Posted by Susan Doll on October 28, 2013
When I was in film school, the students in my group became avid John Carradine fans. Carradine was an aging icon of horror films by that time and was feeble because of a stroke. Yet he was still working, cast in bit parts and cameos by directors who wanted to pay homage to his long career by including him in their movies. In classes, we were exposed to his memorable work as a supporting player and character actor in the films of John Ford and others. He skillfully made the most of his sonorous voice, gaunt frame, and sharp features to enhance his characters—from the melancholy Southern aristocrat in Stagecoach to the charlatan professor in Fallen Angel. This Wednesday, October 30, at 4:45PM (EST), TCM airs Bluebeard, one of the few films in which Carradine played the leading man. Carradine was quite proud of the film and often cited it as his personal favorite.
Based on the life of a 15th-century serial killer, the story of Bluebeard was turned into a novel by Charles Perrault in 1697. Since then, the basic narrative has been retold, reworked, and rebooted in dozens of stories and films. A cautionary tale for young women, the basic premise tells of a handsome lover who courts women into marriage only to kill them. I wonder if the relevancy of the story is in the way it exposes the pitfalls of marriage, especially for women. Bluebeard-like tales represent everything from the fear of the wedding night to the loss of identity when a woman’s goals and dreams are sacrificed to marriage and motherhood (a kind of death). [...MORE]
Posted by Susan Doll on December 31, 2012
During the last phase of his career, Harry Carey, Jr., appeared in small but significant parts in some of the few westerns produced in Hollywood during the 1980s. In Walter Hill’s The Long Riders, he played a stagecoach passenger named George Arthur, who is robbed by members of the James-Younger Gang. When George reveals that he had fought for the South during the Civil War, Bob Younger shakes his hand. The unreconstructed rebel bonds with the outlaws as he helps them rob a cowardly passenger who lies about fighting for the Stars and Bars. As the gang rides away with guns blazing, George walks toward the camera, murmuring in amazement, “I’ll be god damned and go to hell”—a proper testimonial after an encounter with legends. The stage hold-up is one of my favorite scenes in the film because it is Harry Carey, Jr., who delivers this line. As a member of John Ford’s stock company, Carey had walked among a few western legends himself, albeit cinematic ones.
Carey died last week at the age of 91, and most obituaries identified him with Ford, John Wayne, Ward Bond, Ben Johnson, and the other actors associated with Ford’s troupe. Carey was proud of his close association with Ford and his westerns even when he didn’t fully agree with the great director’s attitude toward his actors. In his autobiography Company of Heroes: My Life As an Actor in the John Ford Stock Company, he declared, “. . . I’ve only had one teacher. That man was John Ford. He was my nemesis and my hero. There were times when I was not an admirer—but when the day’s work was done—I loved him.”
Posted by highhurdler on October 28, 2012
Have you ever gone to the theater expecting to see a movie (or play) about one thing but, once there, were then completely surprised – pleasantly or unpleasantly – with what transpired on the screen (or stage). For me, it used to happen more frequently before the explosion of the Internet (where spoilers abound), but it can still happen today when I adopt an intentional approach to such entertainment. For instance, when I watch a classic film, it happens more often because I tend to seek, find and view lesser known films on TCM or, in this case, the Fox Movie Channel.
Posted by Susan Doll on October 8, 2012
The careers of character actors seem to be a study in contradictions: They are unsung in their roles yet highly respected in the industry; they are unknown by name but recognizable by face. Though today’s character actors can add texture and depth to almost any movie, their numbers can’t compare to the hundreds of supporting players in the films of the 1930s through the 1950s, which was as much a Golden Age for characters actors as it was for classic movies.
Character actors from the classic era were not movie stars. They rarely played the protagonist or leading lady, and expectations of their contributions to movies differed from that of stars. They specialized in well-defined secondary roles that were suited to their physical characteristics or individual voices. Once a character actor established a specific image, viewers learned to recognize the actor’s face and then associate him or her with certain roles. Characters that seemed sketchy or slight on the written page were vividly brought to life and given distinction by the casting of the right veteran character actors. Some of these actors played within a very narrow range, essentially appearing in the same roles for decades. Others enjoyed a versatile persona that allowed for some diversity while still fulfilling viewers’ expectations for their characters.
Posted by R. Emmet Sweeney on February 14, 2012
On February 4th, the last living veteran of WW1 passed away in King’s Lynn, England. Florence Green was 110 years old, and had joined up with the Women’s Royal Air Force in September 1918, two months before the armistice. The last surviving combat veteran, Briton Claude Choles, died in Australia in 2011. The Great War is no longer part of the world’s living memory, and so drifts slowly from history and into myth (see: War Horse). This process will accelerate in 2014-2018, the 100th Anniversary of the conflict. But no images, not even Spielberg’s, have defined the war more than those in All Quiet On the Western Front, Universal’s grim gamble of 1930. Banned in Poland, reviled in Germany, and a tough sell to studios, this adaptation of Erich Maria Remarque’s landmark novel is one of the bleakest films ever made in Hollywood. Universal is releasing it on Blu-Ray today in a pristine restoration, in a nearly-complete 133 minute version, while also including the rare silent edition, which was made for theaters not yet equipped for sound (For background on all the edits inflicted on the film, please read Lou Lumenick’s article in the NY Post).
Posted by Moira Finnie on December 14, 2011
My favorite mad scientist may just be Dr. Arthur Carrington, the hopelessly naive (but very dressy) ascot-, turtleneck-, and blazer-wearing trailblazer in The Thing From Another World (1951). Every time I see this movie set in a military and scientific observation station in the frozen North, I always wonder where this man’s parka could be. Did he forget to pack it in a moment of absent-mindedness while in the lower 48? As played by character actor Robert Cornthwaite (seen above, with his head in a script), he is the embodiment of polished intellectual curiosity without a shred of common sense.
As far as I’m concerned, you can keep the other actors in this movie, (even George Fenneman, shortly before he became Groucho Marx’s game show flunky and that big galoot lumbering around in disguise long before Gunsmoke premiered on television)–the star of this film is the rather epicene Doc Carrington, played to a fare-thee-well by the unsung Cornthwaite, a small man with a receding hairline, a sneaky wit, and a cold mien that suits this part perfectly. The authoritative actor, seething with a bookish hauteur, appears to have created a colorful backstory for his character–He is the erudite man of science, disheartened (and maybe bored out of his skull), who is becoming increasingly unable to cope with the psychological demands of his daily grind after months penned up inside the bleak, fetid atmosphere of this frostbitten outpost where he languishes in the company of a passel of Air Force yahoos, a few doddering biologists, and some malleable underlings. The bottled-up, almost terminally frustrated Carrington appears to be a man on the verge of a nervous breakdown, as eventually becomes clear throughout the nimbly staged 87 minute movie. He’s also quite a hoot.
Posted by medusamorlock on October 31, 2011
I really wanted to contribute something to this Halloween blogfest, so I offer a little nonsensical coda about a movie I’m sure a lot of us have seen many times and probably enjoy. Funny + spooky has been a movie tradition forever, and nobody did it quite as well as the limber-limbed and rubber-faced actor/comedian Don Knotts in his 1966 feature film The Ghost and Mr. Chicken.
Posted by R. Emmet Sweeney on September 13, 2011
Two sixty-something masters of their domain have new work showing in the U.S. John Landis, a dean of the low farting arts, has his morbid comedy Burke and Hare playing cable-on-demand services and a limited theatrical run. Harun Farocki, of the high brow-furrowing arts, has a new exhibition at the Museum of Modern Art entitled Images of War: At a Distance. Landis has been tagged with artistic decline, something Hollywood directors have to deal with as soon as they sprout their first grey hair (Burke is his first narrative feature since 1998, was financed and made in the U.K., and released there in Oct. 2010). This kind of ageism doesn’t appear in the gallery world, where Farocki is now being embraced after decades as an experimental video artist. The MoMA exhibition is running his most recent work on a loop, Serious Games I-IV (2009-2010), but also providing nearby monitors that are showing nearly all of his previous videos (which they acquired for their library). As artists, they are similar mainly in their dissimilarity, but both have a deep and playful sense of film history.
Posted by medusamorlock on August 24, 2011
As we’ve seen this past week on our Blondell Blog-a-thon, Miss Joan Blondell was a survivor. Through her long movie career she always managed to come out on top, and her image as a plucky dame was one that audiences cherished and wouldn’t forget. As her motion picture career began to slow down and she entered middle age — never a wonderful time for an actress, then as now — she was fortunate to still have some great career choices available to her. Joan returned to the stage to much acclaim in the 1950s, and also began to appear on television during the same time, picking up roles on many of the prestigious dramatic (and often live) anthologies of the TV’s early years. In the first half of the decade she delighted audiences with roles on Schlitz Playhouse (as Calamity Jane), Suspense, Lux Video Theatre (with her A Tree Grows in Brooklyn co-star James Dunn), Fireside Theatre, Shower of Stars, G.E. True Theater, Shower of Stars, Playwrights ’56, Studio One, Playhouse 90, and The United States Steel Hour. The worst part about this fertile period in Joan’s career is that it’s pretty much impossible today to actually watch any of her performances in these very early TV series. Our loss, for sure.
Posted by Kimberly Lindbergs on August 18, 2011
During the month of August TCM highlights the work of a select group of talented performers as part of their annual Summer Under the Stars festival. The Movie Morlocks were asked to select one overlooked star from the Summer Under the Stars line-up to spotlight during a weeklong celebration of their work. Last year the Morlocks highlighted the accomplishments of Woody Strode and before that, Gloria Grahame and Fred MacMurray. This year the Morlocks are setting their sights on Joan Blondell with a blogathon that takes place August 18th – 24th.
I’ve never really considered the Oscar nominated Blondell to be an overlooked star. With her bright blond hair, big blue eyes and winning smile she seemed larger than life and many of her signature roles have a timeless quality that’s extremely enduring. She was sexy, sassy, smart and incredibly funny but she never achieved the same kind of success that many of her contemporaries did. Hopefully Joan Blondell will gain a few more fans and admirers during the coming week as the Morlocks take a look at her lengthy career in front of the camera.
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