Posted by R. Emmet Sweeney on January 17, 2017
Over the last few months I have been exploring the films of Luis Garcia Berlanga, an acerbic Spaniard who turned Franco-era fascist bureaucracy into grim comedy. In Bienvenido, Mr. Marshall (1953) a poor town dresses up as a romantic Andalusian village to impress impending American visitors, while in Placido (1961) a group of moralizing middle-class businessmen use the homeless as props for a publicity blitz. The grimmest of Berlanga’s works I’ve watched so far, however, is The Executioner (1963) a squirm-inducing death penalty comedy in which murder is just another way to get ahead. Displaying the full range of Berlanga’s gift for caricature, deep-focus joke-building and disgust with the Franco regime, it’s a comedy in which the laughs die in your throat. All three of these works are now streaming on The Criterion Channel of FilmStruck.
Posted by Nathaniel Thompson on January 4, 2017
There’s something really special about transitional films in a director’s filmography, and it almost always drives critics insane when those movies first open. Case in point: Stardust Memories (1980), Woody Allen’s first film of the 1980s (or last of the 1970s if that’s how you prefer to count decades) and a challenging gauntlet thrown down by the director after two of his ambitious films, the austere drama Interiors (1978) and his most iconic ode to his favorite city, Manhattan (1979). There was a lot of chatter at the time about the “Serious Woody Allen” (the name of a little retrospective running right here, by the way), with admirers and detractors alike honing in on the increasing Ingmar Bergman influence that had been dotted through several of his films before leaping to the forefront in both Love and Death (1975) and Interiors. So what did Allen do? He pulled a Fellini instead, and for years, no one knew what to make of it. [...MORE]
Posted by R. Emmet Sweeney on January 2, 2017
Last week I listed Luis Garcia Berlanga’s Placido (1961) as one of my film discoveries of 2016. A devilishly funny account of Christmastime sanctimony, it was the first film I had seen by Berlanga. Luckily, The Criterion Channel of FilmStruck is streaming four more of his films so I can get further acquainted with this acidic Spaniard. The earliest work on display is Bienvenido Mr. Marshall! (aka Welcome Mr. Marshall!, 1952), Berlanga’s breakout feature, which lovingly satirizes a small Spanish town trying to lure Marshall Plan funds from the U.S. It won the second place International Prize at the Cannes Film Festival, but was famously denounced by jury member Edward G. Robinson as “anti-American.” The film is more anti-Catholic Church and Generalissimo Franco than anything else, however, as the Americans are phantoms wielded as symbols by the local government and clergy – described as both wealthy benefactors and agents of moral decay. What the film lampoons most spectacularly and thoroughly is Franco’s attempt to promote Spain in a single image: an Andalusian Spain that was all flamenco and bullfights. Before the Americans’ arrival, the town hides the drunks, throws up fake facades and wears Andalusian costumes to pretend they are a tourist paradise rather than a poor farming town. As in Placido, Berlanga uses thumbnail caricatures to populate his village, hilarious creations like the half-deaf mayor, a broke colonialist aristocrat and a rotund hustler/producer who turns their town into a Walt Disney-fied version of Spanishness.
Posted by Greg Ferrara on December 30, 2016
In 1973, George Lucas, at the time known only to those few people who had seen THX-1138 (1971), unleashed the most successful coming of age film of all time, American Graffiti. Coming of age movies not only took off at the box office, they became nostalgia movies for the Baby Boom generation. Unlike Andy Hardy or Gidget movies, which were always contemporary to their production, these new Coming of Age movies took place in the past. From American Graffiti to The Lords of Flatbush (1974) to Animal House (1978) and straight through to Porky’s (1982), nostalgia was the go-to for teenage/early twenty-something romps. One of them, Cooley High, made by American International Pictures, became a sleeper hit and it was the only one addressing African American teens and their own hopes and dreams. [...MORE]
Posted by Pablo Kjolseth on December 25, 2016
Today’s topic is probably not the one you were expecting to see on Christmas Day proper, but as a film programmer I’ve always enjoyed counter-programming. With that in mind, my double-feature recommendation for FilmStruck viewers comes in the shape of two black comedies: La Poison (Sacha Guitry, 1951) and The Player (Robert Altman, 1992).
Posted by Susan Doll on November 28, 2016
Charlie Chaplin had been in Hollywood only two years when he signed a lucrative deal with the Mutual Film Corp., but he was already a star because of his one-reelers with Keystone and Essanay. The years 2016-2017 mark the 100th anniversary of Chaplin’s Mutual two-reelers, which I believe rank among the best comedies of the silent era.
FilmStruck offers Chaplin’s Mutual Comedies in three parts for your streaming pleasure. My personal favorite, Easy Street (1917), can be found in Part 3.
Posted by Jill Blake on November 26, 2016
Aside from George Cukor’s visually stunning musical masterpiece My Fair Lady (1964), Pygmalion (1938), directed by Anthony Asquith (with Leslie Howard receiving co-director credits), is the only other significant film adaptation of George Bernard Shaw’s 1913 stage play of the same name. Of the two films, Pygmalion is the more faithful adaptation and arguably the better movie. Although it lacks the splashy technicolor, catchy Lerner and Loewe musical numbers and intricate Cecil Beaton designed costumes featured in My Fair Lady (and those incredible hats!), Pygmalion tosses aside the showiness (although Schiarpelli fashions are nothing to sneeze at) for a more genuine and authentically English production. Its stripped down approach accentuates the stark contrast between the ill-mannered, uneducated, poorly dressed flower girl, and the simple, well-spoken, dignified elegance of a duchess. The success of this adaptation is likely due to Shaw himself. Producer Gabriel Pascal obtained filming rights from Shaw directly, who was originally hesitant to make the deal. The playwright was involved in the production, lending his talents to the adapted screenplay, which won him the Academy Award in 1939. Despite his involvement with the film, Shaw was greatly disappointed with the tacked-on happy ending. Shaw was aware that his original ending wouldn’t be in the film, so he negotiated a reasonable compromise with Pascal. Unbeknownst to Shaw, Pascal had filmed an ending which was different from what was agreed upon. When he discovered Pascal’s changes, the notoriously difficult Shaw was quite mad, and rightly so. Maintaining his integrity as a well-respected playwright was paramount, and altering the outcome of two of his most famous characters jeopardized that, or so he thought. Moviegoers in the 1930s wanted to see even the most flawed of characters find some sort of happiness, especially in their romantic lives.
Posted by Nathaniel Thompson on November 23, 2016
Since it’s the day before Thanksgiving, I’d like to give a shout out to a film I’m particularly grateful for: Eating Raoul (1982). Sure, it might not be the most obvious choice for holiday viewing, but it’s all about the importance of family, the rewards of the entrepreneurial spirit and the message that in America, anybody can succeed with enough determination and can-do attitude. What could be more patriotic than that? [...MORE]
Posted by Nathaniel Thompson on October 12, 2016
“Don’t big, empty houses scare you?”
That wry exchange is one of the many little asides that typifies The Cat and the Canary (1939), airing in prime time this Friday on TCM. This Paramount production (now part of the Universal library) is the earliest surviving sound version of the original old dark house chiller that started life as a stage play by John Willard, and it’s a savory bit of counter-programming to Universal’s ongoing parade of beloved movie monsters (which were being toned down in the early throes of World War II). The idea of Hope starring in a horror movie (especially so early in his career — he’d only been starring in features since 1938!) sounds bizarre on paper, but it works beautifully in practice. Part of the charm here is the smart pairing of Hope (more subdued and urbane than usual here) with the gorgeous and charming Paulette Goddard, who was married to Charlie Chaplin at the time and was best known for Modern Times (1936). The chemistry between Hope and Goddard was so good they were teamed up for another horror comedy in 1940, The Ghost Breakers, and in between she made her most familiar film for many TCM viewers, The Women (1939). And as you can see in that promotional shot above for The Cat and the Canary, she also knows how to rock a Halloween costume like nobody’s business. [...MORE]
Posted by Susan Doll on October 3, 2016
I lived in Chicago for almost 25 years before relocating to sunnier climates, and one of my favorite parts about the Windy City was that it was a cinephile’s paradise. Historic theaters hosted silent movies, film societies programmed classics, and the rarest of indies could be found at Facets Multi-Media or the Gene Siskel Film Center.
“Is It Still Funny? is a recent addition to Chicago’s eclectic cinematic scene. Hosted by film journalist Mark Caro, this terrific series showcases a variety of comedies in order to test their comic viability. The movies are shown once a month on the big screen at the Music Box, one of Chicago’s movie palaces. Afterward, audiences discuss and debate the movie’s comic merits. I knew TCM viewers would want to know more, and Mr. Caro graciously agreed to answer a few questions about his series. His comments are below.
TCM just wrapped “Ouch! A Salute to Slapstick,” which was a rousing tribute to physical comedy on the big screen. I discovered that some of the directors and films featured in “Ouch!” were also included in “Is It Still Funny?” I would love to hear from viewers who regularly watched the movies that were part of “Ouch!” to see if their thoughts were similar to those of Mr. Caro’s audiences.
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