the Woolrich bandwagon in the ‘40s with a slew of radio adaptations as well as fascinating films like The Leopard Man (1943), Phantom Lady (1944), The Chase (1946), and Night Has a Thousand Eyes (1948). The big screen took less of an interest in him the following decades as television honed in on him instead, churning out numerous versions of his novels and short stories for home viewers on such programs as Alfred Hitchcock Presents and Thriller. The 1960s would prove to be Woolrich’s last decade on earth with his passing in 1968, but he had another resurgence from a most unlikely source: acclaimed French filmmaker François Truffaut.
Posted by Susan Doll on October 17, 2016
This month, TCM spotlights “Trailblazing Women–Actresses Who Made a Difference,” a series of movies featuring female stars who contributed to the industry, culture, and society. The series covers all eras of movie history, from Mary Pickford, who was an industry powerhouse in the silent days, to Jane Fonda and Cicely Tyson, who were activists off the screen in 1970s and 1980s. The program is the second part of a three-year effort in partnership with Women in Film (WIF) in which TCM devotes October to championing the achievements of women in Hollywood
TCM viewers who are enjoying “Trailblazing Women” should check out the new, third edition of From Reverence to Rape: The Treatment of Women in the Movies by film historian Molly Haskell. Haskell, who sometimes cohosts on TCM, covers the silent era to the late 20th century, the same time frame as “Trailblazing Women.” While there is some overlap between the series and the book, Haskell’s focus is on the image of women in the movies, the stars who embodied these images, and the relationship of these images to women in society.
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 Kimberly Lindbergs on August 11, 2016
Roddy McDowall surrounded by some of the celebrity portraits he took
On Monday, Aug. 15, Roddy McDowall will be headlining TCM’s Summer Under the Stars line-up. McDowell spent most of his life in the spotlight after landing his first film role in the British children’s film Scruffy (1938) when he was only 10-years-old. In 1940 his family relocated to Los Angeles to escape the London Blitz following the outbreak of WW2 and soon afterward he appeared in the Oscar-winning drama How Green Was My Valley (1941) directed by John Ford. The film made McDowell a household name and the acclaimed child actor quickly landed parts in a number of family friendly films including My Friend Flicka (1943) and Lassie Come Home (1943). In the 1950s, McDowall took a break from Hollywood and practiced his craft on stage but he returned in 1960 and continued to act in movies and television until his death in 1998.
During his long career, McDowall developed a passion for photography and Hollywood history. He revered his fellow actors and began snapping candid pictures of his costars on and off set when he was just a teenager. As he got older, McDowall’s obsession developed into a serious artistic pursuit and he became a highly respected professional photographer. His photos appeared in many prestigious magazines including LIFE, Vogue, Harper’s Bazaar, Architectural Digest, Premiere and Playboy and his work was displayed in galleries. He also shot album covers and book jacket portraits for a number of famous friends.
Posted by Kimberly Lindbergs on July 7, 2016
Pull up a chair and pour yourself a nice cold glass of something. It’s time for my annual nonfiction Summer Reading Suggestions!
Posted by Susan Doll on January 11, 2016
While wandering through an antique mall in the middle of nowhere, I came across a beat-up bookcase crammed into a corner nook. As I walked toward it, a book caught my attention right away: The Movie Picture Girls. The faded brown cover showed a man cranking an old silent-movie camera while two young girls appeared in cameo portraits above him; it was clear that this was a girls’ adventure book about the movies.
The cover lists the author as Laura Lee Hope, who, according to the back insert, was also the author of The Bobbsey Twins series. The copyright date is 1914, an interesting juncture in film history when the industry was in the process of exiting the East Coast to make Hollywood its new company town. If Laura Lee Hope sounds like a too-perfect name for an author of young women’s fiction, then you won’t be surprised to learn that the name was too good to be true. Laura Lee Hope is the collective pseudonym for several writers who worked for the Stratemeyer Syndicate, a company that specialized in producing juvenile literature. Stratemeyer’s books were originally published by Grosset and Dunlap, though various series were reprinted by other publishers over the next several decades. Among the writers who penned The Bobbsey Twins, The Hardy Boys, Tom Swift, and The Moving Picture Girls were owner Edward Stratemeyer, Howard Roger Garis and his wife Lilian McNamara Garis, and Stratemeyer’s daughter, Harriet.
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.
Posted by Kimberly Lindbergs on July 16, 2015
It’s that time again. Time for my semi-annual list of summer reading suggestions! If you’re a film fan looking for something interesting to read during a long flight, while you’re lounging on the beach or just waiting for the barbeque to heat up, you’ve come to the right place. What follows is a list of the best non-fiction books I’ve read in the last six months and I hope my eclectic taste will encourage film fans of all strips to do some reading this summer.
Posted by Susan Doll on June 29, 2015
Researching, re-viewing, and re-visiting film noir this summer through TCM’s Summer of Darkness has led me beyond the trio of hard-boiled novelists/screenwriters generally discussed as the genre’s literary architects: Dashiell Hammett, Raymond Chandler, and James M. Cain. A few weeks ago, I wrote about Daniel Mainwaring, author of Build My Gallows High on which Out of the Past was based, and I was delighted to discover the extent of his contributions to postwar Hollywood. Several readers suggested I also look into Cornell Woolrich, best known for penning the story that served as the basis for Rear Window. While every movie lover can connect his name to Rear Window, few know much beyond that—including myself. Not only is he the least familiar contributor to mystery fiction and film noir, but, in a genre created by a number of self-destructive, anxiety-ridden, and depressed writers, Woolrich was arguably the most troubled.
When the reclusive, alcoholic, diabetic died in 1968, he left behind several unfinished stories, including one titled “First You Dream, Then You Die.” The title seems a suitable epitaph for his wretched life—so suitable, in fact, that writer Francis M. Nevins, Jr., used it for his definitive, 600-page biography of Woolrich.
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