Imagine yourself hopscotching through time in Hollywood at the holiday season in the 1930s and 1940s. Chances are, if you are a just a visitor, a civilian with little interest in show biz, or even one of the hoi polloi, eking out a pretty fair living as one of the worker bees in the film industry, often working six days a week, if you are lucky, and trying to make your pay packet last from week to week, you might be feeling a bit exhausted by New Year’s Eve.

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Ever wonder if the universe might be sending you a secret message? I’m not one to read tea-leaves or Tarot cards, but sometimes think numerology can be fun. So today I woke up wondering if there could be any significance to it being the first day of the eleventh month of the year. Taking a cue from the popular internet meme that asks people to turn to a specific page in the book nearest them to share an excerpt, I decided to see what films the cosmos might be suggesting I add to my Netflix account by pulling down from my bookshelf all the film books I had that I figured would have plenty of poster art. Then I counted the stack. I’m not making this up: there were exactly eleven books! I was off to a good start. How to proceed? Since it’s the first day of the eleventh month of the year I went to page 11, and from there let my finger fall on the very first film image that followed. With that in mind, I now dedicate the following eleven films to the month of November: READ MORE

Careening across the countryside in a gypsy wagon, a lovesick hunchback cries out piteously for release from his twisted form. A hardworking Jewish-American father tries to appease his young son on his birthday, seeking to interest him in a baseball bat rather than an expensive violin.

A tired general on the Western frontier finds a few moments of solace in soldiers’ singing. An Italian soldier, willing to do anything to get back to his wife and baby, is stranded in the war-torn desert. A stoic Indian chief joins a wild west show, finding a way to keep his dignity despite his reduced circumstances.
A broken matador tells an up and comer some hard truths. A Mexican dictator regretfully but decisively goes to war. A Japanese editor tries to correct his American-educated son’s corrupt Western ways.
A half-monkey, half-man broods endlessly about his plight, especially since he’s stuck being a houseboy for his creator.

What do each of these diverse (and sometimes pretty outlandish) characters and at least 200 more have in common? Character actor and changeling J. Carrol Naish (1896-1973). I can’t possibly touch on the range of Naish‘s roles in this blog, but his remarkably productive career includes an enormous range of characters, far beyond the roles as heavily accented types he is often best remembered for today.

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If, like the rest of us peasants, you can’t get enough of ambitious movies set in Mesoamerican times, you might want to check out Mel Gibson’s Apocalypto (2006). I’ve tried to watch that recent movie about three times now, but somewhere around the time that the words “I am Jaguar Paw. This is my forest. And I am not afraid” are spoken, I tend to nod off, even when these lines are spoken in the Yucatec Mayan language. My excessive snoring is the only thing that kept waking me up as Mr. Gibson‘s earnest attempt to dramatize the decline of Mayan civilization unfolded into the expected gore-filled spectacle. But enough of those stabs at historical accuracy in the movies–give me an engrossing, epic-sized if ill-conceived distortion to get me through the dog days of summer.

Happily, I’m here to report that no attacks of narcolepsy occurred while discovering the utterly delightful, nearly unknown Yul Brynner movie, Kings of the Sun (1963) recently. That 108 minute movie, shot in richly textured hues of De Luxe Color, is one of those being aired today, August 26th at 1:30PM EDT on TCM as part of Yul‘s moment in the Summer Under the Stars annual August event. An audacious movie–befitting an American financed re-imagining of the rise of a hypothetical ancient Mayan culture—was crafted with enormous professionalism in every frame, from the gorgeous cinematography of Joseph MacDonald to the rousing score from Elmer Bernstein and a cast of Oscar honorees and an industrious troupe of artists and craftsmen. The only problem is the script, darn it!
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Acceptable risk vs. benefit ratios, the duality of human nature and the beautiful way that smoke photographs in black and white movies. These are some of the topics that an admittedly geeky but bright friend loved to discuss as we both studied for a professional insurance licensing exam a few years ago. At the time, I was overwhelmed trying to master enough arcane information just to squeak by on the exam for my then job,  (though I’ve never used most of it again!).

While watching The Hucksters (1947) the other night on TCM, I thought about those philosophical conversations that my fellow student and I once had during breaks in our study sessions almost a decade ago. We were trying to avoid thinking too hard about actuarial tables, state regulatory laws, death and taxes. Fortunately for me, my pal had a love of classic movies, and a background in advertising that gave him some amusingly dark insights into the wizened, manipulative heart of modern methods of persuasion. The real life people who inspired this movie might be more interesting than the film.

The rather tepid and predictable drama in this movie seems to have been biting the hand that fed it by parodying the corporate culture and publicity machines that the major studios, including MGM, had helped to create during the studio era. Based on a roman a clef by Frederic Wakeman, a former advertising account manager at the Lord & Thomas ad agency, the once controversial novel was inspired by the author’s observations and a nonfiction four part series published in The Saturday Evening Post that critiqued the growing power of the Music Corporation of America (MCA).

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A couple weeks ago I wrote about Not Quite Hollywood (2008), a documentary about Australian expoitation films that’s getting a  limited theatrical release. In that film, Quentin Tarantino gives enthuasistic endoresements to many offbeat titles, but the one that he put on a top-ten short list was Long Weekend (1978). Long Weekend was directed by Colin Eggleston (1941 – 2002) and stars John Hargreaves, as Peter, and Briony Behets as Marcia. Peter and Marcia are a bickering married couple that, along with their dog, Cricket, go on a camping trip riddled with bad omens followed by serious consequences. READ MORE

Any films buffs near Denver this November 13 – 23 are advised to check out the 31st Starz Denver Film Festival. Here is a glimpse at what S.D.F.F. offers: Red Carpet Presentations (gala screenings with special guests followed by parties), Special Presentations (these are titles that programmers feel are destined for various awards), Films In Competition that vy for The Krysztof Kieslowski Award (reflecting the sensibilities of the late Polish director), the Emerging Filmmaker Award (presented to first or second-time directors who have yet to gain U.S. distribution), and the Maysles Brothers award for Best Documentary (presented annually by Albert Maysles to a feature-length nonfiction film without U.S. distribution). But that’s not all, there’s also: Contemporary World Cinema (one of my favorite sections), Documentary Films, a New Directors Showcase, a Tributes section (this year bringing out Carolee Schneemann, Richard Jenkins, Majid Majidi, Thomas Imbach, and Wally Pfister), a showcase called In Memoriam for recently departed artists (this year: Anthony Minghella, Paul Newman, and Sydney Pollack), a selection of late-show/cult fare titled The Watching Hour, two  different platforms for short films (one for vets, one for students), and this year a spotlight on animation. Also: too many attending guests, panel discussions, etc., to list here. Phew! Still with me? Good. Below is a brief look at four films screened at the 31st S.D.F.F. 

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Gee, but the 1960s seem like a really long time ago.  Some…many…of our readers were probably not even born then, but it was, by everyone’s account, an amazing decade.  Movie stars were MOVIE STARS, bigger than life and still held shakily aloft on pedestals shored up by a more discreet press and slightly more genteel public celebrity behavior.  But you can’t change human nature, and when married Elizabeth Taylor, wed to Eddie Fisher, met and fell in crazy love with Richard Burton, married to Sybil Williams, it was the scandal of the decade.  Sybil, an actress, had two children with Burton, but picked up her life after the well-publicized break-up with Burton and went on to become a major figure in the discotheque culture of New York of the ’60s, and got herself a boyfriend along the way, singer-actor Jordan Christopher.

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