Posted by Kimberly Lindbergs on April 14, 2016
This month Turner Classic Movies is spotlighting “The Best of the Barrymores.” The Barrymore family regularly appears on TCM but every Monday evening throughout April viewers can tune in and catch a selection of films featuring one or more of the Barrymore siblings in some of their best roles. Next Monday (April 18) the TCM spotlight will shine on Ethel Barrymore and one of the films scheduled to air is The Spiral Staircase (1946) at 10 PM EST/7 PM PST.
The Spiral Staircase is a longtime favorite of mine and the film has been hailed as a prototype for many of the best giallo; the Italian genre films that I touched on just last week in a piece titled Death Walk Twice: A Giallo Double Feature. With thoughts of murder and black-gloved killers still running through my mind, it seemed like a good time to revisit this classic thriller that features an Academy Award nominated performance by Ethel Barrymore as the bedridden matriarch of a wealthy family that is concealing some unsavory secrets.
Posted by gregferrara on April 8, 2016
Tonight TCM airs one of the all time classics by anyone’s yardstick, The Wizard of Oz. It’s a movie that occupied a great deal of my childhood imagination as its annual showing was a highlight of each passing year, long before the days of cable and VCRs and DVDs when making sure you were home in front of the tv on Good Friday was your only chance to take in the magic of Oz. And a magical movie it was, and is to this day. It’s also a movie that can easily lead off a list I’ve wanted to do for some time: The First Time I Ever… What does that mean? Let’s start off with The Wizard of Oz and it should be clear.
Posted by Susan Doll on April 4, 2016
This semester, I covered a topic in my horror-science fiction course that I never addressed before—monster culture. Monster culture was that phenomenon that began in the 1950s in which young fans of horror and sci fi embraced all things monster—from b-movies to models to fanzines like Famous Monsters of Filmland. It kept horror alive and well during the late 1950s and early 1960s when the Hollywood industry had left the genre to indie directors, who made films for drive-in and second run markets. Monster culture created an affection and tolerance among fans for schlocky examples of horror and sci fi; introduced viewers to older eras of horror; and made fans accepting of old black & white movies, extending stardom for legends such as Boris Karloff and Bela Legosi.
Television was key to monster culture from the 1950s till the advent of the home-viewing industry in the 1980s. For many of us who grew up during that time frame, watching horror films, creature features, and sci-fi was like a weekend ritual to be shared with friends. The high priests (and priestesses) of those rituals were the horror hosts—television personalities who hosted the weekly horror series on local stations. Only recently have critics and scholars begun to give horror hosts their due for cultivating monster culture and creating a fan base that embraced films from previous eras. (See The Monster Show by David Skal.) Fostering a love for classic movies is not easy—something film studies instructors know all too well.
There are many pop culture traditions at Christmastime that are important to me. Charlie Brown Christmas, of course—its power only grows over time. The Grinch (the original 60s cartoon). A Christmas Story, preferably on some kind of marathon loop. And then there’s Jalmari Helander’s looney cult flick Rare Exports. Perhaps that one is less familiar to you.
I wrote about it here several years ago, and to help give my revisit a fresh perspective, I asked my son Max to join me this year in paying tribute to this gloriously insane holiday horror movie.
Posted by Kimberly Lindbergs on October 29, 2015
I can’t let Halloween pass without talking about a Hammer film. They go hand-to-hand in my home and one of my favorites is Terence Fisher’s The Curse of the Werewolf (1961). The film features some sumptuous color photography, incredibly sophisticated make-up effects for its time and a powerful central performance from Oliver Reed. It also happens to contain many references to wine.
The Curse of the Werewolf begins with a hungry beggar (Richard Wordsworth) who arrives in a small 18th Century Spanish town while church bells ring out in celebration of a wedding. He immediately visits a local bar where the townspeople have gathered and are drinking wine in abundance from crude cups. When the beggar asks them to share their wine and food, he’s refused and told to visit the wedding party taking place at the home of a powerful nobleman appropriately named Marques Siniestro (Anthony Dawson). The local town’s people know just how sinister the nobleman truly is and suspect the beggar will suffer his wrath but they selfishly send him there anyway. Their heartlessness and lack of compassion for the poor man will eventually have a devastating effect on the whole community. Although this is a crimson colored film in more ways than one, The Curse of the Werewolf smartly stresses that the true horrors of the world are man-made even when they have supernatural connotations.
Posted by Kimberly Lindbergs on October 22, 2015
On Sunday Oct. 25th and Wednesday Oct. 28th, classic horror fans are in for a real cinematic treat. Turner Classic Movies in association with Fathom Events and Universal Pictures Home Entertainment will be bringing DRACULA (1931), along with its Spanish language equivalent, back to the big screen. This Dracula double feature will be shown at selected theaters across the country and is accompanied by an introduction from TCM host Ben Mankiewicz. Tickets can be purchased online at the Fathom Events website.
Tod Browning’s DRACULA is rightly hailed as a horror classic while the Spanish version directed by George Melford was assumed lost and went largely unseen by modern audiences following its initial release until it was restored and distributed on home video in 1992. Both films were shot at the same time using the same sets but with different casts, which was a typical practice by studios in the early 1930s. Their goal was to appeal to international audiences eager to see new-fangled sound films in their own language. The idea quickly went out of favor due to the high cost of producing multiple movies but the Spanish language version of DRACULA is one of best examples we have of this popular practice.
Posted by Kimberly Lindbergs on October 15, 2015
All month long TCM has been airing films made by women on Tuesday and Thursday night as part of their groundbreaking Trailblazing Women series hosted by Illeana Douglas. According to Charles Tabesh, senior vice president of programming for TCM, the goal of Trailblazing Women is to “Highlight the impact of female filmmakers throughout history and encourage future female filmmakers.” The response has been overwhelmingly positive and it’s heartening to see TCM’s resources used to educate, inform and inspire viewers.
I’ve been enjoying a lot of the Trailblazing Women programming myself but since we’re in the middle of Schocktober, I thought I’d set aside some time to highlight some of my favorite horror films and thrillers directed by women who have left their macabre mark on a genre that many mistakenly assume is not very female friendly. The truth is that horror cinema is one of the few genres where women filmmakers are making impressive inroads and their groundbreaking work is well worth seeking out this month or any month.
Posted by Kimberly Lindbergs on September 17, 2015
One of the best new films I’ve seen in recent months is WHITE GOD (2014). This Hungarian production thoughtfully directed by Kornél Mundruczó tells the deeply troubling story of Hagen, a pampered pooch owned by a somewhat aloof thirteen-year-old girl named Lilli (Zsófia Psotta) who is abandoned by Lilli’s callous father and left to fend for himself. We follow the discarded pet on his harrowing journey through the streets of Budapest where he encounters other homeless dogs as well as abusive dogcatchers, cruel butchers and finally bloodthirsty dog handlers who train Hagen to kill. When he eventually escapes his torturers, he is a much meaner animal and forms a pack with other abused canines. In a brutal finale, the dogs roam the city taking revenge on the humans who have tormented them.
The film is weighted with biting social commentary as well as religious and political allegory but at its heart, WHITE GOD is a rather simple and profoundly sad story about a helpless dog that learns he must rely on himself and rebel against authority if he wants to survive in a dog-eat-dog world. It also doubles as a sensitive coming-of-age story about the young dog owner who learns a similar lesson although the perils and circumstances she faces are much more privileged and forgiving.
While watching WHITE GOD I was reminded of a few other films I admire that center around dogs like Hagen who were forced to take similar journeys while suffering the consequences of man’s inhumanity to man and animal alike.
Posted by Susan Doll on September 14, 2015
TCM in conjunction with Fathom Entertainment brings Psycho to the big screen on September 20 and September 23 at participating theaters. Alfred Hitchcock’s masterpiece, which shows at 2:00pm and 7:00pm on both days, will be presented by Ben Mankiewicz in a brief filmed introduction. While many movie lovers have undoubtedly seen Psycho, rewatch it anew on a big screen with an audience, the way it was intended to be seen.
Every Hitchcock fan—and who isn’t?—has their favorite sequence or scene. Psycho is filled with iconic moments—from Marion’s first appearance in black underwear to her encounter with the cop in shades to the shower scene to the reveal at the end accompanied by Bernard Herrmann’s shrieking score. My favorite sequence is the parlor scene in which a shy Norman Bates asks Marion to come into the parlor behind the office. As soon as he says “parlor,” think: “Come into my parlor said the spider to the fly.”
Posted by Kimberly Lindbergs on August 20, 2015
FRANKENSTEIN (1931) airs tonight on TCM at 9:30PM EST/6:30PM PST
The name Mae Clarke might not immediately ring any bells but the fair-haired, spirited and sad-eyed beauty was a promising leading lady in pre-code Hollywood before personal disappointments, mental health issues and a disfiguring car accident took their toll. When Clarke died in 1992 at age 81 most classic film fans remembered her as the woman who gets a grapefruit smashed in her face by James Cagney during THE PUBLIC ENEMY (1931) or they might have recalled her daring leap from a window to protect the man she loves in THE FRONT PAGE (1931). Thankfully, many of Clarke’s earlier films have been restored and made available since then. We’re now able to get a much broader understanding of why a 1932 issue of Picture Play magazine prophesied a “brilliant career for her” and Modern Screen claimed, “Mae Clark deserves a place among the big names of filmdom and will get there before long–watch her!”
Today TCM is featuring Mae Clarke in their Summer Under the Stars programming and you can catch her in a number of films including James Whale’s WATERLOO BRIDGE (1930), where she plays the doomed Myra. Many consider it her best film and Clarke often referred to it as her favorite role but today I’d like to focus on her often-overlooked performance in Whale’s FRANKENSTEIN (1931), where she plays the sympathetic fiancé of Dr. Frankenstein (Colin Clive).
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