Posted by Susan Doll on July 14, 2014
As with Joan Crawford and Bette Davis from last week’s post, I ran across other movie stars who inspired tag lines based on their star images. Bob Hope was renowned for his exquisite timing in which he delivered one-liners and asides with a precise, rapid-fire delivery. His comic persona was a unique combination of boasting and belittling, self-promoting and self-deprecating. In the poster for My Favorite Blonde (1942), Madeleine Carroll has Hope in a compromising position. She says, “Did you like the kiss Bob?” As I read Hope’s one-liner response, I could almost hear his voice speak the line, “I’ll tell you as soon as the water on my knee stops boiling!”
Other Hope-inspired tag lines gently deride the comic, much like he did to himself. For example after the title “Where There’s Life (1947),” the tag line continues with “There’s Hope In the King-Size Comedy of a Cut-Rate Clown Prince!” A “disclaimer” at the bottom of the poster assures viewers: “If you laugh yourself sick at this picture . . . sue Bob Hope!” Another poster references classic westerns to belittle Bob’s misadventures in the Old West: “Covered Wagon . . . Stagecoach . . . Red River . . . AND NOW Bob Hope [and] Rhonda Fleming in Alias Jesse James.”
Posted by Susan Doll on July 10, 2014
For several months, I have been researching posters for classic movies for a personal project. I enjoyed the experience more than anticipated because I have learned a great deal. Classic-film posters were rendered like illustrations, making them more artistic and colorful than contemporary posters dependent on photographic elements. Another entertaining ingredient is the tag line—that one-line description used to suggest something about the movie that will lure viewers into the theaters. Written by studio press agents, producers, or unsung employees in the publicity office, the tag lines are frequently melodramatic, sometimes funny, and occasionally vexing. I thought I would share a few that I found interesting. Be prepared for excessive exclamation points!
Posted by Pablo Kjolseth on June 29, 2014
Unlike Chris Marker (1921 – 2012), I am not an editor, poet, videographer, novelist, digital multimedia artist, or filmmaker. Even on a strictly personal level we are worlds apart, him having been a Salinger-like enigma who famously avoided interviews and photographs, me being a “nothing close to Salinger-like on any level” kind of guy who just last week photo-bombed his own shot of John Waters in a manner that would make even the paparazzi cringe. And yet, despite our many differences, there is something about Chris Marker that always elicits in me a feeling of deep kinship – and not just because we both love cats. The answer, I think, lies in one word: Vertigo. [...MORE]
Now that the announcement has been made official I can go ahead and ‘fess up: I recently recorded an audio commentary for the newly restored Cabinet of Dr. Caligari for the UK Blu-Ray release by Masters of Cinema. It was a huge thrill for me—I’d been wanting to do a Caligari commentary for years and no one had asked me yet. But not only was it a chance to finally yammer my way through Robert Wiene’s masterwork, but this new restoration is simply stunning—it’s from the original 35mm negative. Looks like it was shot yesterday.
And seeing this film fresh makes all the difference in the world, because there are so many myths and misconceptions about Caligari that need clearing up. Like, that this film is some kind of avant garde work of art. Because (ahem) it’s not.
Posted by Kimberly Lindbergs on June 26, 2014
“I wonder if my brother remembers his brother?”
We lost Eli Wallach on June 26th at the ripe old age of 98. The talented actor was beloved by film fans and fellow actors so quickly cobbled together obituaries as well as many heartfelt tributes have begun flooding the World Wide Web. It’s with much trepidation that I tip my own toe into these grief-filled waters but since hearing the news I haven’t been able to get Wallach out of my head. The Brooklyn born son of Jewish parents who immigrated to America from Poland appeared in over 150 films and television productions including BABY DOLL (1956), THE LINEUP (1958), SEVEN THIEVES (1960), THE MAGNIFICENT SEVEN (1960), THE MISFITS (1961), HOW THE WEST WAS WON (1962), THE VICTORS (1963), LORD JIM (1965), THE GOOD, THE BAD AND THE UGLY (1966), THE TIGER MAKES OUT (1967), ACE HIGH (1968) and THE PEOPLE NEXT DOOR (1970), which are just a few early highlights from his lengthy body of work. And while it’s difficult to point to a favorite role in a career as vast and varied as Wallach’s I can’t deny that his unforgettable turn as the grinning bandito in THE GOOD, THE BAD AND THE UGLY has had the biggest and most long-lasting impact on me. It’s a film I first saw nearly 40 years ago with my father when I was just an impressionable kid and much like THE MAGNIFICENT SEVEN (another favorite Wallach film), THE GOOD, THE BAD AND THE UGLY is a movie that I have returned to countless times and each viewing experience becomes richer and more rewarding.
Posted by Susan Doll on June 16, 2014
I love pirates who swashbuckle their way through high adventure on the high seas, but I am not always thrilled with the women who try to tame them. For this second installment in my series in support of TCM’s Friday Night Spotlight on pirate movies, I offer some thoughts on wenches, ladies, and female buccaneers.
A common female character in pirate movies is the aristocratic woman—or, lady—who detests the roguish protagonist because he is uncouth, ill-mannered, and unrefined. Typically, her father represents a powerful local authority, which makes him the arch-enemy of the pirate. Often, the pirate kidnaps the lady, or she finds herself aboard his ship through unforeseen circumstances, instigating a series of romantic adventures in which his virile masculinity wins her over. In the end, the lady lies to authorities, claiming that she had actually run away with the pirate of her own volition; or, she realizes he has acted nobly, which alters her opinion of him. In the silent version of The Sea Hawk (1924), the smitten Lady Rosamund defends her pirate kidnapper, while in Captain Blood (airing this Friday, June 20), the governor’s daughter changes her low opinion when Blood fights for England against the French.
Posted by Kimberly Lindbergs on June 5, 2014
Throughout the month of June you’re going to be seeing a lot of mustaches on TCM. Every Friday night you can tune in and enjoy some carefully coiffed facial hair in a series of Pirate Pictures hosted by funny man Greg Proops. And on June 9th mustache lovers won’t want to miss Mustache Monday. This special one day event will feature a series of films with famously mustachioed actors including Charlie Chaplin, Douglas Fairbanks, Clark Gable, Errol Flynn, Groucho Marx, William Powell, Peter Sellers and Sean Connery, which segues into a tribute to British born actor Richard Harris who often sported a mustache as well as a full beard.
Posted by Kimberly Lindbergs on May 29, 2014
Ava Gardner in a publicity shot for THE BAREFOOT CONTESSA (1954)
Ava Gardner makes one of my favorite film entrances of all time in Joseph L. Mankiewicz’s THE BAREFOOT CONTESSA (1954), which airs on TCM June 1st. If you want to kick off the new month with a bang I highly recommend making time for this verbose Technicolor-noir that critiques Hollywood excess and the powerful studio system that frequently exploited its stars. Mankiewicz’s film is a heady brew of CITIZEN KANE (1941), LAURA (1944), SUNSET BLVD. (1950) and the director’s own ALL ABOUT EVE (1950) shot with abundant style by master cinematographer Jack Cardiff. It dramatically depicts the rise and fall of Maria Vargas aka “The World’s Most Beautiful Animal” (Ava Gardner), a seductive Latin dancer and renowned beauty who is discovered in a Madrid nightclub and carted off to Hollywood where stardom awaits. Her fascinating story is told in flashbacks by the men who knew her and begins in a rain soaked cemetery where our chief narrator, veteran director and recovering alcoholic Harry Dawes (Humphrey Bogart), is attending Maria’s funeral.
Posted by Susan Doll on May 19, 2014
Tonight and tomorrow evening, TCM presents six movies produced through Brooksfilms, the production company headed by Mel Brooks. In addition to Brooks’s comedies, the company has been responsible for a variety of movies not associated with the comic mind that spawned Blazing Saddles, including my favorite David Lynch film, The Elephant Man, and a gothic horror flick called The Doctor and the Devils.
Tomorrow night, TCM airs the Brooksfilms production My Favorite Year, which happens to be my favorite Peter O’Toole movie, though fans of his more lauded signature roles might disagree. Set during the Golden Age of Television, when prime-time programming was produced live in New York, the story unfolds from the perspective of Benjy Stone, a junior writer on the comedy series The King Kaiser Show. O’Toole plays Hollywood movie star Alan Swann, who is guest-starring on the show because he needs the money. Benjy is assigned to watch Swann throughout the week of preparation and rehearsal, because the star lives as large as his image, chasing women and drinking at every opportunity. As a result of their week together, Benjy, who is both disillusioned and awestruck by Swann, grows from a wise-cracking kid into a mature young man.
Posted by Kimberly Lindbergs on April 24, 2014
John Wayne posing for an Air France ad (1961)
One of the world’s most widely beloved movie stars is John Wayne (TCM’s Star of the Month) and throughout his celebrated career, Wayne endorsed a number of notable products and causes. Regular readers may have noticed that I’m fascinated with advertising, particularly the way that Hollywood stars like Wayne have used their likeness to sell us goods and cultivate their public image. As I mentioned last year in a piece I compiled about Barbara Stanwyck, product placements and celebrity endorsements are as old as Hollywood but modern audiences are often unaware of them. When we see Clifton Webb furiously tapping away on a Remington typewriter in Otto Preminger’s LAURA (1944) for example, it’s easy to overlook the fact that it was probably a carefully selected brand tie-in. And while Webb was typing on his Remington, his costar Gene Tierney was using her timeless beauty to sell Royal Crown Cola in an effort to promote herself and her upcoming film, A BELL FOR ADONO (1945).
These tiny details and seemingly useless facts might not mean much to most film viewers but I think the lasting impact of some Hollywood stars can be linked to the ways in which they sold themselves to the public when they weren’t appearing in films. John Wayne is recognized today for the movies he made but he also endured himself to audiences through product endorsements in popular magazines like LIFE and The Saturday Evening Post. In the 1940s and 1950s, Wayne became a friendly and familiar face in film as well as television where he appeared in a number of commercials. What follows are some of my favorite examples of John Wayne – American Adman!
MovieMorlocks.com is the official blog for TCM. No topic is too obscure or niche to be excluded from our film discussions. And we welcome your comments on our blogs and bloggers.
See more: facebook.com/tcmtv
See more: twitter.com/tcm
3-D Action Films Actors Actors' Endorsements Actresses animal stars Animation Anime Anthology Films Art in Movies Australian CInema Autobiography Avant-Garde Aviation Awards B-movies Beer in Film Behind the Scenes Best of the Year lists Biography Biopics Blu-Ray Books on Film Boxing films British Cinema Canadian Cinema Character Actors Chicago Film History Cinematography Classic Films College Life on Film Comedy Comic Book Movies Crime Czech Film Dance on Film Digital Cinema Directors Disaster Films Documentary Drama DVD Early Talkies Editing Educational Films European Influence on American Cinema Experimental Exploitation Fairy Tales on Film Faith or Christian-based Films Family Films Film Composers Film Criticism film festivals Film History in Florida Film Noir Film Scholars Film titles Filmmaking Techniques Films of the 1980s Food in Film Foreign Film French Film Gangster films Genre Genre spoofs HD & Blu-Ray Holiday Movies Hollywood history Hollywood lifestyles Horror Horror Movies Icons independent film Italian Film Japanese Film Korean Film Literary Adaptations Martial Arts Melodramas Method Acting Mexican Cinema Moguls Monster Movies Movie Books Movie Costumes movie flops Movie locations Movie lovers Movie Reviewers Movie settings Movie Stars Movies about movies Music in Film Musicals Outdoor Cinema Paranoid Thrillers Parenting on film Pirate movies Polish film industry political thrillers Politics in Film Pornography Pre-Code Producers Race in American Film Remakes Revenge Road Movies Romance Romantic Comedies Satire Scandals Science Fiction Screenwriters Semi-documentaries Serials Short Films Silent Film silent films Social Problem Film Sports Sports on Film Stereotypes Straight-to-DVD Studio Politics Stunts and stuntmen Suspense thriller Swashbucklers TCM Classic Film Festival TCM Underground Television The British in Hollywood The Germans in Hollywood The Hungarians in Hollywood The Irish in Hollywood Theaters Thriller Trains in movies Underground Cinema VOD War film Westerns Women in the Film Industry Women's Weepies