jpg00020
December 14, 2013
David Kalat
Posted by:

A girl and a gun

For the last few weeks, we’ve been looking at the career of Claude Chabrol, a filmmaker who took pride in repeatedly remaking the same basic film endlessly.  We’re finally done with Chabrol—which means it’s time to skip back in time to one of Chabrol’s idols, Fritz Lang.

If you want to play along at home, TCM will be screening The Big Heat on Friday December 20th.  It’s as hard-hitting and bold as any American film noir—which is appropriate, for a film that found Lang updating his Dr. Mabuse franchise for American audiences.

[...MORE]


KEYWORDS: Fritz Lang, Glenn Ford, Gloria Grahame, The Big Heat (1953)
COMMENTS: 5
SUBMIT
images
November 30, 2013
David Kalat
Posted by:

Claude Chabrol: a primer

For many, the term Nouvelle Vague is virtually synonymous with its twin axes, its most famous practitioners, François Truffaut and Jean-Luc Godard. But if Truffaut and Godard were destined to become the famous names of the lot, Claude Chabrol was there first.

It was his 1958 film Le Beau Serge that launched the movement, and it was he who financed much of the early New Wave productions.  But it was not quite as perfect an inauguration to Chabrol’s own career, for reasons that were not immediately clear.

What was immediately clear was that the earth had moved. Le Beau Serge took home a prize at the 1958 Locarno film festival, but it was the picture’s popular and commercial success that truly spelled the start of something big.

[...MORE]


KEYWORDS: Claude Chabrol
COMMENTS: 4
SUBMIT
jpg00027
November 23, 2013
David Kalat
Posted by:

Claude Chabrol – Beyond Criticism

A few years ago I made a poorly-thought-out attempt to pay tribute to Chabrol here in this blog, by (what was I thinking?) focusing on his worst film.  OK, so that didn’t work.  But I’m coming back to Chabrol, this week and for the next few as well, to try to give the man his due.  Tomorrow night, TCM is screening Chabrol’s first two features—and while both are terrific, they’re as different as chalk and cheese.

As far as I’m concerned, Claude Chabrol launched the French New Wave with Le Beau Serge—and then he went and ran off in a different direction away from the very movement he helped found.  For aficionados of the New Wave, here is a seminal work—for aficionados of Chabrol’s own unique brand of cinema, here is a frustratingly unfamiliar work.

jpg00014

[...MORE]


KEYWORDS: Claude Chabrol
COMMENTS: 4
SUBMIT

Crawford’s Fire of Unknown Origin

Poster - Mildred Pierce

What was it about the script for Mildred Pierce (Michael Curtiz, 1945) that caught Joan Crawford’s eye? And why does the finished product, a film that is a perfect fusion of film noir and melodrama, still resonate with us today? Go to any film school teaching a film noir or women and film course (or both), and you’ll probably find Mildred on the syllabus. The property was also recently brought back to life by director Todd Haynes in a critically acclaimed HBO miniseries released in 2011. The novel by James M. Cain (1892 – 1977), the author known for The Postman Always Rings Twice (1934), and Double Indemnity (1943), ran afoul of so many restrictive provisions set forth by the Motion Picture Production Code that most of the sexual relations depicted in the novel had to be excised from the original film and replaced with something more acceptable: murder. [...MORE]

Too Smart Lucy

Once upon a time (1946), there was a movie (Two Smart People).  It was a modest, unassuming thing.  It was made on the cheap, and had no major stars (Lucille Ball and John Hodiak, supported by Elisha Cook Jr. and Lloyd Nolan).  It was greeted by dismissive critical drubbing (The New York Times called it a “dreadfully boring hodgepodge about love and the confidence racket” that “suffers from lack of competent direction.”  Ouch).  It dutifully sank into the purgatory reserved for forgotten cinema.  Subsequent surveys of film noir usually overlooked it, and even biographies of Lucy Ball felt no urge to linger over it.

jpg00010

And then, many decades later, the Warner Archive Collection hit upon a movie distribution business model that encouraged the commercial release of absolutely everything without regard to any expected sales figures.  And so in 2013 it’s easy to sit down with a lovely DVD of Two Smart People and assess it with clear unjaundiced eyes—whereupon you will discover that OMG this thing rocks.  Why, yes, yes it does.

[...MORE]

Edgar Ulmer’s Ruthless, yes!

Once upon a time I saw a movie. It was called Ruthless and was directed by one of my favorite filmmakers, Edgar G. Ulmer. The experience was like watching a coin land on its side–it was thrilling, and also largely unrepeatable. I was watching the UCLA restored print of Ruthless, at Chicago’s Gene Siskel Theater, but knowing that the only available home video version was a crapola grunge-fest barely worth free.

For years I hunted this movie. Every time I logged into Amazon I ran a search, just in the off-chance the restored version had a commercial release. The years passed, and my hopes faded. I stopped checking. And then I discovered that Olive Films had released it on Blu-Ray. There was joy in Mudville.

516rzjxQRnL

Do you love this movie, too? Or have you suffered in the darkness, without even knowing what joys await? Click below the fold, and let’s explore Edgar G. Ulmer’s masterpiece together.

[...MORE]

To Save and Project: The 11th MoMA International Festival of Film Preservation

CRI_127105

For eleven years the Museum of Modern Art has been hosting “To Save and Project”, their international festival of film preservation, highlighting the major archival discoveries and restorations from the past year. An annual reminder of the vital work being done by preservationists the world over, it acts as a preview of the repertory year to come, presenting classic Hollywood titles hopefully headed for Blu-Ray (Nightmare Alley) to epics from international auteurs receiving belated stateside attention (Lav Diaz’s Batang West Side). With nearly all of the 75-plus titles being screened on film, it’s also a polemical statement that celluloid remains the most stable and reliable format for preservation.

[...MORE]

Off the Beaten Track: Shack Out on 101 and Plunder Road

large_shack_out_on_101_blu-ray_01

We associate film noir with cramped urban spaces, labyrinthine warrens of crime and vice. This slipperiest of genres, identified by French film critics years after its demise, also gained resonance by departing from the city and hitting the road. Often this takes the form of a last ditch attempt at salvation, as in the transition from city to country in On Dangerous Ground, when Robert Ryan’s cop finds humanity in the dead eyes of Ida Lupino. Olive Films recently released two curiously located 1950s noirs, the beachside diner of Shack Out on 101 (1955) and the highway heist film Plunder Road (1957). Both dispense their pleasures through their constrained locales, the first taken place almost entirely in a shabby eatery, the second inside a getaway truck. The first veers towards absurdist humor while the second is a straight-faced procedural, but both display how the noir ingredients could be combined in an endless variety of ways, and that there are always discoveries to be made in even this most picked over of genres.

[...MORE]

The Hawks Report: When Howard met Lauren

Once upon a time, there was a pretty girl.  As has happened to many other pretty girls, other people liked to take pictures of her—and one of these pictures ended up in a magazine read by one of the greatest filmmakers who ever lived.  And this set in motion a chain of events that led to an enduring masterpiece of classical Hollywood—To Have and Have Not.  (Tune in July 17)

 harpers

[...MORE]

The Cahn Film Festival

CageofEvil

As May approaches, the film world turns its eyes to the Cannes Film Festival, which will host world premiere screenings from the likes of Jia Zhangke and Alexander Payne at its Grand Théâtre Lumière. I, however, will be celebrating the Edward L. Cahn Film Festival, taking place on my mustard stained IKEA couch in Brooklyn. No accreditation was necessary aside from an active Netflix account, and travel time was limited to trips to the bathroom. Cahn, born in Brooklyn, was a promising director of incendiary corruption dramas at Universal (Afraid to Talk, Laughter in Hell) before spinning his wheels for MGM short subjects in the late ’30s. He re-emerged as a pathologically prolific director of B-Westerns and gangster films in the 1950s, at AIP and the various companies of Robert E. Kent. Seventeen of these grim 1950s features are available to stream on Netflix, but all are due to expire from the service tomorrow [UPDATE: only OKLAHOMA TERRITORY and IT, THE TERROR FROM BEYOND SPACE expired, the other 15 were renewed], along with almost 1,000 other titles (check here for the full list). So I attempted to watch Cahn’s films with as much speed and urgency as he made them.

[...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  Action Films  Actors  Actors' Endorsements  Actresses  animal stars  Animation  Anime  Anthology Films  Art Direction  Art in Movies  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  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  Film Composers  Film Criticism  film festivals  Film History in Florida  Film Noir  Film Scholars  Film titles  Filmmaking Techniques  Films About Gambling  Films of the 1960s  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 Movies  Icons  independent film  Italian Film  Japanese Film  Korean Film  Literary Adaptations  Martial Arts  Melodramas  Method Acting  Mexican Cinema  Moguls  Monster Movies  Movie Books  Movie Costumes  movie flops  Movie locations  Movie lovers  Movie Reviewers  Movie settings  Movie Stars  Movie titles  Movies about movies  Music in Film  Musicals  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  Satire  Scandals  Science Fiction  Screenwriters  Semi-documentaries  Serials  Short Films  Silent Film  silent films  Social Problem Film  Sports  Sports on Film  Stereotypes  Straight-to-DVD  Studio Politics  Stunts and stuntmen  Suspense thriller  Swashbucklers  TCM Classic Film Festival  TCM Underground  Television  The British in Hollywood  The Germans in Hollywood  The Hungarians in Hollywood  The Irish in Hollywood  Theaters  Thriller  Trains in movies  Underground Cinema  VOD  War film  Westerns  Women in the Film Industry  Women's Weepies