Posted by R. Emmet Sweeney on January 22, 2013
Marion Morrison had to work hard to become John Wayne. His earth-straddling lope and taffy-stretched line readings were not invented by John Ford or Howard Hawks, only finely exploited by them. The flood of Republic Pictures movies released on Blu-Ray by Olive Films illustrates this fact, filling in the blanks of the evolution of one of the screen’s most indelible personalities. Following the box-office failure of the Raoul Walsh masterpiece The Big Trail (1930), Wayne would have to wait nearly a decade before his delayed acceptance as part of Hollywood’s firmament in John Ford’s Stagecoach (1939). The period in between shows him sliding into obscurity, from Columbia and Warners down to the resourceful Poverty Row studios Mascot, Monogram and the slightly more reputable Republic. Olive has so far transferred sparkling editions of seven of the Republics, most of which finds him stepping in to play Stony Brooke, the leader of the long-running Western trio The Three Mesquiteers (he already played in a modern dress Three Musketeers for a 1933 Mascot serial – endless remakes are nothing new). Stony Brooke is lithe and quick where the classic John Wayne figures are slow-moving monuments, visible in Olive’s gorgeous 4K scan of The Quiet Man, out today on Blu-Ray, but his Mesquiteers voice exudes the chummy warmth and presence of Wayne-ness, not yet weighed down with history.
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.
Posted by R. Emmet Sweeney on January 8, 2013
Aleksandr Sokurov’s Soviet Elegy (1989) begins with a tour of tombstones, the camera floating down rows of Communist phantoms. In the next sequence, Boris Yeltsin is shown stalking down a hallway, another kind of ghost, one aware of his coming obsolescence. Sokurov’s work is a series of elegies, in which ghosts of history mourn for themselves. Cinema Guild has illustrated this development in their three-disc box set of Sokurov: Early Masterworks. It contains the three features Save and Protect (1990, DVD), Stone (1992, DVD) and Whispering Pages (1994, Blu-Ray), plus three of his shorts, including Soviet Elegy. Each displays his increasingly idiosyncratic visual sense, in which he uses distorting lenses to produce stretched figures akin to El Greco saints, yearning for a God who doesn’t respond. Sokurov is often compared to Andrei Tarkovsky, the previous Russian spiritual guide/director. But while Tarkovsky often offers the possibility of transcendence, there is no such hope in Sokurov, just figures circling a void.
Posted by Susan Doll on January 7, 2013
Recently I read Making Movies, Sidney Lumet’s career autobiography about his work as a director. This insightful but unpretentious bio includes no salacious stories about wild parties and loose women, no vindictive recollections about past slights, and no sad stories of a woeful childhood. Instead, Lumet recalled the production of his movies in great detail, providing insight into the process of film production along the way. He described the aesthetic and technical decisions on his films and what he intended them to mean—even if they did not work out the way he wanted. Lumet’s enlightening explanations and interpretations are a welcome change from directors who insist they never intend any deep meaning or subtext when they select certain techniques or create specific imagery. He also explains each phase of film production, from scriptwriting to scouting locations to shooting to scoring to marketing. The book serves as a crash course in film studies, and I highly recommend it to movie lovers of all ages.
One film that Lumet repeatedly discussed took me by surprise. The director is renowned for his pointed social dramas in which society’s institutions brutalize, betray, or forsake the protagonists or other characters. Acclaimed films such as Twelve Angry Men, Dog Day Afternoon, Network, Serpico, and Prince of the City criticize society’s weaknesses, offering pessimistic portraits of our contemporary era. While Lumet did describe the production and meaning of these films in detail, he was equally forthcoming with a much lighter movie—Murder on the Orient Express.
Posted by R. Emmet Sweeney on January 1, 2013
The beginning of the New Year means it’s time to catch up with the old. For the second year running the “First Look” series at the Museum of the Moving Image (January 4 – 13) provides an invaluable showcase for undistributed international cinema. Programmers Rachael Rakes, Dennis Lim and David Schwartz pluck adventurous work from festivals around the world, tracking developments in documentary form, the Berlin School, Korean indies and the continuing vibrancy of Portuguese film culture. In a clue as to the series’ disregard of commercial impulses, the series’ opening night film is Hors Satan, the latest by the divisive arthouse provocateur Bruno Dumont. Operating as a relatively youthful version of the New York Film Festival, First Look is an attempt to clue its audiences in to the possible future of the medium.
Posted by Susan Doll on December 31, 2012
During the last phase of his career, Harry Carey, Jr., appeared in small but significant parts in some of the few westerns produced in Hollywood during the 1980s. In Walter Hill’s The Long Riders, he played a stagecoach passenger named George Arthur, who is robbed by members of the James-Younger Gang. When George reveals that he had fought for the South during the Civil War, Bob Younger shakes his hand. The unreconstructed rebel bonds with the outlaws as he helps them rob a cowardly passenger who lies about fighting for the Stars and Bars. As the gang rides away with guns blazing, George walks toward the camera, murmuring in amazement, “I’ll be god damned and go to hell”—a proper testimonial after an encounter with legends. The stage hold-up is one of my favorite scenes in the film because it is Harry Carey, Jr., who delivers this line. As a member of John Ford’s stock company, Carey had walked among a few western legends himself, albeit cinematic ones.
Carey died last week at the age of 91, and most obituaries identified him with Ford, John Wayne, Ward Bond, Ben Johnson, and the other actors associated with Ford’s troupe. Carey was proud of his close association with Ford and his westerns even when he didn’t fully agree with the great director’s attitude toward his actors. In his autobiography Company of Heroes: My Life As an Actor in the John Ford Stock Company, he declared, “. . . I’ve only had one teacher. That man was John Ford. He was my nemesis and my hero. There were times when I was not an admirer—but when the day’s work was done—I loved him.”
Posted by R. Emmet Sweeney on December 25, 2012
It’s A Wonderful Life has screened so often it has become cultural wallpaper, the background noise to tree decorating and on-line discount shopping. When it shifted into the public domain in 1974, television channels could air it without paying fees, and it became program filler for twenty years before subsequent copyright battles (it is now owned by Viacom/Paramount). Familiarity can breed, if not contempt, then at least apathy, and It’s A Wonderful Life is treated more like a nostalgia piece than a work of art. That was my ignorant attitude, at least, until I watched it again this past weekend, and for the first time fully appreciated its melancholic rendering of adulthood’s parade of dashed hopes and perpetually delayed dreams. It was Frank Capra’s first narrative feature after four years of making propaganda films for the Army during WWII, and it feels like he imbued it with a life’s worth of disappointments, tagged with a vision of transcending these failures in an ending only Hollywood could provide.
Posted by R. Emmet Sweeney on December 11, 2012
In an early Christmas present, the Museum of the Moving Image screened a 35mm print of John Ford’s unaccountably hard-to-see The Whole Town’s Talking (1935) this past Saturday. Unavailable on home video, aside from out-of-print VHS tapes going for $60 on Amazon, it deserves to be as well known as his Oscar winning drama from the same year, The Informer (his third film in ’35, Steamboat ‘Round the Bend, is no slouch either). A box office hit which revived the career of Edward G. Robinson, its descent into relative obscurity is puzzling, aside from the larger trend of studios choosing to ignore their own history. It has not even been released on Sony/Columbia’s DVD burn-on-demand service, which was made for titles like this. In any case, it is an elegantly constructed farce that showcases the astounding range of Robinson, who can play delicate meekness and gruff murderousness for equal laughs.
Posted by R. Emmet Sweeney on November 20, 2012
The 2012 holiday season is also Alfred Hitchcock season, as studios have been looking for various ways to earn your master of suspense dollar. Universal released a brick of new Blu-Rays, HBO aired The Girl, a drama about the Hitch-Tippi Hedren relationship, and Hitchcock, the dubious-looking fiction about the production of Psycho, opens in a limited theatrical release this Friday. The most exciting Hitch development won’t cost you a thing, however, as the three extant reels of The White Shadow (1924) are now free to stream on the National Film Preservation Foundation website. Part of the cache of rarities discovered in the New Zealand Film Archives in 2010, along with John Ford’s Upstream, The White Shadow is the earliest surviving film that Hitchcock worked on. He was assistant director, editor, scenarist and art director, the second of five films on which he was the jack of all trades for director Graham Cutts. The White Shadow was a critical and box office failure, even leading to the dissolution of its production company, but what remains is an essential document of Hitchcock’s artistic maturation, containing themes of doubling and mistaken identity that would re-emerge and deepen throughout his career. Along with The National Film Preservation Foundation, great thanks are also due to David Sterritt for his informative film notes and Marilyn Ferdinand, Farran Smith Nehme and Roderick Heath, whose For The Love Of Film Blogathon funded the recording of the fine score by Michael Mortilla.
Posted by R. Emmet Sweeney on November 13, 2012
From the multiplicity of locations to place a camera, the director and his collaborators have to settle on one. This decision, born of practical training and on-set instinct, can turn a routine shot into an extraordinary one. Three recent Blu-Ray releases display the talents of the canniest of decision makers: Otto Preminger’s Bonjour Tristesse (1958), John Carpenter’s They Live (1988) and Robert Aldrich’s Twilight’s Last Gleaming (1977). Preminger and Carpenter are naturals in the CinemaScope sized frame, both alternating between B&W and color to emphasize their images’ deceptive surfaces. Aldrich uses the boxier 1.85 ratio, but chops it up into split-screens which convey a dizzying information overload that accompanies the creeping surveillance state of that film’s USA.
MovieMorlocks.com is the official blog for TCM. No topic is too obscure or niche to be excluded from our film discussions. And we welcome your comments on our blogs and bloggers.
Popular terms3-D Action Films Actors Actors' Endorsements Actresses animal stars Animation Anime Anthology Films Autobiography Avant-Garde Aviation Awards B-movies Beer in Film Behind the Scenes Best of the Year lists Biography Biopics Blu-Ray Books on Film Boxing films British Cinema Canadian Cinema Character Actors Chicago Film History Cinematography Classic Films College Life on Film Comedy Comic Book Movies Crime Czech Film Dance on Film Digital Cinema Directors Disaster Films Documentary Drama DVD Early Talkies Editing Educational Films European Influence on American Cinema Experimental Exploitation Fairy Tales on Film Faith or Christian-based Films Family Films Fan Edits Film Composers Film Criticism film festivals Film History in Florida Film Noir Film Scholars Film titles Filmmaking Techniques Films of the 1980s Food in Film Foreign Film French Film Gangster films Genre Genre spoofs Guest Programmers HD & Blu-Ray Holiday Movies Hollywood history Hollywood lifestyles Horror Horror Movies Icons independent film Italian Film Japanese Film Korean Film Leadership Literary Adaptations Martial Arts Melodramas Method Acting Mexican Cinema Moguls Monster Movies Movie Books Movie Costumes Movie locations Movie lovers Movie Magazines Movie Reviewers Movie settings Movie Stars Movies about movies Music in Film Musicals New Releases Outdoor Cinema Paranoid Thrillers Parenting on film Pirate movies Polish film industry political thrillers Politics in Film Pornography Pre-Code Producers Race in American Film Remakes Revenge Road Movies Romance Romantic Comedies Russian Film Industry Satire Scandals Science Fiction Screenwriters Semi-documentaries Serials Short Films Silent Film silent films Social Problem Film Spaghetti Westerns Sports Sports on Film Stereotypes Straight-to-DVD Studio Politics Stunts and stuntmen Suspense thriller Swashbucklers TCM Classic Film Festival Tearjerkers Television The British in Hollywood The Germans in Hollywood The Hungarians in Hollywood The Irish in Hollywood The Russians in Hollywood Theaters Thriller Trains in movies Underground Cinema VOD War film Westerns Women in the Film Industry Women's Weepies