Flipper Meets the Creature from the Black Lagoon

blogflipper

I enjoy reading and writing about the cinematic history of my adopted home state of Florida . From the silent era when Jacksonville almost became the center of the industry until now, Florida has served as an attractive location for film production.

[...MORE]

When Jerry Lewis Met Norman Rockwell

blogNormJerryJerry Lewis, the consummate auteur, exerted a degree of creative control over all of his solo films. In 1959, Lewis was working with Frank Tashlin on Cinderfella: He served as producer and star while Tashlin was hired to direct. A gender-reversal version of the classic fairy tale, Cinderfella had been written by Tashlin as a vehicle for Lewis, who maintained absolute control over his comic persona. He also had input into the marketing of the film.

It was Lewis’s idea to hire legendary illustrator Norman Rockwell to do the art for the Cinderfella poster. According to Lewis in a recent article for Intelligent Collector, “My whole idea was to get an icon in the world of art and have that icon sell the movie for me. And Norman Rockwell brought that.” Why was Lewis adamant about hiring Rockwell as that icon? I think it had something to do with Rockwell’s image as the premier painter of Americana whose content was the everyday life of the American family—holiday celebrations, childhood rituals and games, first dates, the pleasures and ease of small-town life. Though Rockwell painted other content, including topical subjects of racism and integration, the public associated him with sentimental or nostalgic images of family life.

[...MORE]

THE WIZARD OF OZ – 75th Anniversary

75th Anniversary of THE WIZARD OF OZ

A blurb written in 1998 by Rick Polito for a TCM screening of The Wizard of Oz was resuscitated on the internet two years ago and went viral: “Transported to a surreal landscape, a young girl kills the first person she meets and then teams up with three strangers to kill again.” Eight years before that, during my college years in 1990, space limitations on the calendar film series I was programming inspired similarly curt descriptions. Mine, however, were not funny and only annoyingly glib. For 2001: A Space Odyssey I wrote one sentence: “Do we really need to write a description for this?” My flippant entry for The Wizard of Oz was no better: “You know this one too. It’s not like it hasn’t been on TV every year for the last 25 years.” Had I done my homework I would have known that, at the time, it had actually been on TV for even longer than that but, either way, readers were not amused. And rightly so, because no matter how familiar you are with The Wizard of Oz, the film has many layers, it deserves more than flippant sentences, and it rewards repeat viewings. More to the point, people who are only familiar with The Wizard of Oz from television will have a  big-screen opportunity to tremble under the earth-ripping power of those opening cyclone shots, thanks to TCM and Fathom Events which will be bringing the movie to select theaters nation-wide on January 11th. [...MORE]

I’m not finished with you, MONSTER THAT CHALLENGED THE WORLD… not by a long shot!

monsterchallengedI’ve been grooving to the soundtrack to Arnold Laven’s THE MONSTER THAT CHALLENGED THE WORLD (1957) for about 24 hours now (there was some sleep jumbled up in there, but not a whole lot), which was released by Monstrous Movie Music back in 2011. (It should come as no surprise at this juncture that it takes me a while to get to around to new things.) Heinz Roemheld’s full-bodied cues (orchestrated by Herschel Burke Gilbert) for this mollusk-on-the-loose classic are reliably immortal, full of blood and thunder (and slime), and making pioneering use of backmasking ten years before The Beatles got all the girls for doing the same thing. There’s lots of choice misterioso in the mix and moody string work, some of which might remind the older Monsterkids among us of Roemheld’s score for THE MOLE PEOPLE (1956). Anyway, Monstrous Movie Music has done an incredible job of assembling all of Romheld’s cues and providing context for each of them, deconstructing the composition and execution to give the curious a fuller appreciation of the work that went into this project, which I first saw as an impressionable lad of, oh, 10 or 11 or 12, when it was shown at my local drive-in on a triple bill with THE VAMPIRE (1957) and THE RETURN OF DRACULA (1957)– all projected in green, so that they could be sold to us rubes as color movies. I love the track titles that disc producers David Schecter and Kathleen Mayne have provided for our enjoyment, such as “Death by Fright,” and “Mollusk Mood Music” and “Slime.” But one track in particular caught my eye: “Scarf Found.” And it got me to thinking. (Cue flashback music.) [...MORE]

3602537-9251866745-image
August 16, 2014
David Kalat
Posted by:

Robin Williams, My Popeye

I had planned to run something else here this week, but in light of this week’s tragic news regarding Robin Williams, I’ve shoved that essay to a later week and opted to re-run an oldie but a goodie, my fifth ever Movie Morlocks post from four years ago about one of my very favorite movies, which happens to star Robin Williams  (apparently when I re-posted it, the original comments reposted with it!).

The actual piece itself makes a passing mildly unkind remark about Williams, within the context of praising one of his most notorious flops.  I thought about rewriting that section but decided against it because it felt dishonest.  And as schmaltzy as Williams ever was, he was never dishonest.

There is a curious distinction to be drawn between “pop culture” and “popular culture.”  It’s a divide that’s been opening up in American entertainment ever since the days of Elvis–arguably ever since jazz–but the 21st century’s media fragmentation and Internet communities have only hastened the pace.  To put it simply, “pop culture” loves Community; “popular culture” loves NCIS.  And there was a time when Robin Williams was an anarchic rebel force from pop culture, and a time when he opted to make career choices driven by popular culture.  The hipsters of pop culture never forgave that defection; the vast majority of America never saw it as a defection in the first place.

Below the fold: the story of an oddity that belongs to neither pop culture nor popular culture, despite being a splashy musical comedy from some of America’s most accomplished satirists and starring its then-up-and-coming beloved comedian superstar, adapted from one of the most ubiquitous and enduring characters of 20th century pop/popular art.

[...MORE]


KEYWORDS: bill irwin, comic book films, harry nilsson, jules feiffer, Musicals, Popeye, Robert Altman, Robin Williams, Shelley Duvall
COMMENTS: 66
SUBMIT

We all know that Christmas is a big commercial racket. It’s run by a big eastern syndicate

This is a season of traditions: those comforting rituals that we reiterate on an annual basis because no matter how small some of them may be (like the making of home-baked ginger snaps), they have become imbued with powerful memories of home and loved ones, such that these little ceremonies carry a weight of meaning far in excess of their actual ability to signify.

There used to be a coterie of movies that belonged to these same holiday traditions—certain films like The Wizard of Oz or It’s a Wonderful Life that were consistently and regularly replayed on commercial television on certain holidays.  You could almost set your watch to them. 

CHARLIE.BROWN_CHRISTMAS-7

Since its original broadcast in 1965, A Charlie Brown Christmas has been one of the most enduring and beloved holiday mainstays—and its history has a curious Mobius strip like effect.  When you watch A Charlie Brown Christmas this year—in whatever media you do (broadcast, on-demand, iTunes download, DVD, Blu-Ray, hallucinatory memory)—you are participating in a metatextual reconfiguration of its core themes!  Betcha didn’t even know that!

[...MORE]

Snapshots of the Fall: Part II

In my last post I provided a look behind the curtain for the first five weeks of film programming for my fall film calendar. This week we look at the remaining 24 titles that round out the schedule. It features everything from classics such as Vertigo to the state premiere of the latest uncompromising and visually arresting film by Bruno Dumont, Outside Satan (a scene of which is pictured above). [...MORE]

Films about Faith – a sequel

It’s been more than four and a half years since my first Morlocks blog on this topic, which is so long ago that Google no longer caches the page. While I’ve added a little bit to the original essay on my site (after watching Martin Luther (1953), A Man Called Peter (1955) – available via DIRECTV’s TCM on Demand this month, and One Man’s Way (1964) in fairly quick succession this fall), I haven’t written about the most deeply spiritual and openly Christian films I’ve seen, until now.

[...MORE]

Hallmark Original Movies

This week I’m asking my son Max to join me in talking about a peculiar genre of movies I was unfamiliar with until he became obsessed with them last year. I wanted him to have the chance to share his passion with you, to help you find the joy he finds in these movies–consider it a Christmas gift from him to you.

The genre? Why, Hallmark original holiday movies, that’s what!

Splash page

[...MORE]

Muppet Love

I have something I need to say. It’s something I don’t say often enough, and for that I am sorry. You deserve to hear it. The words are few but powerful.

I love you. I love you, Muppet Movie.

poster [...MORE]

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.
See more: facebook.com/tcmtv
See more: twitter.com/tcm
3-D  Academy Awards  Action Films  Actors  Actors' Endorsements  Actresses  animal stars  Animation  Anime  Anthology Films  Art Direction  Art in Movies  Asians in Hollywood  Australian CInema  Autobiography  Avant-Garde  Aviation  Awards  B-movies  Beer in Film  Behind the Scenes  Best of the Year lists  Biography  Biopics  Black Film  Blu-Ray  Books on Film  Boxing films  British Cinema  Canadian Cinema  Character Actors  Chicago Film History  Children  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  Fantasy Movies  Film Composers  Film Criticism  Film Festival 2015  film festivals  Film History in Florida  Film Noir  Film Scholars  Film titles  Filmmaking Techniques  Films About Gambling  Films of the 1930s  Films of the 1960s  Films of the 1970s  Films of the 1980s  Food in Film  Foreign Film  French Film  Gangster films  Genre  Genre spoofs  HD & Blu-Ray  Holiday Movies  Hollywood history  Hollywood lifestyles  Horror  Horror Film Hosts  Horror Movies  Icons  independent film  Italian Film  Japanese Film  Korean Film  Literary Adaptations  Martial Arts  Melodramas  Memorabilia  Method Acting  Mexican Cinema  Moguls  Monster Movies  Movie Books  Movie Costumes  movie flops  Movie locations  Movie lovers  Movie Magazines  Movie Posters  Movie Reviewers  Movie settings  Movie Stars  Movie titles  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  Sequels  Serials  Set design/production design  Short Films  Silent Film  silent films  Social Problem Film  Spaghetti Westerns  Sports  Sports on Film  Stereotypes  Steven Spielberg  Straight-to-DVD  Studio Politics  Stunts and stuntmen  Suspense thriller  Swashbucklers  TCM Classic Film Festival  TCM Programming  TCM Underground  Telephones  Television  The British in Hollywood  The Germans in Hollywood  The Hungarians in Hollywood  The Irish in Hollywood  Theaters  Thriller  Trains in movies  U.S.S. Indianapolis  Underground Cinema  VOD  War film  Westerns  Women in the Film Industry  Women's Weepies