Posted by Kimberly Lindbergs on July 31, 2014
This week marks the 100th birthday of Mario Bava who was born on July 30th (according to leading Bava researcher Tim Lucas and author of the essential Mario Bava: All the Colors of the Dark) or 31st (if you want to believe IMDB.com and Wikipedia). The brilliant Italian director, cinematographer, special effects artist and screenwriter died in 1980 but today he’s fondly remembered by horror film enthusiasts as the Maestro of the Macabre. Bava has long been one of my favorite filmmakers so I couldn’t let this important anniversary pass without acknowledging his artistry.
Posted by Pablo Kjolseth on July 27, 2014
(* … or not. As an alert reader just pointed out, Bergman has been replaced with a tribute to James Garner. Still… I’ll leave this post for future reference, as I’m sure TCM will eventually bring some of these films back.)
I recently screened a 16mm print of Ingmar Bergman’s (1918 – 2007) The Magician (1958). His birthday was on Bastille Day (July 14th) and his day of death was July 30th. It is fitting that both his life and death should fall on the same month. The Swedish director is famous for artful portrayals of existential extremes that tackle the agonies of passion and life against a backdrop of inevitable mortality in ways that put them back-to-back. His most famously iconic scene from The Seventh Seal (1957) turns the game between life and death into something that is not even back-to-back; it’s face-to-face in a setup that is still referenced even today (ie: in The Colbert Report‘s “Cheating Death” segments). Which brings us back to the end of July… usually thought of as a summer moment made for back-pack adventures, trips to the water-park, and leisurely moments spent lounging around in air-conditioned spaces. But perhaps TCM programmers were hip to the idea that July is also Bergman’s month, because this Monday night they are showing six of his films back-to-back. Here are some crib notes for those ready to take the plunge. [...MORE]
Posted by Susan Doll on July 14, 2014
As with Joan Crawford and Bette Davis from last week’s post, I ran across other movie stars who inspired tag lines based on their star images. Bob Hope was renowned for his exquisite timing in which he delivered one-liners and asides with a precise, rapid-fire delivery. His comic persona was a unique combination of boasting and belittling, self-promoting and self-deprecating. In the poster for My Favorite Blonde (1942), Madeleine Carroll has Hope in a compromising position. She says, “Did you like the kiss Bob?” As I read Hope’s one-liner response, I could almost hear his voice speak the line, “I’ll tell you as soon as the water on my knee stops boiling!”
Other Hope-inspired tag lines gently deride the comic, much like he did to himself. For example after the title “Where There’s Life (1947),” the tag line continues with “There’s Hope In the King-Size Comedy of a Cut-Rate Clown Prince!” A “disclaimer” at the bottom of the poster assures viewers: “If you laugh yourself sick at this picture . . . sue Bob Hope!” Another poster references classic westerns to belittle Bob’s misadventures in the Old West: “Covered Wagon . . . Stagecoach . . . Red River . . . AND NOW Bob Hope [and] Rhonda Fleming in Alias Jesse James.”
Posted by Susan Doll on July 10, 2014
For several months, I have been researching posters for classic movies for a personal project. I enjoyed the experience more than anticipated because I have learned a great deal. Classic-film posters were rendered like illustrations, making them more artistic and colorful than contemporary posters dependent on photographic elements. Another entertaining ingredient is the tag line—that one-line description used to suggest something about the movie that will lure viewers into the theaters. Written by studio press agents, producers, or unsung employees in the publicity office, the tag lines are frequently melodramatic, sometimes funny, and occasionally vexing. I thought I would share a few that I found interesting. Be prepared for excessive exclamation points!
Posted by Pablo Kjolseth on June 29, 2014
Unlike Chris Marker (1921 – 2012), I am not an editor, poet, videographer, novelist, digital multimedia artist, or filmmaker. Even on a strictly personal level we are worlds apart, him having been a Salinger-like enigma who famously avoided interviews and photographs, me being a “nothing close to Salinger-like on any level” kind of guy who just last week photo-bombed his own shot of John Waters in a manner that would make even the paparazzi cringe. And yet, despite our many differences, there is something about Chris Marker that always elicits in me a feeling of deep kinship – and not just because we both love cats. The answer, I think, lies in one word: Vertigo. [...MORE]
Now that the announcement has been made official I can go ahead and ‘fess up: I recently recorded an audio commentary for the newly restored Cabinet of Dr. Caligari for the UK Blu-Ray release by Masters of Cinema. It was a huge thrill for me—I’d been wanting to do a Caligari commentary for years and no one had asked me yet. But not only was it a chance to finally yammer my way through Robert Wiene’s masterwork, but this new restoration is simply stunning—it’s from the original 35mm negative. Looks like it was shot yesterday.
And seeing this film fresh makes all the difference in the world, because there are so many myths and misconceptions about Caligari that need clearing up. Like, that this film is some kind of avant garde work of art. Because (ahem) it’s not.
Posted by Kimberly Lindbergs on June 26, 2014
“I wonder if my brother remembers his brother?”
We lost Eli Wallach on June 26th at the ripe old age of 98. The talented actor was beloved by film fans and fellow actors so quickly cobbled together obituaries as well as many heartfelt tributes have begun flooding the World Wide Web. It’s with much trepidation that I tip my own toe into these grief-filled waters but since hearing the news I haven’t been able to get Wallach out of my head. The Brooklyn born son of Jewish parents who immigrated to America from Poland appeared in over 150 films and television productions including BABY DOLL (1956), THE LINEUP (1958), SEVEN THIEVES (1960), THE MAGNIFICENT SEVEN (1960), THE MISFITS (1961), HOW THE WEST WAS WON (1962), THE VICTORS (1963), LORD JIM (1965), THE GOOD, THE BAD AND THE UGLY (1966), THE TIGER MAKES OUT (1967), ACE HIGH (1968) and THE PEOPLE NEXT DOOR (1970), which are just a few early highlights from his lengthy body of work. And while it’s difficult to point to a favorite role in a career as vast and varied as Wallach’s I can’t deny that his unforgettable turn as the grinning bandito in THE GOOD, THE BAD AND THE UGLY has had the biggest and most long-lasting impact on me. It’s a film I first saw nearly 40 years ago with my father when I was just an impressionable kid and much like THE MAGNIFICENT SEVEN (another favorite Wallach film), THE GOOD, THE BAD AND THE UGLY is a movie that I have returned to countless times and each viewing experience becomes richer and more rewarding.
Posted by Susan Doll on June 16, 2014
I love pirates who swashbuckle their way through high adventure on the high seas, but I am not always thrilled with the women who try to tame them. For this second installment in my series in support of TCM’s Friday Night Spotlight on pirate movies, I offer some thoughts on wenches, ladies, and female buccaneers.
A common female character in pirate movies is the aristocratic woman—or, lady—who detests the roguish protagonist because he is uncouth, ill-mannered, and unrefined. Typically, her father represents a powerful local authority, which makes him the arch-enemy of the pirate. Often, the pirate kidnaps the lady, or she finds herself aboard his ship through unforeseen circumstances, instigating a series of romantic adventures in which his virile masculinity wins her over. In the end, the lady lies to authorities, claiming that she had actually run away with the pirate of her own volition; or, she realizes he has acted nobly, which alters her opinion of him. In the silent version of The Sea Hawk (1924), the smitten Lady Rosamund defends her pirate kidnapper, while in Captain Blood (airing this Friday, June 20), the governor’s daughter changes her low opinion when Blood fights for England against the French.
Posted by Kimberly Lindbergs on June 5, 2014
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.
Posted by Kimberly Lindbergs on May 29, 2014
Ava Gardner in a publicity shot for THE BAREFOOT CONTESSA (1954)
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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