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.
Posted by Kimberly Lindbergs on March 19, 2015
Last Month my husband, a fellow photography buff, gifted me with a copy of American Grotesque: The Life and Art of William Mortensen for Valentine’s Day. The book contains a compilation of work by William Mortensen (1897–1965), a brilliant, innovative and visionary photographer who once worked in Hollywood snapping glamorous and exotic portraits of actors on set and in his studio. Mortensen’s unconventional methods and propensity towards grotesque, esoteric and erotically charged imagery compelled his peers, such as photographer Ansel Adams, to label Mortensen the “Antichrist” and in the following decades critics attempted to minimize his artistic contributions and erase Mortensen’s name from history books.
Thankfully they didn’t succeed and today we have the opportunity to reevaluate Mortensen’s work in two recent books published by Feral House that piece together the man’s fascinating life and career. Mortensen’s a complex individual with many different facets to his personality but the years he spent in Hollywood should be of particular interest to classic film fans.
Posted by Susan Doll on March 16, 2015
Last fall, businessman Russell Edwards announced that he had finally uncovered the truth behind history’s most famous serial killer, Jack the Ripper. Edwards claimed that DNA left behind on a victim’s shawl was used to identify the Ripper as Aaron Kosminski, long considered a primary suspect. As soon as the news was announced, DNA experts and Ripperologists came forward to denounce the findings based on doubts about the shawl’s provenance and the likely contamination of the evidence. And, so it goes with our fascination with the Ripper mythology: We want so badly to find out his true identity, but then again, we don’t.
The mystery behind Jack the Ripper’s identity allows filmmakers and writers to use him as a symbol or representative force. The Ripper has been part of cinema history since 1924, when he appeared in a nightmare sequence in the German Expressionist film Waxworks. Since then, a variety of directors have interpreted the mystery, adding to the rich folklore surrounding the historical figure. I recently caught a film version of the Ripper story released in 1953 called Man in the Attic, starring Jack Palance, Constance Smith, and Frances Bavier, and I was reminded of how potent a character he could be.
Posted by Pablo Kjolseth on March 8, 2015
Two weeks ago I sniffed around the Entertainment Industry Magazine Archive. Although the trial access period expired last Friday, I did snag a handful of screen-grabs for films that will be playing on TCM, and that were suggested to me by readers. The films are: Crooner, The Bowery Boys Meet the Monsters, The Hoodlum, The Bat Whispers, Convention City, and a request for an original review for London After Midnight. As my access to the EIMA archive expired on Friday, I was unable to act upon anything after that. But here’s what I did find: [...MORE]
Posted by Kimberly Lindbergs on February 5, 2015
Tonight TCM is devoting its 31 Days of Oscar programming to the year 1938. Films on the schedule include Best Picture nominees THE ADVENTURES OF ROBIN HOOD (1938), YOU CAN’T TAKE IT WITH YOU (1938), FOUR DAUGHTERS (1938) and BOY’S TOWN (1938). Today also happens to be actor John Carradine’s birthday.
Carradine doesn’t appear in any of the films airing on TCM tonight he did make nine movies in 1938 including I’LL GIVE A MILLION, which I recently watched for the first time. I’LL GIVE A MILLION might not be Oscar material or worthy of the tagline “The Laugh Riot of the Century!” that accompanied trade ads for the film but it does feature two Oscar winning actors (Warner Baxter and Jean Hersholt) and includes two amusing comical performances from Peter Lorre and birthday boy John Carradine. So in keeping with TCM’s 1938 theme and in honor of the late great John Carradine I thought I’d shine a little light on this depression-era comedy directed by Walter Lang.
Posted by Pablo Kjolseth on December 28, 2014
A blurb written in 1998 by Rick Polito for a TCM screening of The Wizard of Oz was resuscitated on the internet two years ago and went viral: “Transported to a surreal landscape, a young girl kills the first person she meets and then teams up with three strangers to kill again.” Eight years before that, during my college years in 1990, space limitations on the calendar film series I was programming inspired similarly curt descriptions. Mine, however, were not funny and only annoyingly glib. For 2001: A Space Odyssey I wrote one sentence: “Do we really need to write a description for this?” My flippant entry for The Wizard of Oz was no better: “You know this one too. It’s not like it hasn’t been on TV every year for the last 25 years.” Had I done my homework I would have known that, at the time, it had actually been on TV for even longer than that but, either way, readers were not amused. And rightly so, because no matter how familiar you are with The Wizard of Oz, the film has many layers, it deserves more than flippant sentences, and it rewards repeat viewings. More to the point, people who are only familiar with The Wizard of Oz from television will have a big-screen opportunity to tremble under the earth-ripping power of those opening cyclone shots, thanks to TCM and Fathom Events which will be bringing the movie to select theaters nation-wide on January 11th. [...MORE]
Posted by Kimberly Lindbergs on December 18, 2014
As a kid growing up in 1970s my Sunday nights revolved around The Wonderful World of Disney. It was my cherished respite before the much dreaded school week began and I savored every last minute spent in front of the family television set. At the time, residents in the San Francisco Bay Area where I was born and mostly raised, only had access to 10 or 12 available channels to choose from and many of those were locally run and operated. There were no video stores renting movies in those days and the idea of streaming films directly into your own home was merely a faraway fantasy. In these limited environs, The Wonderful World of Disney offered kids and adults of all ages a surprisingly diverse and family friendly smorgasbord of programming that included animated and live action films, nature documentaries, educational shorts and special broadcasts made especially for television. Much to my delight, Turner Classic Movies has recently teamed-up with The Walt Disney Studios for a new on-going program called Treasures from the Disney Vault hosted by Ben Mankiewicz and film critic Leonard Maltin that’s making its debut this coming Sunday night on December 21st. TCM’s impressive 8-hour block of television is a throwback to The Wonderful World of Disney of my childhood and I hope it will introduce a new generation to the wonderful treasures hidden deep within the vaults of the Disney Studios.
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