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June 4, 2016
David Kalat
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First Things First

DVR alert—thanks to this month’s Marie Dressler tribute, coming up on June 6th TCM is running the 1914 comedy feature Tillie’s Punctured Romance. This is a hugely important work in film history—just about any film reference will tell you so. Here’s what Wikipedia has to say: “Tillie’s Punctured Romance is notable for being the first feature-length comedy in all of cinema.” Wow. I mean, right? Just wow.

Except… it’s hard to give credit to Tillie’s Punctured Romance for being the “first feature-length comedy in all of cinema” when there was another feature-length comedy released on August 10, 1914, four months earlier.

And you want to know the best bit? This earlier film, arguably the true first comedy feature in film history, is a gender-bending treat that suits today’s mood much better than the fusty old melodramatic complications of Tillie’s Punctured Romance. Click the fold below and let’s find out more!

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KEYWORDS: A Florida Enchatment, Sidney Drew
COMMENTS: 9
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Robert Fuest & His Abominable Creations

rfvpVincent Price & Robert Fuest on the set of The Abominable Dr. Phibes (1971)

TCM’s month-long celebration of American International Pictures comes to an end tonight with some of the company’s best productions from the seventies including Martin Scorsese’s Boxcar Bertha (1972), Brian De Palma‘s Sisters (1973), Roger Corman’s Bloody Mama (1970) featuring one of Robert De Niro’s early screen appearances, William Crain’s Blacula (1972) and the little-seen A Matter of Time (1976), which was the last film directed by Vincente Minnelli. I haven’t seen the Minnelli film myself so I’m looking forward to finally catching up with it but today I thought I’d focus my attention on filmmaker Robert Fuest. Fuest directed the first AIP film airing in tonight’s impressive line-up, The Abominable Dr. Phibes (1971) featuring Vincent Price in one of his most memorable roles.

The late Robert Fuest, who died in 2012 at age 84, has become one of my favorite filmmakers over the years thanks to his artistic direction and ability to mix fear and humor into a creative combustible cocktail that yielded such gems as The Abominable Dr. Phibes and its sequel Dr. Phibes Rises Again (1972) as well as the brilliant, stylish and utterly bonkers Michael Moorcock adaptation, The Final Programme (1973). Other films in his impressive oeuvre include Just Like a Woman (1967), And Soon the Darkness (1970), Wuthering Heights (1970) and The Devil’s Rain (1975).

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A Forgotten Film to Remember: The Ghost Goes West

blogopenerTomorrow night, May 24, at 9:45pm EST, TCM airs a charming romantic comedy with the unfortunate title of The Ghost Goes West. Unfortunate, because the title is misleading. The film is neither a horror tale, nor does it have anything to do with the Wild West. Released in 1936, The Ghost Goes West is a British film set in Scotland and Florida.

Robert Donat plays a dual role as the 20th century Scotsman Donald Glourie and his 18th century ancestor Murdoch Glourie. During a skrimish with British Red Coats, Murdoch is too busy chasing girls to fight for “the glory of Scotland,” a vague reference to the various tensions with Britain in that century. During battle, Murdoch is blown to bits, save for his Scottish tam o’ shanter, which flutters lightly to the ground. While in limbo between heaven and hell, the Scotsman is dubbed a coward by his deceased father for his shameful behavior in battle. Murdoch is returned to earth as a ghost and cursed to wander the halls of the Glourie castle.

 

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Hypno-Murder: Secrets of the French Police (1932)

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Secrets of the French Police is an everything-but-the-kitchen-sink oddity that flings together police procedurals, adventure serials, and a horror villain with hypno-murder powers. Never settling into one genre for more than a few scenes, it’s totally incoherent and bizarrely entertaining, as it absorbs influences from the famous French Inspector Bertillon to Dracula and The Mystery of the Wax Museum. This RKO programmer from 1932 is now on DVD as part of the Warner Archive’s Forbidden Hollywood Volume 10, and is recommended for those with attention deficit disorder.

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Spotlight on AIP with Roger Corman

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Roger Corman is coming to TCM!

Every Thursday night throughout the month of May TCM will be spotlighting American International Pictures (AIP) with a block of films hosted by director and producer Roger Corman. Corman learned his trade while working with AIP, which was established in 1954 by Samuel Z. Arkoff and James H. Nicholson. The Los Angeles based company was committed to making low-budget, independently produced B-movies aimed at the burgeoning youth market that were typically released as double features and shown at drive-ins.

During its heyday, AIP became a training ground for many future filmmakers and actors including Martin Scorsese, Francis Ford Coppola, Nicholas Roeg, James Cameron, Peter Bogdanovich, Ron Howard, Jonathan Demme, John Sayles, Monte Hellman, Joe Dante, Jack Hill, Paul Bartel, Stephanie Rothman, Curtis Harrington, Dennis Hooper, Jack Nicholson, Bruce Dern, Peter Fonda and Robert De Niro. The company was responsible for reviving the careers of older horror stars neglected by Hollywood such as Boris Karloff, Vincent Price and Peter Lorre securing them a new generation of fans. AIP also established working relationships with international film distributors introducing American audiences to foreign films by Federico Fellini, Mario Bava and Ishirō Honda. And they played an important role in creating popular genres such as Blaxploitation, Biker movies and the Beach Party movies that helped make Annette Funicello and Frankie Avalon household names.

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Sunshine Noir: Cutter’s Way (1981)

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“I have seen people after the war that came from concentration camps, they were violated in their bodies and their minds, and they were contaminated by the violence. They became violent themselves. This is what I wanted to show in Cutter’s Way.” – Ivan Passer

Cutter’s Way is a sickly film, its characters hungover or half in the bag. They have never recovered from the Vietnam War, either from the physical scars from fighting or the guilt from avoiding it. Cutter (John Heard) is the wounded veteran suffering from post-traumatic stress, a ranting paranoiac lost in his own head. His wife Mo (Lisa Eichhorn) nurses the loss of her pre-war husband with drink. Cutter’s best friend is Bone (Jeff Bridges), a lithe golden god who makes a living as a gigolo and occasional boat salesman.  The trio’s blurred vision focuses upon the corpse of a young girl, who they suspect was murdered by local tycoon J.J. Cord (Stephen Elliott). Cord begins to exert an outsized role in their personal mythology, a symbol of the system, the American way of life, that has left them on the periphery.

Their amateur investigation is a half-cocked mess, and twists around into a blackmail scheme. Their dream of justice is obscured by the thick haze of the Santa Barbara summer, but whether or not they have found the true killer, they have recovered a modicum belief, belief which ends in a defining act of violence. United Artists didn’t know what to do with this downbeat drama, and released it with little fanfare in 1981. It has had vocal supporters through the years, foremost among them J. Hoberman, and Twilight Time has released a handsome-looking Blu-ray that should expand its cult.

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Hitchcock’s One Set Wonders

Today, TCM runs one of Hitchcock’s biggest hits of the forties, the suspense wartime thriller with Tallulah Bankhead, William Bendix, and John Hodiak, Lifeboat.  Lifeboat is notable for taking place entirely on one confined set, the lifeboat that all of our characters are aboard for the duration.  I can’t even imagine the story board sessions for a movie like this but it would be a daunting assignment for any director to undertake a movie where the setting just doesn’t change.  At all.  Fortunately, Alfred Hitchcock was at the helm so everything worked out just fine.  Indeed, Lifeboat is one of my favorite one set wonders, though admittedly, I don’t have many.  A film that takes place at the same location from start to finish needs to have crackling writing, enthusiastic and energetic acting, or virtuoso cinematography or all three.  Otherwise, it’s going to be a long two hours.

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Last Call: Her Man (1930)

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Tay Garnett’s Her Man (1930) has had a small but enduring auteurist cult, for those lucky enough to have seen the Cinematheque Francaise print that circulated in the ’50s and ’60s. In his American Cinema, Andrew Sarris wrote of its “extraordinarily fluid camera movements that dispel the myth of static talkies”, while British critic Raymond Durgnat compared it favorably to Howard Hawks’ A Girl in Every Port (1928). Poet John Ashbery saw it in Paris in the late ’50s, and it was an inspiration for his “Pavane pour Helen Twelvetrees”, which you can read here.  The film has seemingly disappeared from view since then, with David Thomson erroneously stating that it was a “lost film” in his Biographical Dictionary of Film. It wasn’t lost, but just hiding. The camera negative was discovered in the Columbia Pictures collection at the Library of Congress, and a 4K restoration was performed by Sony Pictures, with funding provided by the Film Foundation. This week the Museum of Modern Art, courtesy of Adjunct Curator Dave Kehr, is screening the restoration of Her Man, alongside some of director Tay Garnett’s other silent and early sound features (including Celebrity, The Spieler, and One Way Passage). Her Man is a redemptive romance that takes place in one of the scummiest bars in Havana: the Thalia. There Garnett wends his camera through a knockabout group of con artists, drunks and killers to get to his dewy-eyed lovers, who strong-arm their way out the door.

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Deep Inside the Dream Factory: Memo Wars Between Hal Wallis and Michael Curtiz

blogopenerRecently, while researching the production histories of specific Golden Age movies, I came across several dusty books from the back of my bookshelves. Evidently, I did not think they would be of much use to me. Purchased second-hand, they are a bit worse for wear. The books contain internal memos by producers and other behind-the-scenes personnel at the major Hollywood studios during the Golden Age, including Warner Bros., 20th Century Fox, and Selzick’s International Pictures. What a treasure! The memos offer juicy tidbits about the daily operations of the Hollywood industry during that magic time known as the Golden Age. This week, I thought I would share a few memos from Warner Bros. between executive producer Hal Wallis and director Michael Curtiz, because I found them enlightening.

According to Rudy Behlmer, who compiled Inside Warner Bros. 1935 – 1951, there aren’t a lot of studio papers prior to 1935. But, there are certainly a lot of memos afterward, partly because Wallis liked to flood his staff with notes and suggestions and partly because of studio policy. Printed at the bottom of the Warner Bros. interoffice stationary was the reminder: “Verbal messages cause misunderstanding and delays (please put them in writing).”

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Kid Stuff: My Little Loves (1974)

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Jean Eustache’s My Little Loves (1974) is about a boy. Twelve-year-old Daniel climbs trees, flirts with girls, and punches classmates in the stomach. He is poised between youth and adolescence, and the film seeks to capture all the moments, and all the silences, of this befuddling transition. After Eustache’s coruscating The Mother and the Whore (1973), a logorrheic portrait of post-May ’68 despair, My Little Loves seems startlingly quiet and gentle. But each are after a kind of completism, of leaving nothing out. Discussing My Little Loves, Eustache told his fellow filmmaker, and Cahiers du Cinema habitue, Luc Moullet, that he wanted “to reconstruct [my] childhood: every wall section, every tree, every light pole.” With the help of cinematographer Nestor Almendros, All My Loves becomes a sensorial memory object. There isn’t much of a narrative – it drifts – but it builds up the fabric and texture of Eustache’s childhood in the small rural town of Pessac (outside of Bordeaux), and the industrial  city of Narbonnes, on the Mediterranean coast. My Little Loves is screening on 35mm in the Metrograph’s Jean Eustache series, one of the inaugural programs for this ambitious new theater on NYC’s Lower East Side.

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