Posted by Greg Ferrara on April 21, 2017
To view Judex click here.
The first time we see the magician, he is standing alone, legs spread slightly apart, a lifelike bird mask covering his head. Next to him, on a stone block, lies a lifeless white dove. He picks it up in one hand and holds it gently as he walks through the hallways of the mansion on his way to the ballroom where the gala is being held. Once there, among the other masked revelers, the dove comes to life and flies away. He has brought it back from the dead, or so it seems, and produces one after another to the delight of the guests. The man in the mask, we suspect, is Judex, an avenger who has set out to get a rich banker, Favraux (Michel Vitold), to pay back his victims or else. The actual magician portraying Judex is Channing Pollock and he didn’t speak a word of French. That didn’t matter to director Georges Franju, he just wanted a look. Besides, Judex wasn’t the lead anyway. [...MORE]
Posted by Kimberly Lindbergs on April 13, 2017
To view The League of Gentlemen click here.
The League of Gentlemen (1960) contains one of my favorite moments from postwar British cinema; a group of ex-soldiers carrying submachine guns plow through London’s narrow streets with their faces concealed behind gas masks. Instead of dodging an attack they are preparing to rob a bank and their military uniforms have been replaced by civilian clothing. These masked figures are the stuff of nightmares and conjure up horrific images associated with two world wars that nearly brought the British empire to its knees. Despite their ferocious appearance and felonious behavior, the men are not monsters. They are the forgotten casualties of war. Battle-scarred and bitter, they have returned home to discover that their prospects are dwindling. Jobs are scarce and survival is difficult during peacetime when your skill set is limited to sharpshooting, military strategy and bomb construction. Is it any wonder that they have chosen a life of crime to secure a future for themselves?
Posted by Susan Doll on March 6, 2017
When I lived in Chicago, I enjoyed learning the city’s history—not the events you find in text books but the city’s pop culture history. Chicago was that toddlin’ town where notorious gangsters opened red-hot nightclubs in which soon-to-be-famous singers and comedians launched their careers; or, serial killers trolled for victims at the larger-than-life Columbian Exposition of 1893; or, the yellow press turned nobodies into celebrities because the competition to sell papers was so cutthroat. (See last week’s post on the 1919 Black Sox baseball scandal.)
Posted by Greg Ferrara on March 3, 2017
It seems hard to believe, but the Coen Brothers made their debut film well over thirty years ago now. In 1984 they put together their own trailer, a trailer for a movie they hadn’t even made, and went about getting the financing to make the film come true. The result was Blood Simple, a crime thriller that was also a showcase for some of the best talent in the movies at that time, talent that, to this day, has never gotten its full due. But it also stands as a testament to how artists change, how they view their work and whether any of it matters in the final analysis.
Posted by Kimberly Lindbergs on February 16, 2017
“Beat” Takeshi Kitano has been making headlines recently. Late last year the 70-year-old Japanese filmmaker, actor, author and entertainer was awarded France’s coveted Legion of Honor for his contribution to contemporary arts while film retrospectives in New York and Rio de Janeiro, along with a spate of fresh Blu-ray releases from Film Movement and Third Window Films, have spawned renewed interest in his work. Kitano is also wrapping up production on his latest directorial effort, the third film in his lauded crime trilogy Outrage: Final Chapter (2017), and we can look forward to seeing him in the highly anticipated live-action adaptation of Ghost in the Shell (2017) soon. As a longtime admirer, it has been a joy to see the arc of his career take shape from popular television comedian to celebrated film auteur and beloved cultural figure.
Through April 28, FilmStruck subscribers have access to four of Takeshi Kitano’s earliest films including Boiling Point (1990), Sonatine (1993), The Blind Swordsman: Zatoichi (2003) and my personal favorite of the bunch, Violent Cop (1989). Violent Cop was the first feature film Kitano directed and its impact should not be underestimated. As he continues to gain new admirers around the world, I thought I would revisit the movie that launched Kitano’s filmmaking career and transformed his public persona from a fun-loving clown into a cinematic powerhouse in Japan and abroad.
Posted by Greg Ferrara on January 29, 2017
I just did a Fritz Lang movie last week (The Big Heat from 1953) and there have been other posts on the director around these parts lately as well so forgive me if I dive into familiar waters one more time. You see, I tend to focus on the ethical dilemmas of Lang’s work, in movies like M (1931), Fury (1936), Scarlet Street (1945), and, of course, The Big Heat*, where the good guys and the bad guys tend to overlap. But before I take a break from writing about Lang, I’d like to throw in one more post on what may be my biggest Lang surprise in all my years of watching him. It’s a movie that throws so many genre tropes together into one big pot, it’s a miracle any of it works at all. But it does, magnificently so. It’s one of those movies that came and went and despite having plenty of big names in the cast, it feels like a low budget movie shot on the run. This amazing little piece of work called While the City Sleeps (1956) may be Lang’s most purely enjoyable film.
Posted by Greg Ferrara on January 20, 2017
William P. McGivern created Harry Callaghan, better known as Dirty Harry. Not literally. He created the literary environment that made Harry Callaghan possible, as well as Paul Kersey, the vigilante at the center of Death Wish (1974). McGivern was the writer who gave us The Big Heat (1953) and Rogue Cop (1954), both made into movies in the fifties and the former, The Big Heat, gave us the character of Detective Sergeant Dave Bannion, the cop at the heart of the film who fights against a corrupt system outside the lines, quitting his job to pursue vigilante justice on his own. It’s a good story but is Dave Bannion a good guy? Is there a good guy in the story? Maybe.
Posted by Nathaniel Thompson on December 28, 2016
As with many years past, I’m spending the transitional period between Christmas and New Year’s in Los Angeles — and as anyone else around here can tell you, it’s a calm but vaguely spooky environment. All of the usual traffic jams and chattering people have temporarily vanished into the ether, leaving a city still filled with sunlight, palm trees and holiday decorations everywhere. We’ve seen a lot of notable films shot in L.A. over the decades (and you can sample most of them in the superb documentary Los Angeles Plays Itself), but the one that really captures this eerie feeling of being in L.A. at winter time (even if it isn’t specifically set at that time of year) is The Long Goodbye (1973), one of the great ’70s noir films and a highlight in the career of director Robert Altman. [...MORE]
Posted by Kimberly Lindbergs on December 8, 2016
Today (Dec. 8) is Maximilian Schell’s birthday. The handsome Swiss actor is one of my favorite screen performers and he would have been 85 today if he hadn’t passed away in 2014 after abruptly contracting pneumonia. To celebrate the occasion, I thought I’d take a look at one of my favorite Maximilian Schell films; the stylish and highly entertaining caper, Topkapi (1964) directed by Jules Dassin (Brute Force , The Naked City ). If you’re searching for an enjoyable way to pass a few hours, this playful, frothy cocktail of a film is sure to warm your spirits. Topkapi is currently streaming on FilmStruck and available on DVD and Blu-ray from Kino Lorber. You can also occasionally catch it playing on TCM.
Posted by Nathaniel Thompson on November 16, 2016
Though he still doesn’t quite enjoy household name status, Cornell Woolrich might be the most influential American mystery writer of the past century. The adaptations are an obvious place to start with Alfred Hitchcock’s Rear Window (1954) leading the pack, but his real legacy is the way he permanently embedded modern thrillers with recurring themes of the unreliability of memory, the pitfalls of falling in love with someone you think you know and the inescapable darkness that can claim even the most virtuous of souls. If you want to find out where films like Memento (2000) and The Usual Suspects (1995) came from, look no further than this master storyteller.
Hollywood really jumped on the Woolrich bandwagon in the ‘40s with a slew of radio adaptations as well as fascinating films like The Leopard Man (1943), Phantom Lady (1944), The Chase (1946), and Night Has a Thousand Eyes (1948). The big screen took less of an interest in him the following decades as television honed in on him instead, churning out numerous versions of his novels and short stories for home viewers on such programs as Alfred Hitchcock Presents and Thriller. The 1960s would prove to be Woolrich’s last decade on earth with his passing in 1968, but he had another resurgence from a most unlikely source: acclaimed French filmmaker François Truffaut.
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