Posted by Kimberly Lindbergs on February 9, 2017
Love is complicated. Some see it as a priceless gift or blessing while others describe it as an unshakeable disease. It can be comforting, enriching, elevating, thrilling and divine. It can also be messy, unruly, feral, ferocious and cruel, particularly if you are suffering from acute depression. In Dans Paris aka In Paris (2006), French filmmaker Christophe Honoré (Ma mère aka My Mother , Les chansons d’amour aka Love Songs , Les Bien-Aimés aka Beloved ) introduces us to a family in the throes of a profound depression although this fact is kept hidden from viewers throughout most of the film’s 90-minute runtime. Instead of focusing on the hows, whys and what fors of the situation, Honoré shows us how each family member is trying to cope and for better or worse, their drug of choice is love. With Valentine’s Day looming on the horizon, I thought it would be a good time to revisit Dans Paris, one of my favorite French films of the past 20 years, which is currently streaming on FilmStruck. Honoré’s delightful, difficult and bittersweet romantic drama is part of their holiday appropriate “City of Love” theme featuring films set in Paris, a city that’s mere name conjures up scenes of romance and passion.
Posted by Nathaniel Thompson on January 4, 2017
There’s something really special about transitional films in a director’s filmography, and it almost always drives critics insane when those movies first open. Case in point: Stardust Memories (1980), Woody Allen’s first film of the 1980s (or last of the 1970s if that’s how you prefer to count decades) and a challenging gauntlet thrown down by the director after two of his ambitious films, the austere drama Interiors (1978) and his most iconic ode to his favorite city, Manhattan (1979). There was a lot of chatter at the time about the “Serious Woody Allen” (the name of a little retrospective running right here, by the way), with admirers and detractors alike honing in on the increasing Ingmar Bergman influence that had been dotted through several of his films before leaping to the forefront in both Love and Death (1975) and Interiors. So what did Allen do? He pulled a Fellini instead, and for years, no one knew what to make of it. [...MORE]
Posted by Greg Ferrara on December 30, 2016
In 1973, George Lucas, at the time known only to those few people who had seen THX-1138 (1971), unleashed the most successful coming of age film of all time, American Graffiti. Coming of age movies not only took off at the box office, they became nostalgia movies for the Baby Boom generation. Unlike Andy Hardy or Gidget movies, which were always contemporary to their production, these new Coming of Age movies took place in the past. From American Graffiti to The Lords of Flatbush (1974) to Animal House (1978) and straight through to Porky’s (1982), nostalgia was the go-to for teenage/early twenty-something romps. One of them, Cooley High, made by American International Pictures, became a sleeper hit and it was the only one addressing African American teens and their own hopes and dreams. [...MORE]
Posted by Kimberly Lindbergs on December 29, 2016
Biopics can be predictable and formulaic affairs. They often rely on a checklist of theatrical high points and low points, which restrict the scope of the drama and transform the rich panorama of life into a cheap paint by numbers routine. John Huston’s Moulin Rouge (1952) is an exception to that tired rule thanks to some innovative directing choices that challenged standard Hollywood tropes at the time it was made. In turn, this stirring dramatization of French artist Henri de Toulouse-Lautrec’s brief life is a brooding contemplation of the artistic process and a celebration of nineteenth-century bohemian Paris.
Posted by Pablo Kjolseth on December 25, 2016
Today’s topic is probably not the one you were expecting to see on Christmas Day proper, but as a film programmer I’ve always enjoyed counter-programming. With that in mind, my double-feature recommendation for FilmStruck viewers comes in the shape of two black comedies: La Poison (Sacha Guitry, 1951) and The Player (Robert Altman, 1992).
Posted by Greg Ferrara on December 2, 2016
The year of 1977 in the movies is overshadowed by one major box office transforming success, Star Wars. It is also known as the year that Woody Allen stepped away from slapstick and journeyed into more sophisticated filmmaking, enjoying both critical and Oscar success with Annie Hall, which won Best Picture. What it is not known for is the gut-kicking morality tale directed by Larisa Shepitko, The Ascent (released in the USSR in 1976, Europe and the states, 1977). Too bad, it’s the best film of the year. Hell, it may be the best film of the seventies.
Posted by R. Emmet Sweeney on November 22, 2016
“I squandered a really good career. What can I say?” – Paul Brickman to Salon
After the phenomenal success of Risky Business (1983), writer-director Paul Brickman was offered hundreds of screenplays to adapt. Brickman rejected them all, including future hits Rain Man and Forrest Gump. Frustrated with the Geffen Film Company’s imposed happy ending on Risky Business, he instead bided his time until Men Don’t Leave (1990) crossed his desk seven years later. A finely tuned family melodrama about the loss of a husband and father – and the aftershocks of grief – it failed to find an audience and swiftly disappeared from view. Brickman has not directed a feature since. Men Don’t Leave, now streaming on FilmStruck, should have been the start of the next phase of his career instead of an abrupt end. It is a film of empathy and grace, led by a thorny performance by Jessica Lange as a widowed, exhausted single mother trying to raise two kids and make ends meet.
Posted by Kimberly Lindbergs on September 22, 2016
One of my favorite Otto Preminger films has finally found its way onto DVD and Blu-ray thanks to Olive Films. Tell Me That You Love Me, Junie Moon (1970) was never released on home video so this marks the first time Preminger’s offbeat comedy-drama has been made easily accessible outside of airing on television where it was often edited or given the pan and scan treatment. Hopefully the Olive Films release will help the film find a new audience that appreciates its thought-provoking premise and quirky charm.
Tell Me That You Love Me, Junie Moon was originally based on a 1968 novel by Marjorie Kellogg, who also wrote the film’s screenplay. It tells the story of three misfits who form a makeshift family after leaving the hospital where they had been convalescing. Liza Minelli plays Junie Moon, a quirky and resourceful young woman disfigured in a vicious attack by a psychopath she once dated. Her compatriots include Robert Moore as Warren; a wheelchair bound gay man crippled in a shooting incident and Ken Howard as the childlike Arthur. Arthur is suffering from an undiagnosed form of epilepsy or neurological disorder as well as mental trauma after being involuntarily institutionalized when he was a child. We get to know these three unlikely companions as they move into a dilapidated old house owned by a flamboyant landlady (Kay Thompson), find work with a local fishmonger (James Coco), adopt a neighborhood owl and stray dog and frolic at a seaside resort with an affable beach boy (Fred Williamson). Things don’t end well for the troubled trio but they make the most of their short time together.
Posted by Susan Doll on September 19, 2016
“The patterns of which this piece speaks are behavior patterns of little human beings in a big world—lost in it, intimidated by it, and whose biggest job is to survive in it.” So said Rod Serling about his 1955 tele-drama Patterns, which was adapted into a feature film the following year. The quote by Serling is from the Bantam paperback version of the narrative, which was published in 1957. The story was produced in three separate mediums—television, film, and written fiction (left)—suggesting that it hit a nerve with audiences during the 1950s.
The film version, which airs on TCM this Saturday, September 24, at 10:15pm EST, differs from the tele-drama primarily in the casting of movie star Van Heflin as protagonist Fred Staples. Industrial engineer Staples and his wife, Nancy, played by Beatrice Straight, relocate from friendly Mansfield, Ohio, to cold-hearted Manhattan after Fred takes a job with Ramsey & Co. He and veteran vice-president Bill Briggs, played by Ed Begley, hit it off until Fred learns from company president Walter Ramsey that he was hired to replace the older man. Everett Sloane costars as Ramsey, who brow-beats Briggs in meeting after meeting, hoping to force the older executive to resign or retire. Caught in the middle, Staples struggles with his conscience. Though he protests the unfairness of Ramsey’s tactics, he stops short of making any real sacrifice on his friend’s behalf.
Posted by Nathaniel Thompson on September 7, 2016
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