Posted by Susan Doll on April 21, 2014
Last 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.
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.
Posted by Susan Doll on April 14, 2014
One 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.
Posted by Pablo Kjolseth on March 23, 2014
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]
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!
Posted by Susan Doll on March 17, 2014
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.
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.
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