Posted by Kimberly Lindbergs on February 20, 2014
This year marks the 20th anniversary of Turner Classic Movies. To celebrate the event as well as give back to the many devoted viewers who regularly watch and enjoy the network’s programming, TCM has teamed up with Warner Brothers to offer free theatrical screenings of the romantic wartime classic CASABLANCA (1942). The film will be playing nationwide in 20 selected cities on Tuesday, March 4th and tickets are currently available to download free of charge on the TCM 20th Anniversary website. Although tickets are free seating is limited to a first-come, first-served basis and they do not guarantee entry. Want to know where you can catch a free screening of CASABLANCA? Read on but be prepared to wade through a few of my thoughts about the film first.
Posted by Susan Doll on February 17, 2014
Throughout the month of February, TCM’s 31 Days of Oscar has offered a variety of fan favorites and familiar classics. On Thursday morning, February 20, a lesser-known Oscar-related gem airs at 6:15am. The Letter stars Jeanne Eagels in the first film adaptation of Somerset Maugham’s story. The 1929 drama lacks the star power of the well-crafted remake from 1940, which featured Bette Davis in her prime, but this version has film history on its side. The Letter represents Eagels’ only surviving sound film, and therefore the only record of the acting style that made her a Broadway legend during the 1920s. And, for those intrigued by Oscar trivia, Eagels is the first performer to be posthumously nominated for an Academy Award. While six actors have been posthumously nominated, including James Dean (twice), Spencer Tracy, Peter Finch, Ralph Richardson, Massimo Troisi, and Heath Ledger, Eagels is the only actress to be nominated after death.
Posted by Kimberly Lindbergs on February 13, 2014
Tomorrow is February 14th, otherwise known as Valentine’s Day. I thought I’d celebrate the occasion by taking a look at some sizzling screen romances that ignited while the cameras were rolling. Anyone who knows a thing or two about Hollywood history knows that it’s not uncommon for actors to fall head over heels for their costars. And who can blame them? When two attractive actors are asked to feign love while kissing and cuddling for our amusement I suspect that the lines between fantasy and reality can easily become blurred. These on set affairs seldom last but they can wreck marriages and leave a trail of broken hearts in their wake. But the heart wants what it wants and on some occasions these romantic rendezvous develop into long lasting loving relationships. And best of all? They often leave us with some passion filled films that make for great viewing on Valentine’s Day!
Posted by Susan Doll on February 10, 2014
I recently picked up a used audiotape of the biography of Harry Cohn by Bob Thomas, King Cohn: The Life and Times of Harry Cohn. First published in 1967, the book was revised in 1990 with additional interviews and material; in 2000, it was republished, including an audiotape edition with a forward by Peter Bart. King Cohn is not groundbreaking in structure or shocking in content, but I did learn a great deal about the meanest movie mogul in Hollywood as well as the love of his life, Columbia Pictures.
Most of the Golden Age movie moguls started at the bottom in the movie business and worked their way up to head of production at their studios. While Cohn was no exception, I discovered that his entrance into the film industry was quite unique. He was working as a song plugger for sheet-music publishers when he had a brilliant idea to increase sales. The latest songs were routinely plugged at movie theaters between films by the house orchestras who played them while slides of pretty pictures were shown to the audience. Cohn believed that audiences would respond better to movie footage than slides, so he began to produce footage for theaters to project during the songs. To maximize the effect, Cohn learned to match the content of the images to the songs’ lyrics. Jack Cohn, Harry’s brother, worked for Universal Pictures at the time, and he showed Cohn’s innovation to studio owner Carl Laemmle. Laemmle was impressed enough to give Harry a job. Eventually, Harry and Jack left Universal to form their own production company.
Posted by Kimberly Lindbergs on February 6, 2014
I usually go out of my way to avoid ruffling the feathers of my fellow film fanatics but there are plenty of things that get me riled up on a monthly basis. Sometimes a girl’s just got to let off a little steam so excuse me while I borrow a page from my fellow Morlock Richard H. Smith and draw your attention to a few things that have got me seeing red lately. Wanna rumble? Here’s how you can really get my goat!
Posted by Susan Doll on February 3, 2014
It is easy to assume that serial killers as a subject for crime movies is a relatively recent phenomenon, particularly those that delve into the unique psychology of the killer. After all, the term serial killer does not pop up in common usage until after Ted Bundy was incarcerated in prison, though it was coined earlier. Credit for the term is often given to FBI Agent Robert Ressler, who adopted “serial killer” and “serial homicide” in the 1970s. However, the phrase “serial murderer” goes as far back as the 1930s when director of police Ernst Gennat used it to describe Peter Kurten. I once read a passage by author James Ellroy in which he lauded Thomas Harris and his 1981 novel The Red Dragon as a watershed moment in crime fiction because of Harris’s detailed understanding of the psychology of the serial killer.
So, I am always surprised when I come across early pop culture depictions of serial killers that seem to accurately capture the demons that drive them. This Friday, February 7, at 6:30am, TCM will air Night Must Fall, a 1937 drama starring Robert Montgomery as a likable killer named Danny. The film is based on the 1935 play penned by Emlyn Williams, who originally starred as Danny on stage. A working class Irish lad, Danny charms his way into the good graces of wealthy, cantankerous Mrs. Bramson, who exploits her age and presumed ill health to dominate the people in her household. The conniving killer discovers Mrs. Bramsom’s weakness for attention and quickly becomes the old lady’s primary caretaker. Mrs. Bramson’s niece, Olivia, is immediately suspicious of Danny. However, Olivia and her aunt are on such poor terms that Mrs. Bramson refuses to listen to her about anything. The killer’s identity is obvious from the beginning, which might frustrate those viewers who prefer a plot-twisting whodunit. Night Must Fall is not that kind of crime story. The tension derives from the interplay of the characters. It is disturbing to watch Danny worm his way into Mrs. Bramson’s heart, while the cat-and-mouse game between Danny and Olivia hints at her dark thoughts and desires. I chose Night Must Fall as a forgotten film to be remembered for two reasons—the performance by Robert Montgomery as Danny and the insight into the sociopathic character by writer Emlyn Williams.
Posted by Kimberly Lindbergs on January 23, 2014
ALIEN airs on TCM January 25th as part of their ‘70s Thrills programming
For decades screaming was often the weapon of choice for women in action, science fiction and horror films. We were expected to shriek, shout, yelp, whimper, squeal and squawk in the face of serious danger and (hopefully) a man would eventually come to our aide. So you can imagine how frightened little 11-year-old me was when I first heard the tagline for ALIEN back in 1979. Weeks before I actually saw the film I spent many sleepless nights rolling around in bed and contemplating the terrifying idea that no one could hear me scream if I was in space. If no one could hear me scream how could I be saved from whatever terrible danger awaited me?
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.
Posted by Susan Doll on January 13, 2014
In most film history books, the advent of CinemaScope and other widescreen processes is attributed to the studios’ attempts to counter the rising popularity of television. Making the big screen bigger was one strategy to increase the level of spectacle in the movies, thereby luring audiences back to the theaters, along with color, stereo sound, and gimmicks like 3-D. Early films exploited widescreen by including casts of thousands, as in The Robe, or by shooting in beautiful, foreign locations, as in Three Coins in the Fountain.
Despite the spectacle of casts of thousands in period costume, historical eras recreated via huge sets, or postcard views of exotic locales, some directors had difficulties with widescreen. The academy format had been perfect for composing in depth, but widescreen was not. Also, close-ups, which are so important in drawing audiences into the emotion of a character or scene, could look clunky in widescreen. It took some directors and producers a few years to get the hang of it.
Posted by Susan Doll on January 6, 2014
A few years ago, I consulted on a film reference book filled with star bios, movie trivia, lists, and fun facts. The group of writers responsible for the content was divided into two camps: experienced freelancers, who were accustomed to using libraries, biographies, and reference books, and newbies who thought the Internet could supply all their needs. Not surprisingly, the work submitted by the latter camp was riddled with errors, unsubstantiated assumptions, and age-old myths about Hollywood legends long shattered by legitimate biographies. The whippersnapper responsible for the bio on Joan Crawford used only a single web article as his primary source, which I discovered when I fact-checked his work. Both the whippersnapper’s bio and the web source painted Crawford in broad brushstrokes, exploiting her string of romances to sensationalize her life story and emphasizing the “no more wire hangers” portrayal created by Christina Crawford in Mommy Dearest. The experience saddened me, because I realized that Crawford’s remarkable, decades-long career had been overshadowed by this cartoonish persona.
Not only is the sheer length of Crawford’s career impressive but her ability to reinvent herself decade after decade is a more telling view of her personality than the Mommy Dearest image that has tainted her in death. This month, TCM is airing 63 Crawford films, covering her career from The Boob (1926) to Trog (1970). As TCM’s star of the Month, Crawford receives the respect she is due as a major contributor to Hollywood’s Golden Age, and the Movie Morlocks are proud to make her the subject of a week-long blogathon, exploring the various phases of her career. The blogathon begins today and concludes next Sunday. Crawford’s films will air every Thursday, sometimes over a 24-hour period.
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