So what do we find here? Two different fortune tellers, neither one genuine. A dead man who isn’t dead—or, put another way, a man who is killed twice. Two different characters who kill a loved one, a set of secret microfilm that is stolen twice, a fake blind man, fake cops, a fake delivery of some fake books to a fake address. Is Mr. Travers the same man as Dr. Forester, or is Mr. Travers the same man as Mr. Costa? Which Mrs. Bellane is the real one—or is neither one of them a real person?
OK, slow down. Take this one step at a time.
Posted by R. Emmet Sweeney on December 23, 2014
Let the proliferation of year-end lists wash over you with a resigned calm. And let me add another one to the ocean of opinion. Today I’m presenting my top ten new-to-me movies of 2014. That is, older films that I have seen for the first time. They are the backbone of any movie-going year, whether it’s catching up to acknowledged classics (for me, The Best Years of Our Lives) or going trawling for obscure auteurist gems (Lubitsch’s Broken Lullaby, Edward L. Cahn’s Redhead). It’s a way to draw attention to a wider range of filmgoing possibilities, so you don’t have to read about Boyhood for the bazillionth time (though, if you do, my appreciation is over here). All credit goes to prodigious blogger Brian Saur from Rupert Pupkin Speaks, who collects “Favorite Film Discoveries” from writers, programmers and filmmakers every year, and asked me to contribute once upon a time. I found the exercise invigorating, more so than the usual end-of-year recycling, so you have him to thank or blame.
Posted by R. Emmet Sweeney on December 16, 2014
Albert Lewin is an elusive figure in the history of Hollywood. He was an educated aesthete with a B.A. from NYU and a M.A. from Harvard who took a job as a script reader at Samuel Goldwyn studios. He swiftly rose through the ranks after Goldwyn was absorbed by MGM, and he was one of the five “Thalberg Men” who facilitated the studios success, overseeing hits like Spawn of the North and Mutiny on the Bounty. When not overseeing super productions, Lewin directed six unusual features, almost all about artistically inclined loners enmeshed in a debilitating obsession. His most famous film is his 1945 adaptation of Oscar Wilde’s The Picture of Dorian Gray, which is now available on Blu-ray from the Warner Archive. It is a startlingly controlled production, from Hurd Hatfield’s evocatively blank lead performance to the deep focus photography of DP Harry Stradling, which gives ample space for Gray’s emptiness to expand.
Posted by R. Emmet Sweeney on November 18, 2014
Through serendipity, skill and plain dumb luck, the last two silent films featuring comedic firecracker Colleen Moore have been restored through the work of The Vitaphone Project and Warner Brothers. Presumed lost, Synthetic Sin (1929) and Why Be Good? (1929) were sitting in a Bologna archive, waiting for money and TLC to set them free. They received their restoration premieres at Film Forum in NYC, and both are risque flapper comedies in which Mrs. Moore’s high-spirited subversive tests the boundaries of accepted female behavior. Why Be Good? was just released by Warner Archive on DVD with its full Vitaphone audio (which adds synchronized sound effects and a jazzy score). Each was directed by William A. Seiter, an inventive gag man as well as a sensitive shaper of star personas, from the Dadaist antics of Wheeler and Woolsey through the stubborn independence of Ginger Rogers. One of his earlier star-whisperer jobs was for child actor Baby Peggy, in The Family Secret (1924). A preserved Library of Congress print screened at MoMA’s To Save and Project festival of film preservation last month. Though Baby Peggy and Colleen Moore are after different things (chocolate and men, respectively) they each destabilize the society around them by daring to be independent.
Posted by Richard Harland Smith on November 14, 2014
TCM Underground, Saturday November 15th, 2014: IT’S A SMALL WORLD, 11:00pm PST/2:00am EST. Directed by William Castle. Cast: Paul Dale, Lorraine Miller, Will Geer, Nina Koshetz, Steve Brodie, Anne Sholter, Todd Karns, Margaret Field, Shirley O. Mills, Tom Brown Henry, Harry Harvey, Paul E. Burns.
Having spent his childhood hidden away from society by his well-meaning but unenlightened father, a dwarf enters the real world, where he encounters prejudice and exploitation at the hands of a criminal gang.
When a promised A-list assignment failed to materialize at Columbia Pictures, where he had slaved for the better part of a decade making programmers for the studio’s B-unit under the vulture eye of Harry Cohn, writer-director William Castle asked to be released from his contract. Hiring on at Universal-International for a three-year separation from Cohn (who later hired him back and got him working in Technicolor), Castle also pitched projects to independent Eagle-Lion Films, the American distribution arm of England’s J. Arthur Rank Organization. Founded in 1946, the company had absorbed the bankrupt Poverty Row outfit Producers Releasing Corporation and was by 1948 producing B-pictures to accompany into the cinemas such lofty British imports as Powell and Pressburger’s THE RED SHOES (1948) and Laurence Olivier’s HAMLET (1948). Seeing the cinematic possibilities in Robert Heinlein’s 1947 science fiction novel Rocket Ship Gibraltar, Castle proposed a space exploration film to be titled DESTINATION MOON but Eagle-Lion chief Arthur Krim turned him down, declaring the concept too fantastic. (Producer George Pal latched onto the discarded title and won a 1951 Academy Award for his DESTINATION MOON.) Undaunted, and with no shortage of big ideas, Castle took his sales pitch in another direction entirely. [...MORE]
Posted by Kimberly Lindbergs on October 23, 2014
Hammer Films produced four Mummy movies between 1959 and 1971 and this coming Saturday (Oct. 25th) TCM is airing one of my favorites, Seth Holt’s BLOOD FROM THE MUMMY’S TOMB (1971). This unabashedly sexy horror extravaganza was the last Mummy movie produced by the ‘Studio that Dripped Blood’ and thanks to a great cast and some creative directing choices it turned out to be one of their best. But before it reached the screen the production was plagued by some serious setbacks that seemed to resemble the effects of a ‘mummy’s curse’ that’s often associated with doomed adventure seekers and tomb raiders. Was it just circumstance and bad luck or did something supernatural interfere with the making of the film? Read on to find out!
Posted by R. Emmet Sweeney on October 14, 2014
The Lusty Men is haunted by the Great Depression. It’s about economic displacement, wandering the countryside to make a buck at podunk rodeos, and where the dream of owning a home seems forever out of reach. As with most Hollywood studio projects, The Lusty Men was built out of compromise and circumstance, starting as a Life magazine article on the rodeo by Claude Stanush, and turning into a largely improvised character study by director Nicholas Ray and star Robert Mitchum. In between were a series of scripts, the first by David Dortort, and the second by Horace McCoy, who had made his name writing about Depression desperation, most famously in his novel They Shoot Horses, Don’t They? None of them satisfied Ray or producers Jerry Wald and Norman Krasna, so they often worked without a screenplay. It is a vulnerably acted film, as Ray teases out the fragility in Mitchum and co-stars Arthur Kennedy and Susan Hayward. It is a love triangle of sorts, but one enacted with complete honesty and forthrightness. The question is between the stability of Arthur Kennedy or the soulfulness of Mitchum, and while aesthetically it’s an easy decision (Mitchum has never been so beautiful), for characters raised dirt poor it’s a heart-wrenching choice. The Lusty Men, recently restored on 35mm by Warner Brothers, The Film Foundation and the Nicholas Ray Foundation, has finally been released on DVD by the Warner Archive (it also airs 11/4 at 1:30PM on TCM). Ever since the restored print screened at the New York Film Festival last year, I was patiently awaiting a Blu-ray release, but this will have to do. Luckily the DVD is in fine shape, aside from the beat-up archival rodeo footage which sets the stage for the drama to come.
Posted by R. Emmet Sweeney on September 23, 2014
The fifty-second New York Film Festival begins this Friday night with the world premiere of Gone Girl, the David Fincher adaptation of Gillian Flynn’s ubiquitous spousal murder mystery. But the early highlight of the thirty-film main slate concerns another missing woman, although in a less-outwardly-thrilling scenario. Hong Sang-soo’s Hill of Freedom, which screens the evenings of 9/30 and 10/8, concerns an unemployed Japanese intellectual in Korea, searching for an absent woman he once loved. It’s another variation on Hong’s recent string of films about travellers and transitional spaces (Our Sunhi, In Another Country, The Day He Arrives) where drinking is the main form of communication. Hill of Freedom works hilariously well as a fish-out-of-water comedy, but also contains pockets of melancholy about time’s passage, professional failure, and the inadequacy of language. It is currently without a distributor, and unlikely to acquire one, considering how poorly his sparsely distributed output has done stateside.
There is another gone girl in Lisandro Alonso’s Jauja (screening 10/7 and 10/9), when the daughter of a colonial Danish military engineer (Viggo Mortensen) scampers off into the Patagonian wilderness. In his three features La Libertad, Los Muertos and Liverpool, Alonso has chosen landscapes first and built narratives around the spaces and the habits of its people. Jauja is his first period piece, and an imaginative leap from the patient everydayness of his previous films. With nods to The Searchers and Heart of Darkness, Jauja follows the engineer as he plunges deeper into a country he doesn’t understand, ending in hallucinations and a legacy of confusion.
Posted by Kimberly Lindbergs on August 21, 2014
Last week this blog started to resemble the obituary section of my local newspaper and while I hate to continue that trend I couldn’t let Brian G. Hutton’s demise go unmentioned. The New York born director and actor is best remembered today for his work on two popular big-budget WW2 films, WHERE EAGLES DARE (1968) and KELLY’S HEROES (1971) but he also appeared in some memorable films such as John Sturges’ GUN FIGHT AT THE O.K. CORRAL (1957) and the Elvis vehicle, KING CREOLE (1958) as well as many popular television shows including GUNSMOKE, PERRY MASON, RAWHIDE and ALFRED HITHCOCK PRESENTS. The last film Hutton helmed was the Indiana Jones inspired HIGH ROAD TO CHINA (1983) and soon afterward he retired his directing chair. According to the fine folks at Cinema Retro, Hutton’s self-deprecating sense of humor often led him to criticize his own movies and he didn’t look back all that fondly at the time he spent in Hollywood but many film enthusiasts like myself appreciate the eclectic body of work he left behind.
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.
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