They Wore It Well: Actors & Mustaches

mustache1James D. Barnes in THE GREAT TRAIN ROBBERY (1903)

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.

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“The World’s Most Beautiful Animal!”

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Ava Gardner in a publicity shot for THE BAREFOOT CONTESSA (1954)
Airing on TCM June 1st.

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.

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“I’m Not an Actor, I’m a Movie Star”: Notes on ‘My Favorite Year’

MFYbenjyTonight 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.

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John Wayne – American Adman!

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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!

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Adventures of a TCM Fest-Goer

festopener3Last weekend, I attended the TCM Classic Film Festival as just another movie-lover in the crowd. The 2014 festival featured appearances by big-name stars Maureen O’Hara, Mel Brooks, Alan Arkin, Shirley Jones, and Jerry Lewis (left, at Grauman’s Theater with Quentin Tarantino). Interestingly, while waiting in line with other fest-goers, conversations drifted to the rapidly declining roster of Hollywood legends available to attend these events. Perhaps it was the recent death of Mickey Rooney, who was honored with a screening of National Velvet, that prompted these solemn conversations. Fest-goers speculated on what could possibly replace the interviews and appearances by these incomparable stars. Some presumed that TCM would showcase the films of younger stars and then reach out to them to appear in person—along the lines of the Richard Dreyfuss tribute this year. Others speculated that offspring of the major stars could step in to honor a famous parent, as Fraser Heston did for his father, Charlton, and Suzanne Lloyd did for her grandfather, Harold.

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jpg00009
April 19, 2014
David Kalat
Posted by:

Occupy Fritz Lang

There is a secret conspiracy that rules the world.

This hidden power can make or break a fortune at a moment’s whim.  It decrees the rise and fall of nations.  It chooses who lives, and who dies.

There are some—like the heroic British spy with a number for a name, or the alluring Mata Hari-like international woman of mystery he keeps running into—who think they can use the tools of surveillance, cryptography, and overall spookcraft to expose this obscure force and save the world.

Wanna know a secret?  This secret power—he’s a banker.  You can Occupy Wall Street all you want: the Great Banker is the spider at the heart of this massive web, and he will outlast you all.

So, yeah, for a silent movie made in Germany in 1928, there’s a lot going on here.  You can play along at home if you want when TCM runs this later tonight.

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KEYWORDS: Alfred Hitchcock, Fritz Lang, spies
COMMENTS: 4
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Of Hurricanes, Hamburgers, and Huston: Revisiting Key Largo

largohustonOne of my courses this semester includes a section on an auteur—that fancy French word for master director. I let my students choose which director to study from a list that included a variety of filmmakers from different eras. To my great surprise and delight, they selected John Huston over more recent and more famous directors.

I began the section on Huston with Key Largo, a crime drama released in 1948. The film stars Huston favorite Humphrey Bogart as WWII veteran Frank McCloud, who visits the Key Largo home of one of the men from his unit. The young man had been killed in combat, and McCloud feels compelled to call on the man’s father and widow, Nora. Nora is played by Lauren Bacall, and the father is portrayed by Lionel Barrymore, who, by this point in his career, was forced to play his roles in a wheelchair because of the crippling effects of arthritis and two hip fractures. Barrymore’s character owns the Hotel Largo, which has been taken over by gangster Johnny Rocco, played with great flair by Edward G. Robinson. While Rocco and his gang wait for an associate, a hurricane hits the Florida Keys and confines all of them inside the Hotel Largo.

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Shanghaid

"Before and after" frame reconstruction of typical damage.

Last January while attending the Arthouse Convergence in Midway, Utah, I was privy to a digital 4K restoration of The Lady from Shanghai (Orson Welles, 1948). It was introduced by Leonard Maltin, and the screening preceded the official Blu-ray release by a couple weeks. It comes to mind now because I see it coming up on TCM and also because next month anyone lucky enough to be attending the TCM Classic Film Festival can watch another one by Welles with the “world premiere restoration reconstructed from the original camera negative” of Touch of Evil (1958). Restorations are a tricky business; hard work and, if all goes well, all that work should be invisible to the viewer. [...MORE]

SVOD-L-The-Pink-Panther
March 22, 2014
David Kalat
Posted by:

Think Pink

Recently I’ve been reading Sam Wasson’s wonderfully spirited biography of Blake Edwards.  Wasson argues eloquently that Edwards is long overdue for a significant critical rehabilitation as one of comedy cinema’s great directors, to be spoken of in the same breath as Ernst Lubitsch, Preston Sturges, or Woody Allen.  But here’s the thing: even in this gloriously pro-Edwards manifesto, even here we find the Pink Panther franchise getting slagged off.  Sure, Wasson celebrates the original Pink Panther (on TCM tonight!) and its brilliant follow-up A Shot in the Dark, but of the others he writes: “the Panther franchise did little to enhance anything but Edwards’ bank account.”

Well, golly.  If you aren’t gonna find love for the Pink Panther franchise in the book that calls Blake Edwards an unsung genius, then where are you gonna find it?

Here, of course!

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KEYWORDS: Blake Edwards, Peter Sellers, The Pink Panther
COMMENTS: 14
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A Marriage Made in Screwball Heaven: ‘Third Finger, Left Hand’

thirdopener

One of my favorite tropes from Golden Age romantic comedies is the “faux marriage” in which the leading man and leading lady either pretend to be married, or they actually wed for reasons other than true love. As they scheme, maneuver, or fight their way through the plot, they fall in love for real, though circumstances, stubbornness, or other characters prevent them from confessing their true feelings until the inevitable happy ending. The plot device is still commonly found in romantic comedies as a way to bring the main characters together while creating major obstacles for them to overcome.

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