It is one of Hollywood’s most revered myths—the talented yet undiscovered starlet from some flyover backwater, desperate to make it big in the city. Forget The Voice, this stuff goes all the way back to the dawn of mass media. You could be forgiven for wondering which was more numerous: the wanna-be stars or the movies made about them.
Posted by Kimberly Lindbergs on October 1, 2015
After enjoying many of the Susan Hayward films that aired on TCM last month, I decided to seek out some of her other work and in the process I stumbled across The Lost Moment (1947). And as regular readers know, I usually focus my attention on horror films and thrillers during the month of October and this neglected black-and-white gem that tells a haunting story about lost love and an unspeakable crime of passion is the perfect film to kick-start the season of scaring.
This surprisingly sumptuous Universal production takes place in Venice where an ambitious publisher named Lewis Venable (Robert Cummings), disguises himself as a writer and takes lodging in a sprawling waterway estate owned by the 105-year-old lover (Agnes Moorehead) of a renowned poet who disappeared under mysterious circumstances decades earlier. He hopes to gain access to a stash of love letters written by the poet to his lady love but the woman’s stern niece (Susan Hayward) suspects that the publisher is up to no good. While attempting to find the missing letters, Cummings’s character uncovers many horrible family secrets hidden within the walls of the crumbling cobweb coated estate that he hadn’t bargained for.
Posted by Susan Doll on September 28, 2015
Tonight on TCM, bubbly Colleen Moore stars as flapper Pert Kelly in Why Be Good?, a 1929 romantic melodrama that turned out to be the last gasp of the flapper archetype. When the stock market crashed eight months later, the mood of the nation changed, and the high-spirited frivolity of the flapper no longer seemed appropriate.
Posted by Susan Doll on September 14, 2015
TCM in conjunction with Fathom Entertainment brings Psycho to the big screen on September 20 and September 23 at participating theaters. Alfred Hitchcock’s masterpiece, which shows at 2:00pm and 7:00pm on both days, will be presented by Ben Mankiewicz in a brief filmed introduction. While many movie lovers have undoubtedly seen Psycho, rewatch it anew on a big screen with an audience, the way it was intended to be seen.
Every Hitchcock fan—and who isn’t?—has their favorite sequence or scene. Psycho is filled with iconic moments—from Marion’s first appearance in black underwear to her encounter with the cop in shades to the shower scene to the reveal at the end accompanied by Bernard Herrmann’s shrieking score. My favorite sequence is the parlor scene in which a shy Norman Bates asks Marion to come into the parlor behind the office. As soon as he says “parlor,” think: “Come into my parlor said the spider to the fly.”
Posted by Susan Doll on September 7, 2015
Last weekend, TCM celebrated W.C. Fields in a tribute titled 100 Years in Film. Fields’ first venture into the movies was a century ago in a one‑reeler titled Pool Sharks (aka The Pool Shark). Fields’s granddaughter, Dr. Harriet Fields, cohosted the four-film tribute, which included David Copperfield plus the comedian’s three most popular films, It’s a Gift, You Can’t Cheat an Honest Man, and The Bank Dick.
Though Fields is justly famous for his vocal inflections, making him a perfect performer for talking films, he did appear in a handful of silent films. And, while I love his classics, I also have a fondness for two of his silent films, which I have been lucky enough to see. Sallie of the Sawdust, a film version of the play Poppy, was directed by D.W. Griffith in 1925. Griffith and Fields seem an unlikely creative pairing, but the legendary director rendered the small-town atmosphere perfectly, capturing the warmth and local color of Americana. I remember the imagery and characters made me yearn for an America that has long since passed, or maybe never really existed.
I discovered It’s the Old Army Game while researching movies shot in Florida, a long-time interest for me. The silent comedy stars Fields as a small-town, drug-store owner with the indecent name of Elmer Prettywillie. Elmer puts up with the idiosyncratic customers who frequent his store, including the matron who wakes him up in the middle of the night for a two cent stamp and the freeloading firemen who always want soda pops on the house. Elmer is ripe for the pickings when a fast talking real estate speculator talks him into a Florida land scheme.
Posted by Pablo Kjolseth on September 6, 2015
Tomorrow TCM hosts its yearly salute to the Telluride Film Festival with 24-hours of TFF-related programming. TCM kicks things off with The Lion in Winter (Anthony Harvey, 1968) and wraps up with China 9, Liberty 37 (Monte Hellman, 1978). I’m between film screenings at Telluride now, where the fest is marking its 42nd year as one of the more prestigious film festivals in the nation, and feel obliged to remind readers that one of the reasons TFF is so unique among a mushroom-like proliferation of other movie festivals resides in their dedication to highlighting the legacy of film (with archive prints, restorations of classics – also the reason I’m so fond of the TCM Classic Film Festival) as well as the liberties they afford their guest programmers, who are tasked with selecting overlooked films. [...MORE]
There are times when the received wisdom on a movie separates from the movie itself and starts to run down a track of its own. Consider “Play it again, Sam,” the Thing Everybody Knows about Casablanca even though that line is never spoken in the film. Thinking that’s a line in Casablanca is a trivial error with no real consequences—the sentiment is recognizable from the film, such that it can be true-ish if not strictly accurate.
But then there’s the strange case of Dr. Caligari. Somewhere along the line, the Thing Everybody Knows about this landmark classic of horror cinema took root in our culture like intellectual kudzu—quickly overtaking all available territory and choking to death all the alternative points of view. Thankfully, this remarkable film is making a mini-comeback thanks to some intrepid restorationists, affording an opportunity to rethink its legacy. (Plus it’s on TCM this Sunday, so now’s the time to read up and do our homework on it, right?)
Posted by Kimberly Lindbergs on September 3, 2015
Susan Hayward is TCM’s Star of the Month. Films she appeared in will be airing every Thursday evening throughout the month of September.
I didn’t know much about TCM’s current Star of the Month so I decided to delve into her past recently and was somewhat surprised by the way Susan Hayward had been portrayed (and ignored) by the media since her death in 1975. Nicknamed the “Divine Bitch” following the release of a similarly titled biography, the four-time Academy Award nominated actress didn’t make a lot of friends in Hollywood and is rarely described in flattering terms by studio executives and costars so the general picture we have of her seems somewhat skewed. I’m a firm believer that there are usually two-sides to every story so I decided to explore newspaper and movie magazine archives in an effort to learn more about the redheaded screen siren in her own words without the opinions of her biographers and colleagues getting in the way. In the process I discovered a complex woman whose turbulent real life was often more sensational than the fictional lives of the characters she portrayed.
Posted by Susan Doll on August 31, 2015
Summer Under the Stars concludes today with the entire day devoted to the films of Shelley Winters. I thought I would look back on this month’s programming and ruminate on what I have learned as well as to make note of my favorite films. I invite readers to comment on their favorite moments from Summer Under the Stars and note any disappointments. Perhaps, TCM will take the feedback into consideration when programming next year’s August schedule. I am curious about which stars, films, and details appealed to regular TCM viewers, and if there are suggestions for the future; I am always impressed with the knowledge and perspectives of the TCM readers.
Posted by Susan Doll on August 24, 2015
Between Capitolfest and TCM’s focus on stars from the 1930s, I have discovered a newfound love for films from the Depression era. Among the many reasons for this recent interest is the imaginative, almost dream-like quality to some of the production design. I don’t know a lot about Golden Age production designers beyond recognizable names such as Cedric Gibbons and Hans Dreier, but I am beginning to understand the connection between their set designs and the overall tone or ambiance in films from this time frame.
Some of my favorite set designs are of nightclubs. Nightclubs and speakeasies boomed in America during the late 1920s, boosted by Prohibition and the liberation of women after securing the right to vote. Though clubs were regularly raided, many survived the end of Prohibition to become successful in the 1930s. Famous clubs like the Rainbow Room or the Park Avenue Club boasted elegant interiors by well-known designers, but the majority merely adopted gimmicky decorative styles to help them stand out from other clubs.
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