Posted by Susan Doll on December 30, 2013
Though quite popular among film-goers from the silent era through the 1950s, the melodrama has rarely gotten much respect from critics and scholars. A slippery genre to define, it is usually identified through its excessive emotion, suffering heroines, focus on relationships, and foregrounding of female interests, points of view, and values. During the Golden Age, movie reviewers—most of whom were male—regularly dismissed “weepies,” or women’s films. Today, melodrama has completely disappeared from the big screen, and the word “melodramatic” is often used as a pejorative term. Melodrama would likely not appeal to young audiences jaded by the computer-generated imagery of fantasy films or to mature audiences accustomed to serious dramas in the realist style. The artificiality that defines the acting, plotting, and visual style of melodrama is antithetical to today’s natural acting styles and realistic storylines.
While Golden Age stalwarts such as Stella Dallas, Now Voyager, Dark Victory, or The Women, get their due as classics, lesser-known melodramas like The Secret of Madame Blanche might be a harder sell. But, Madame Blanche, which airs on TCM this Thursday at 4:45pm, is a solid example of both the melodrama’s conventions and strengths. Viewers should not be put off by the genre’s peculiarities or artifice.
OK. So Preston Sturges’ Christmas in July isn’t a Christmas movie. But it has Christmas in the title, and you know what? The Thing wasn’t a Christmas movie either, so there.
Christmas in July is however one of Sturges’ funniest films, and one where Sturges’ somewhat misleading and occasionally inconsistent philosophy really works.
Posted by Kimberly Lindbergs on December 19, 2013
The original rebel, the first rock star, the cultural icon of teenage disillusionment, an American legend and the Sphinx of Youth. These are just a few of the labels that have been used to describe James Dean but I like to remember him as a one of our greatest actors. I lost count of how many times I’ve seen EAST OF EDEN (1955), REBEL WITHOUT A CAUSE (1955) and GIANT (1956) long ago but I never get tired of watching Dean and each time it’s a revelation. There’s always something new and invaluable to discover in his performances. His critics like to complain about his line delivery and often refer to his “mumbled dialogue” but like any great actor, Dean didn’t need words to express what his characters were thinking and feeling. He understood the power of silence and with a sudden twitch of his boyish body or a gentle tilt of his cowboy hat he could reveal his character’s fears, fervors and focus without uttering a single word. You can see entire worlds illuminated in his eyes when they’re lit up by studio lights and the shadows that dance across his face speak their own distinct language. James Dean may have followed in the footsteps of Montgomery Clift and Marlon Brando but he was a wholly unique talent who managed to carve out his own individual path in Hollywood during a few short years with a handful of notable films that have recently been collected into a beautifully packaged Blu-ray DVD set released by Warner Home Video.
Posted by Susan Doll on December 9, 2013
As coincidence would have it, today marks the birthday of both Dalton Trumbo and Kirk Douglas, whose names are linked because of their participation in breaking the back of the infamous Hollywood blacklist during the production of Spartacus. The ultimate survivor, Douglas has lived through the decline of the studio system, the upheaval of the Film School Generation, the politics that come with a career in Hollywood, and the effects of a stroke. Today, he turns 97. Trumbo survived ten months in prison as one of the Hollywood Ten as well as the indignity of the blacklist. He died in 1976 at the age of 71.
Trouble began for Trumbo, a highly respected screenwriter for such films as A Bill of Divorcement, Kitty Foyle, and A Guy Named Joe, when he appeared before the House Un-American Activities Committee in 1947. Despite his impressive filmography, it was his script for Tender Comrades, and its alleged “communist” message, that landed him in front of the committee, along with nine other writers, directors and producers. Collectively known as the Hollywood Ten, the group refused to answer some of HUAC’s questions, resulting in a storm of publicity and an angry, vengeful Congress. Trumbo served about ten months in a federal pen for contempt of Congress. Afterward, he moved to Mexico City for a couple of years, then quietly returned to Hollywood in 1954, where he began writing screenplays under assumed names and behind “fronts,” that is, people who used their names to submit scripts and rewrites for blacklisted writers. [...MORE]
Posted by Pablo Kjolseth on November 17, 2013
What was it about the script for Mildred Pierce (Michael Curtiz, 1945) that caught Joan Crawford’s eye? And why does the finished product, a film that is a perfect fusion of film noir and melodrama, still resonate with us today? Go to any film school teaching a film noir or women and film course (or both), and you’ll probably find Mildred on the syllabus. The property was also recently brought back to life by director Todd Haynes in a critically acclaimed HBO miniseries released in 2011. The novel by James M. Cain (1892 – 1977), the author known for The Postman Always Rings Twice (1934), and Double Indemnity (1943), ran afoul of so many restrictive provisions set forth by the Motion Picture Production Code that most of the sexual relations depicted in the novel had to be excised from the original film and replaced with something more acceptable: murder. [...MORE]
Posted by Susan Doll on November 11, 2013
This could be the title of my autobiography, since I do not cook for anyone—not even myself. But, it is really the title of a minor screwball comedy. Released in 1935, just a year after It Happened One Night launched the subgenre dubbed screwball, If You Could Only Cook stars Jean Arthur and Herbert Marshall as the mismatched couple destined to be together. The film airs on TCM this Friday night, November 15, at 4:45am.
To be honest, this is not a long-lost gem that will rival classics like It Happened One Night, Philadelphia Story, Bringing Up Baby, or other films that defined the genre. I did not feel it was special to recommend it as one of my “Forgotten Films to Remember.” The script lacks the fast-paced dialogue and snappy comebacks associated with screwball, the supporting characters are not zany enough, and the actual screwball situations are few and far between. But, the film provides a good example of how the systems and practices of the Golden Age could elevate the most mediocre of material, and I found myself admiring If You Could Only Cook for that reason.
Posted by Kimberly Lindbergs on November 7, 2013
If you watch TCM regularly you’re probably aware that the classic movie channel is curating the upcoming event What Dreams Are Made Of: A Century of Movie Magic at Auction being organized by Bonhams. This highly anticipated auction is taking place November 25th in New York where interested bidders as well as curious film fans can also see a preview of the items on display beginning November 20th and running through November 25th. According to the official press release the auction features “a stunning array of costumes, props, scripts, production designs, production memos, movie posters and other rare treasures from some of the greatest films of all time.” And the crown jewel of the lot is the original falcon statue used in THE MALTESE FALCON (1945), which may fetch a hefty seven figure sum. And best of all? A portion of the auction proceeds will be going to The Film Foundation, a nonprofit organization established by director Martin Scorsese to preserve and protect motion picture history.
Posted by Susan Doll on November 4, 2013
George Eells recounts this sad exchange in Final Gig, which is perhaps the only full-length biography of Gig Young, which reveals—or rather exposes—the actor’s tragic life. Between his father who belittled him because his conception was an accident and his mother who withdrew into neurosis, Young experienced insecurity on all fronts. According to Eels’s bio, he spent a lifetime searching for love and approval; his fans, Academy Award, and five wives were not enough. Nothing was ever enough. In some ways, his life seems at odds with his suave, sophisticated star image, but in other ways, it fits.
This afternoon, TCM is airing eight films starring Gig Young in celebration of his 100th birthday. The films are from his earliest career, during the late 1940s and early 1950s, when he was a supporting character and his star image was evolving into the affable gent with a debonair smile.
Posted by David Kalat on November 2, 2013
Once upon a time I saw a movie. It was called Ruthless and was directed by one of my favorite filmmakers, Edgar G. Ulmer. The experience was like watching a coin land on its side–it was thrilling, and also largely unrepeatable. I was watching the UCLA restored print of Ruthless, at Chicago’s Gene Siskel Theater, but knowing that the only available home video version was a crapola grunge-fest barely worth free.
For years I hunted this movie. Every time I logged into Amazon I ran a search, just in the off-chance the restored version had a commercial release. The years passed, and my hopes faded. I stopped checking. And then I discovered that Olive Films had released it on Blu-Ray. There was joy in Mudville.
Do you love this movie, too? Or have you suffered in the darkness, without even knowing what joys await? Click below the fold, and let’s explore Edgar G. Ulmer’s masterpiece together.
Posted by Susan Doll on October 28, 2013
When I was in film school, the students in my group became avid John Carradine fans. Carradine was an aging icon of horror films by that time and was feeble because of a stroke. Yet he was still working, cast in bit parts and cameos by directors who wanted to pay homage to his long career by including him in their movies. In classes, we were exposed to his memorable work as a supporting player and character actor in the films of John Ford and others. He skillfully made the most of his sonorous voice, gaunt frame, and sharp features to enhance his characters—from the melancholy Southern aristocrat in Stagecoach to the charlatan professor in Fallen Angel. This Wednesday, October 30, at 4:45PM (EST), TCM airs Bluebeard, one of the few films in which Carradine played the leading man. Carradine was quite proud of the film and often cited it as his personal favorite.
Based on the life of a 15th-century serial killer, the story of Bluebeard was turned into a novel by Charles Perrault in 1697. Since then, the basic narrative has been retold, reworked, and rebooted in dozens of stories and films. A cautionary tale for young women, the basic premise tells of a handsome lover who courts women into marriage only to kill them. I wonder if the relevancy of the story is in the way it exposes the pitfalls of marriage, especially for women. Bluebeard-like tales represent everything from the fear of the wedding night to the loss of identity when a woman’s goals and dreams are sacrificed to marriage and motherhood (a kind of death). [...MORE]
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