Posted by Pablo Kjolseth on September 20, 2015
(Editor’s Note: Pablo Kjolseth unexpectedly found himself on the road assisting with Cory McAbee’s latest film project, so he handed over the reigns for today’s post to Michael J. Casey, film critic and reporter for The Boulder Weekly.)
Above all things, cinema is a style. Movies are a glorious and exciting exploration of the human condition, but without style, the images simply hang to the screen, failing to be anything more than a light flickering on a blank canvas.
That’s why those who crack the code are so lauded, and few have been as voraciously lauded as the French director, Robert Bresson (1901-1999). Though he only made 13 features over the course of four decades, every one of his films bear a signature style, the mark of a master. Of these 13, TCM is showing five of his most acclaimed works on Sept. 25, and though all of them explore Bresson’s thoughts on style, cinematography and spirituality, none convey his ideas quite like his 1959 masterpiece, Pickpocket. [...MORE]
Posted by R. Emmet Sweeney on June 23, 2015
After the conclusion of WWII, the subject of the returning soldier became a popular one in B-movies, with the image of a dazed G-man wandering desolate back alleys becoming cinematic shorthand for post-traumatic stress. While the prestige pics explored how the soldiers’ physical toll left psychological scars (The Best Years of Our Lives, Pride of the Marines), the Bs were blunter in opting for amnesiac narratives, in which the veterans have lost all memory of their war efforts, and have to piece it back together, usually in a labyrinthine urban environment (Somewhere in the Night, The Crooked Way). These stories usually find a way to reconstitute these broken men and integrate them back into America. The Clay Pigeon (1949) is a particularly effective film noir of this type, directed by Richard Fleischer from a Carl Foreman script for RKO, soon after Howard Hughes took over. Released by the Warner Archive on DVD this month, its post-war America is one of paranoia and betrayal, where one is guilty until proven innocent.
Posted by Pablo Kjolseth on May 31, 2015
A few weeks ago I had a conversation with Tim Kirk, producer of Room 237, The Nightmare, and other titles. We talked about commentary tracks because he is releasing something called Director’s Commentary: Terror of Frankenstein. The normal order of business would be to simply re-release Terror of Frankenstein (Calvin Floyd, 1977), and then add a commentary track as a bonus. Sadly, the only existing elements that remain for Terror of Frankenstein are sketchy at best and not worth revisiting in and of themselves. A serendipitous conversation, however, between Kirk and Terror of Frankenstein star Leon Vitali opened the door to a mysterious world behind Floyd’s surprisingly faithful adaption of Mary Shelley’s story. Given Vitali’s work with Stanley Kubrick, he is already the subject of a few conspiracy theories himself, but what Vitali reveals in his commentary track to Terror of Frankenstein suggests that method-acting can go too far. It might even lead to murder. [...MORE]
Posted by Susan Doll on January 26, 2015
Tomorrow, January 27, TCM will celebrate Donna Reed’s 94th birthday by showing a selection of nine early films, including her first feature The Get-Away. My favorite film on the list is the crime thriller Eyes in the Night, which I have singled out as a Forgotten Film to Remember.
MGM signed Donna Belle Mullenger to a contract in 1941, just after she graduated from Los Angeles City College with a secretarial degree. During the production of The Get-Away, the studio fumbled around for a more marquee-friendly name. Donna Adams was trotted out for size until it was discovered that another actress was using the same name; someone suggested Donna Drake, but that was too close to big-band singer/actress Dona Drake. Even Donna Denison was considered, because the actress hailed from Denison, Iowa. Finally, MGM casting director Billy Grady came up with Donna Reed, a name the actress never really liked. When Eyes in the Night was released in October 1942, it was Reed’s eighth film appearance, more or less. (Two of her roles were uncredited and don’t always show up in filmographies.)
In many ways, Eyes in the Night is a typical b-movie from the Golden Age. Though b-movies are low budget and small scale, they tend to make good use of the skills and talents of the cast and crew, raising the level of the material. This stylish crime thriller is tautly directed by Fred Zinnemann (High Noon; From Here to Eternity; Julia) and benefits from a solid cast of rising stars (Reed), returning stars (Ann Harding), established character actors (Edward Arnold, Allen Jenkins, Reginald Denny), and a scene-stealing canine named Friday the Seeing Eye Dog.
Posted by R. Emmet Sweeney on August 19, 2014
Sam Fuller was not one for the slow burn. He preferred instant incineration. He learned his potent pulp technique in the NYC tabloids as a crime reporter, where an attention grabbing lede was all that mattered. The same skill is applied to his movie potboilers, as in The Naked Kiss‘ gonzo opener, where a bald prostitute assaults a john with her purse. His penchant for arresting opening scenes also appears in his novels – one of which is appearing in English for the first time this year. Fuller wrote Brainquake in the early 1990s, but it was only published in French and Japanese, rejected by U.S. editors for being too “European”. Intrepid pulp purveyors Hard Case Crime have corrected this injustice by releasing Brainquake last week in its English debut, complete with a gloriously seamy cover painting by Glen Orbik. The book is a densely plotted crime fiction farrago, deeply informed by Fuller’s experience as an exile. Ever since his inflammatory anti-racist White Dog was banned from U.S. cinemas, Fuller could only find work in Europe, and so he moved there with his wife Christa. The center of Brainquake is a monosyllabic bagman for the NYC mob who ends up on the lam in Paris. The bagman also happens to suffer from hallucination-inducing migraines that lend the book its title. Stacked with memorable characters, from a serial killer in priest’s garb to a melancholy French resistance fighter, the book is an overheated, overstuffed and never less than entertaining slab of Fuller’s expansive pulp imagination.
Posted by R. Emmet Sweeney on July 22, 2014
The Museum of Modern Art has been transformed into a den of sin over the past month, as it plays host to Lady in the Dark: Crime Films from Columbia Pictures, 1932 – 1957, an iniquitous series which runs through August 4th. Cheap mass market criminality was the economic backbone of Columbia Pictures in the first decades of its existence, and organizers Dave Kehr and Joshua Siegel trace the studio’s movement from Agatha Christie-style whodunits to the bleak films noirs of the ’40s and ’50s. One of Cohn’s cost-saving gambits was to invest in feature series, in which sets and actors can be reused for an entire decade. This produced profitable reels in titles like The Lone Wolf, The Crime Doctor, and Boston Blackie. “Lady in the Dark” features four films from The Whistler, an unusual anthology-style crime series adapted from a popular CBS radio series of the same name (you can listen to them here). The only recurring character is the eponymous Whistler, a shadowy, cynical narrator who walks by night, and thus knows “many strange tales”. At the center of most of the stories is fading star Richard Dix (Oscar nommed for Cimarron (1931)) who appears in all but one of the eight Whistler features, always as a different character. He’s both anxiety-ridden victim and psychopathic murderer, his body-swapping lending the films a supernatural veneer when viewed in succession. William Castle directed half of these grim mysteries near the outset of his career. There is none of his later ballyhoo here. His compositions are as spare as the sets, and as empty as Richard Dix’s characters, who are always either courting or inviting death. The three I viewed in the series, presented in pristine prints courtesy of Grover Crisp at Sony Pictures, were The Whistler (1944), The Power of the Whistler (1945), and The Secret of the Whistler (1946).
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]
Posted by Susan Doll on February 3, 2014
It is easy to assume that serial killers as a subject for crime movies is a relatively recent phenomenon, particularly those that delve into the unique psychology of the killer. After all, the term serial killer does not pop up in common usage until after Ted Bundy was incarcerated in prison, though it was coined earlier. Credit for the term is often given to FBI Agent Robert Ressler, who adopted “serial killer” and “serial homicide” in the 1970s. However, the phrase “serial murderer” goes as far back as the 1930s when director of police Ernst Gennat used it to describe Peter Kurten. I once read a passage by author James Ellroy in which he lauded Thomas Harris and his 1981 novel The Red Dragon as a watershed moment in crime fiction because of Harris’s detailed understanding of the psychology of the serial killer.
So, I am always surprised when I come across early pop culture depictions of serial killers that seem to accurately capture the demons that drive them. This Friday, February 7, at 6:30am, TCM will air Night Must Fall, a 1937 drama starring Robert Montgomery as a likable killer named Danny. The film is based on the 1935 play penned by Emlyn Williams, who originally starred as Danny on stage. A working class Irish lad, Danny charms his way into the good graces of wealthy, cantankerous Mrs. Bramson, who exploits her age and presumed ill health to dominate the people in her household. The conniving killer discovers Mrs. Bramsom’s weakness for attention and quickly becomes the old lady’s primary caretaker. Mrs. Bramson’s niece, Olivia, is immediately suspicious of Danny. However, Olivia and her aunt are on such poor terms that Mrs. Bramson refuses to listen to her about anything. The killer’s identity is obvious from the beginning, which might frustrate those viewers who prefer a plot-twisting whodunit. Night Must Fall is not that kind of crime story. The tension derives from the interplay of the characters. It is disturbing to watch Danny worm his way into Mrs. Bramson’s heart, while the cat-and-mouse game between Danny and Olivia hints at her dark thoughts and desires. I chose Night Must Fall as a forgotten film to be remembered for two reasons—the performance by Robert Montgomery as Danny and the insight into the sociopathic character by writer Emlyn Williams.
Posted by R. Emmet Sweeney on January 15, 2013
For the past decade Korea has produced the most innovative genre films in the world, with directors Park Chan-wook, Bong Joon-ho and Kim Jee-woon reinvigorating revenge thrillers, police procedurals and westerns. This year Hollywood is playing catch-up, commissioning remakes of recent Korean hits and importing that influential trio to make their English language debuts. Spike Lee is shooting his version of Park’s seminal Oldboy, and Allen Hughes has signed on to redo Kim’s A Bittersweet Life (2005, and whose Tale of Two Sisters was Americanized in 2009 as The Uninvited). Bong is finishing up production on his dystopic sci-fi film Snowpiercer, starring Chris Evans, while Park’s psychological horror film Stoker, featuring Nicole Kidman, will be released on March 1st. The first out of the gate will be Kim’s action movie The Last Stand, opening this Friday, which marks the post-gubernatorial screen return of Arnold Schwarzenegger. Kim is a restless genre tweaker, using traditional templates and then pushing them to extremes. His style varies from the antic energy of his “kimchi Western” The Good, The Bad, The Weird to the elegant control of his criminal revenge saga A Bittersweet Life, but his films insistently return to the theme of self-destructive violence that pulses just below the surface of the human psyche.
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