Posted by Kimberly Lindbergs on July 2, 2015
When asked what my favorite film decade is I always mention the sixties. So what is it about the swinging sixties that I find so damn appealing? There are a plethora of reasons including the influx of foreign films that had begun to influence and inspire American filmmakers while avant-garde as well as pop art sensibilities began to flourish around the world. Long-held prejudices were being addressed in American cinema and black, Hispanic and Asian actors were able to find significant starring roles that broke racial barriers. The Hollywood studio system may have been on the decline but many of the best films produced during the decade were directed by old masters such as Alfred Hitchcock, Otto Preminger, Billy Wilder, John Huston, John Ford, John Sturges and Orson Welles who seemed to embrace change and created some of their most challenging and important work during this period.
I mention all this because myself and Millie De Chirico (the lovely TCM Manager of Programming) were recently asked to participate in Brain Saur’s Underrated ’65 project currently ongoing at his blog, Rupert Pupkin Speaks. Brian is an ardent supporter of classic film and you can always find interesting recommendations there as well as regular updates about new and upcoming DVD releases. I was happy to take part because I love sixties cinema and there are plenty of undervalued films from 1965 that deserve more attention and thoughtful consideration. So many that I had a hard time narrowing my list down to a mere Top 10 but that’s what I did and I thought it was worth sharing here.
Posted by Pablo Kjolseth on June 28, 2015
The Passion of Joan of Arc (1928) is Carl Theodor Dreyer’s first masterpiece. It was critically acclaimed but a disappointment at the box-office. Dryer followed it with a second masterpiece, Vampyr (1932), which also failed to impress its investors, but this time he was criminally overlooked by the critics, probably due to the stigma that hounds the horror genre. Day of Wrath (1943) fared better, but due to its allusions to the tyranny of Nazi Occupation Dryer fled to Sweden and did not return to Denmark until after the war. Dryer grew up in a Danish foster home and was adopted by a newspaper typographer, and this later dovetailed into a career in journalism. In 1912 he got work as a title writer for Nordisk Film and for the next six years wrote many scripts before breaking out as a director. Dryer was influenced by Sergei M. Eisenstein’s work, but his films are in a class all of their own and have left deep imprints on many filmmakers, including Lars von Trier – who sometimes seems to be as haunted by Dryer as were all the people who worked on The Passion of Joan of Arc. [...MORE]
Posted by Susan Doll on June 15, 2015
“TCM Presents: Jaws 40th Anniversary” swims its way to select theaters on Sunday, June 21, and Wednesday, June 24. The program, which is presented in conjunction with Fathom Events and Universal Pictures Home Entertainment, includes the movie plus a filmed introduction by Ben Mankiewicz.
Jaws has long-since been a staple of the home-viewing industry—cable-TV, video, DVD, and expanded anniversary editions. The film has also been the subject of many books, articles, TV specials, and documentaries, mostly focusing on its troubled production. Over and over, director Steven Spielberg has recounted the problems with the mechanical shark, which was nicknamed Bruce, and the delays in production, which angered the studio. The behind-the-scenes stories and jokes about the shark are now part of movie folklore.
Jaws has been seen by most of the movie-going public; it’s a film that has become a part of the collective cultural consciousness. So, why watch it again? Because the best film experiences are often the ones in which a familiar movie is re-viewed under different circumstances.
Posted by Pablo Kjolseth on June 14, 2015
It took Christopher Lee’s obituary in the New York Times to remind me of Corridor of Mirrors (Terence Young, 1948). About two years ago I came across information suggesting that Corridor of Mirrors may have influenced Vertigo (Hitchcock, 1958). The film was not available at my local video store, Netflix, or Hulu. On Amazon I was able to find a couple out-of-print VHS copies going for about a hundred bucks each. I bought one and had a buddy transfer it to DVD. A Sharpie was used to hand-scribble the title onto the disc and it then got added to a spindle of other DVD’s. The spindle disappeared as more DVD’s got added to the tower. Movies for a rainy day. It was raining hard outside my window when I read the following sentence from Lee’s obituary: “Lest he tower over his fellow actors, Mr. Lee remained seated throughout his first film appearance, as a nightclub customer in Corridor of Mirrors.” [...MORE]
Posted by Susan Doll on June 8, 2015
Raymond Chandler, James M. Cain, and Dashiell Hammett are the triumvirate of noir writers hailed not only for their hard-boiled novels but also for their work as scriptwriters and script doctors during the Golden Age. No one can dispute their importance and influence, but those hallowed names tend to overshadow other writers who contributed to hard-boiled literature and the film noir genre.
I recently stumbled across an old interview conducted by film programmer Tom Flinn with writer Daniel Mainwaring. I knew little about Mainwaring save for his association with two of my favorite films from the 1950s—Out of the Past and Invasion of the Body Snatchers. I didn’t even know his name was pronounced “Man-a-ring,” not “Main-wearing.” But after sifting through Flinn’s interview, I was inspired to poke around Mainwaring’s life and career. While his work was not exclusive to the noir genre, I believe it echoed the paranoia and disillusionment that simmered beneath the bright, shiny surface of the 1950s.
Like many Hollywood personnel who rose through the ranks during the Golden Age, Mainwaring experienced an interesting life, which fed into his writing. As a fresh-faced college grad in the Roaring ‘20s, he worked the crime beat for the L.A. Examiner. Around 1935, he made the transition to the film industry, starting at the bottom in the Warner Bros. publicity department. He always claimed that working in the publicity racket gave him an insider’s understanding of the Hollywood dream factory.
Posted by Kimberly Lindbergs on June 4, 2015
Maybe it was the Hollywood homes featured in my last post or the ongoing worldwide celebration of Orson Welles 100th birthday? Whatever the reason, I spent a great deal of time thinking about William Randolph Hearst and his massive estate at San Simeon last week. As any classic film fan worth their salt knows, the newspaper mogul once played host to many Hollywood stars and starlets at Hearst Castle and his life was brilliantly satirized by Welles’ in CITIZEN KANE (1941). For better or worse, the film has forever colored our view of Hearst as well as his mistress, actress Marion Davies, while his home remains a mythical Xanadu currently opened to the public as a state run museum that I once had the pleasure to visit.
I was at the impressionable age of 10 or 11-years old when I got the opportunity to explore Hearst Castle and the experience left an undeniable mark on my young mind. My late grandmother, who lived a short distance away in Goleta, California, planned the trip and I knew nothing about the place until we arrived at the entrance and I was bombarded by guide books and picture postcards that featured familiar faces from the movies I’d grown up watching. Charlie Chaplin, Greta Garbo, Cary Grant, Bette Davis and Clark Gable were just a few of the recognizable celebrities that had once graced these hallowed grounds while participating in private sporting events and attending extravagant parties.
Posted by Susan Doll on May 4, 2015
More than twenty years have passed since I last saw Mr. Arkadin, Orson Welles’s unconventional tale of an eccentric but powerful man. I look forward to revisiting this dark drama when TCM airs the film Friday, May 8, at 11:45pm as part of this month’s Friday Night Spotlight on Welles. The film is part of “Classic Noir” night, which also includes Touch of Evil, The Lady from Shanghai, and Journey Into Fear. While Mr. Arkadin is hardly ‘classic noir,’ any context for showcasing the film is alright with me.
Distributed in 1962, the film was shot in the mid-1950s. Welles had been reprising one of his signature roles for a second season of the BBC radio series Adventures of Harry Lime when he wrote an episode titled “Man of Mystery.” Intrigued by his own premise for this episode, in which a powerful man hires Lime to investigate his mysterious past, Welles decided to turn it into a feature film, Mr. Arkadin. The film stars Robert Arden, who had worked alongside Welles on the radio program, as Guy Van Stratten, a small-time criminal. Van Stratten crosses paths with the enormously wealthy Gregory Arkadin, a shadowy figure who dotes on his beautiful daughter Raina. Arkadin, who claims to remember nothing about his life prior to 1927, hires Van Stratten to research his past. The criminal-turned-investigator travels across Europe interviewing people who knew Arkadin, but the mystery deepens when these former acquaintances turn up dead.
Posted by Kimberly Lindbergs on April 30, 2015
Part man, part myth and part mystery. 100 years after his birth, Orson Welles remains a towering figure in cinema history and a difficult character to pin down. Welles’ immeasurable talents, larger than life personality and elusive nature along with the countless unfinished projects he left behind have made him a favorite subject of filmmakers, historians, writers and film enthusiasts who’ve worked tirelessly to keep Hollywood’s enfant terrible in the spotlight since his death in 1985. Throughout the month of May, TCM is taking up the torch and placing Welles in their popular Friday Night Spotlight hosted by film critic David Edelstein. For the next 5 weeks, viewers will be able to see Welles’ most revered and beloved films including CITIZEN KANE (1941), THE MAGNIFICENT AMBERSONS (1942), THE LADY FROM SHANGHAI (1948), THE STRANGER (1946), A TOUCH OF EVIL (1958), MR. ARKADIN (1962), THE TRIAL (1963), OTHELLO (1952) and MACBETH (1948) as well as many films that Welles appeared in such as THE THIRD MAN (1949), JANE EYRE (1944) , THE V.I.P.S. (1963) and A MAN FOR ALL SEASONS (1966). Subscribers will also get to enjoy the debut of the director’s silent comedy, TOO MUCH JOHNSON (1938) and CHIMES AT MIDNIGHT (1967), which Welles considered to be his finest work.
In celebration of Orson Welles’ Centennial, I thought I would take a look ahead and highlight some of the events that are being planned to honor the man as well as the various new books, DVD and Blu-ray releases that will become available in the coming months. Welles’ fans like myself will be able to indulge in a variable smorgasbord of cinematic treats in 2015 that should satisfy his most ardent admirers and even intrigue the most weary Welles’ skeptics.
Posted by Susan Doll on April 6, 2015
I didn’t realize how much I missed the Golden Age movie stars of the past—the legends I used to watch as a kid on the late show or the afternoon movie—until recently when I caught a couple of bio-documentaries by Joan Kramer and David Heeley. Even in the twilight of their years, performers like Jimmy Stewart, Katharine Hepburn, and Henry Fonda lived up to their identities as bona fide movie stars who represented something more than glamorous faces on the big screen.
Tomorrow night, April 7, TCM airs a series of documentaries showcasing five of Hollywood’s iconic stars. The series was created by Kramer and Heeley, and the films were released in the 1980s and 1990s, when there were still enough Golden Age stars to be interviewed. Kramer and Heeley have written a new book about their experiences in making these documentaries titled In the Company of Legends, and they will be on hand on Tuesday to introduce their work with Robert Osborne.
Posted by Susan Doll on March 30, 2015
I’ve been reading Gloria Swanson: The Ultimate Star, Stephen Michael Shearer’s 1913 aptly titled biography of the woman who defined what a real movie star should be. Though I had read parts of Gloria’s autobiography Swanson on Swanson, Shearer’s book exposes that the star’s recollections were colored by selective memory, forgotten details, and overlooked events. I thought I knew a great deal about Swanson, but I discovered that instead of fact, I was hanging onto assumptions and misconceptions. Below are several discoveries about Gloria Swanson that reveal the complexities of her life and career.
Gloria in Chicago: Swanson began her career at Chicago’s Essanay Studio just a few months before Charlie Chaplin arrived to make movies in the Windy City—a venture that proved short-lived. Chaplin tested the teenager for what proved to be his only Chicago film, His New Job. He tried to teach her some basic comic shtick, but she was not good at spontaneous physical humor. More to the point, she didn’t like it. What 15-year-old girl does? She was supposed to bend over to retrieve something and get kicked in the backside. The next day, Chaplin had someone tell her that she would not do as a comic foil, to which Swanson replied, “I think it’s vulgar anyway.” Though Swanson does appear in a bit part as a stenographer in His New Job, she always denied that she was ever in a Chaplin film.
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