Posted by R. Emmet Sweeney on April 21, 2015
Odd Man Out has an absence at its center. It stars James Mason as a revolutionary in Northern Ireland, but he is either missing or comatose for the majority of its running time. A scattered group of fringe players search for his body, from IRA fellow travelers to middle-class families to eccentric bird merchants. What emerges is a portrait of a stunned post-WWII Belfast, tired of violence but in no hurry to pass Mason off to the cops. It is either sympathy or indolence that keeps him alive, as his husk is passed from alley to bar and finally, to the docks. The city’s cavernous, emptied out streets are the setting for Mason’s absolution. For though he is a murderer, Mason’s beatific, radiant performance gives his character a saintly aura, as if taking on the sins of the post-war world. Though it has overshadowed the lower-budgeted Brit-noirs of this period (which are in need of reclamation), Odd Man Out is more than worthy of its reputation. Earlier this month it received the Criterion treatment, released in a new HD restoration on DVD and Blu-ray, with their usual array of copious extras, including a new essay by Imogen Sara Smith.
Tomorrow (Sunday the 19th), TCM will be wallowing in filth. Yup, they’re going to be screening a movie that the Monthly Film Bulletin labeled “the most sickening exhibition of brutality, perversion, sex and sadism ever to be shown on a cinema screen.” Sight and Sound deemed it “a piece of calculated nastiness,” the Daily Mirror called it “as fragrant as a cesspool,” and Sunday Pictorial raved “a piece of nauseating muck.” And if that isn’t enough blurbs to fill out your movie poster with, let’s also add that the Daily Express declared it a “wicked disgrace to the British film industry,” the Star pronounced it “one of the most undesirable pictures ever turned out by a British studio,” and the Sunday Times proposed inventing an all new rating just to classify this one film: “D for Disgusting.”
So, what are we talking about here? A piece of hard-core pornography, perhaps? A snuff film? A work of Soviet Socialist Realism full of secret communist propaganda?
Nope—it’s a 1948 film noir with the unassuming title of No Orchids for Miss Blandish.
There’s an argument to be made that Five Million Years to Earth (AKA Quatermass and the Pit) is the best science fiction film of the 1960s. By “best” I mean: coolest, weirdest, most lunatic, sharpest, most clever. Not necessarily the best known or most iconic.
The films that do claim the title of most iconic SF of the 60s (2001, Planet of the Apes) generally owe no small share of their success to having tapped into something in the zeitgeist. They weren’t just SF Films of the 60s—they were Films of the 60s, and concerned with nuclear war, race relations, the space race, the culture wars, drug trips, and so on.
Five Million Years to Earth (pay attention to that odd title—“years” not “miles”) isn’t really specific to the 1960s. It’s about the military-industrial complex and a mentality of total war, and the story pivots on the politicization of science, in which facts are spun (or changed) to suit political expediency. In other words, it’s a film as much of our time as theirs.
You really need to set your DVRs for this treat coming up on Wednesday—it’s a taut and utterly modern-feeling SF thriller with a serious bite.
Posted by Kimberly Lindbergs on March 26, 2015
This evening (5 PM PST and 8 PM EST) an interesting batch of British noirs produced by Hammer Films will be making their debut on Turner Classic Movies. The four films scheduled to air include HEAT WAVE aka The House Across the Lake (dir. Ken Hughes, 1954) featuring Hillary Brooke as a seductive blonde who convinces an American writer (Alex Nicol) to help her murder her wealthy husband. This is followed by PAID TO KILL aka Five Days (dir. Montgomery Tully, 1954) where Dane Clark plays a suicidal man with money problems who has second thoughts after he hires a hit man to kill him and the aptly titled GAMBLER AND THE LADY (dir Patrick Jenkins, 1952), which also features Dane Clark as a successful gambler who attempts to “buy his way into British society.” The programming comes to a fun finish with WINGS OF DANGER aka Dead on Course (dir. Terence Fisher, 1952) starring Zachary Scott in one of his more sympathetic roles as a former pilot plagued by unpredictable blackouts who learns that a friend and fellow flyer may be involved with smugglers.
Posted by Kimberly Lindbergs on November 6, 2014
Since Michael Reeves unfortunate death in 1969 at the age of 25, the British director’s life has become the stuff of cinematic legend. His reputation as a sort of Byronic hero who challenged the British film establishment was secured when he died much too young due to an accidental drug overdose leaving behind just a handful of low-budget horror films that attained cult status in subsequent years. His distinct talent and the ephemeral nature of his work have led many of Reeve’s colleagues and admirers to speculate on the direction his career might have taken if he had lived longer and it’s not uncommon to see his name mentioned along with better known British filmmakers who also dealt with controversial material including Michael Powell and Ken Russell. Reeves’ bone-chilling WITCHFINDER GENERAL (1969), which explored the brutality of the witch hunts in England during the 17th century, is often cited as one of the greatest and most gruesome horror films produced during the 1960s but his most intimate and introspective film might be THE SORCERERS (1967).
Posted by Kimberly Lindbergs on August 21, 2014
Last week this blog started to resemble the obituary section of my local newspaper and while I hate to continue that trend I couldn’t let Brian G. Hutton’s demise go unmentioned. The New York born director and actor is best remembered today for his work on two popular big-budget WW2 films, WHERE EAGLES DARE (1968) and KELLY’S HEROES (1971) but he also appeared in some memorable films such as John Sturges’ GUN FIGHT AT THE O.K. CORRAL (1957) and the Elvis vehicle, KING CREOLE (1958) as well as many popular television shows including GUNSMOKE, PERRY MASON, RAWHIDE and ALFRED HITHCOCK PRESENTS. The last film Hutton helmed was the Indiana Jones inspired HIGH ROAD TO CHINA (1983) and soon afterward he retired his directing chair. According to the fine folks at Cinema Retro, Hutton’s self-deprecating sense of humor often led him to criticize his own movies and he didn’t look back all that fondly at the time he spent in Hollywood but many film enthusiasts like myself appreciate the eclectic body of work he left behind.
Posted by Kimberly Lindbergs on June 12, 2014
Posted by Pablo Kjolseth on June 1, 2014
If you missed A Hard Day’s Night (Richard Lester, 1964) when it screened at the recent TCM Film Fest, you’ll get another shot tomorrow when it airs as part of an evening celebrating the British Invasion. A Hard Day’s Night marks the Fab Four‘s debut in front of the cameras for a feature film and is credited with breaking away from the previous template for musical pictures of a boy-meets-girl story interspersed with musical numbers. This is not to say our four boys don’t meet girls, as there are throngs of screaming women, many random encounters, and George Harrison would even meet his future wife, Pattie Boyd, on the shoot (she’s one of the women the Beatles run past in the train – and was also responsible for grooming his hair during the film shoot). But what really fuels the film is an anarchic energy inspired by The Goon Show radio program of the ’50s that also influenced the lads in Monty Python. To be more specific: one of the people talking into the microphone for the Goon Show was Peter Sellers, before he was a film star, and Sellers would later co-direct with Lester The Running Jumping & Standing Still Film (1960), which was an 11 minute short that the Beatles quite liked and which led to Lester being hired for A Hard Day’s Night (and a year later also Help!). [...MORE]
Posted by Kimberly Lindbergs on May 1, 2014
Peter Collinson’s effective slice-of-life drama UP THE JUNCTION (1968) makes its DVD and Blu-ray debut in the U.S. this week thanks to Olive Films. Today the film is often fondly remembered by fans of sixties cinema for its South London setting, colorful mod fashions, beehive hairdos, boastful bikers and jazzy psychedelic pop score by Manfred Mann. But UP THE JUNCTION has more to offer viewers besides an abundance of great style and an unforgettable soundtrack.
There are some directors who make their breakout hits early in their careers. Their landmark films announce the arrival of an important new talent by showcasing distinctive visual or thematic ideas—but these marks of distinction can also serve to limit that filmmaker’s future growth. Their subsequent films can’t help but be compared to their early classics, and after a while they risk being accused of simply repeating familiar motifs, cobbling together pastiches and Greatest Hits collections.
Not Alfred Hitchcock. Not only did his later works like Marnie or Topaz veer wildly away from anything in that career that preceded them, it’s in his early films that we find what might be called pastiches—only these are pastiches not of past glories, but patchworks of the masterpieces yet unmade.
Consider Secret Agent. It’s a 1936 wartime spy thriller (bet you couldn’t guess that from the title, huh?) based on some stories by Somerset Maugham, and made for Michael Balcon and Ivor Montagu during Hitch’s British period.
It is by no means one of Hitchcock’s greats—even in 1936, it was only voted the fifth best British movie. But it’s a template for almost everything great Hitchcock did after it.
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