Posted by Susan Doll on April 3, 2017
Currently available on FilmStruck for your streaming pleasure is “The Brontë Sisters,” a modest selection of titles related to the works of England’s beloved novelists of the Romantic era. Included in the series are the classic-film versions of Emily Brontë’s Wuthering Heights (1939) and Charlotte Brontë’s Jane Eyre (1944). While both feature Golden Age stars that mesmerize with magnetism and captivate with charisma, does one film have the edge in capturing the ill-fated relationships and melancholy atmosphere of Gothic Romance?
Posted by Greg Ferrara on January 6, 2017
Richard Adams recently passed away at the advanced age of 96. At the much younger age of 52, but still advanced age for a first time novelist, he published what would become a classic of modern literature, Watership Down. I was going to write “children’s literature” but I don’t know if that’s right. Is something children’s literature simply because it uses animals as its lead characters? Is Animal Farm a children’s book because it has talking pigs? I would say the answers to both of those questions is no. Watership Down is no different and while it appealed to my younger self simply because of the animal characters, my older self understands it a lot better.
Posted by Kimberly Lindbergs on December 15, 2016
In Peter Weir’s Picnic at Hanging Rock (1975), viewers are reminded again and again of the “venomous snakes and poison ants” that populate the Australian outback. Despite these repeated warnings, the reptiles and insects we see are never an actual threat and cause no harm besides pilfering some leftovers from an unobserved picnic basket. The real danger is unspoken and invisible. It lurks unseen in the shadowy cracks and crevices of Hanging Rock, waiting to ensnare a group of innocent schoolgirls and their unsuspecting math teacher. As is often the case in real life, the horrors that eventually befall the characters in Weir’s film arrive without warning or reason but they leave the victims devastated as they try to make sense of a nemesis that has no fixed name and no discernible face.
This puzzling pastoral horror picture is currently streaming on FilmStruck as part of their Cinema Passport: Australia series, a curated selection of films from the land down under that also includes Nicolas Roeg’s Walkabout (1971), George Miller’s Mad Max (1979) and Bruce Beresford’s Breaker Morant (1980). Watched together these films provide a thought-provoking introduction to the Australian New Wave that emerged in the 1970s and continued into the 1980s. Unlike many other international New Wave film movements that launched in the 1960s, Australia’s got a late start but the results are equally compelling.
Posted by Jill Blake on November 19, 2016
Many of us know the story: Leslie Howard negotiated with David O. Selznick for co-producer credits on the 1939 film Intermezzo: A Love Story (Ingrid Bergman’s Hollywood debut and remake of the 1936 Swedish film Intermezzo, also starring Bergman). In exchange, Howard begrudgingly agreed to play the role of Scarlett O’Hara’s unrequited love interest, the handsome, emotionally weak Ashley Wilkes in Gone With the Wind (1939). Howard despised the role, thinking it ridiculous that at 46 he was playing the young, impossibly handsome twenty-something southern gentleman. He also made little effort to conceal his disdain for the role during the filming of the sweeping epic, once commenting, “I hate the damn part. I’m not nearly beautiful or young enough for Ashley, and it makes me sick being fixed up to look attractive.” Well, ok then.
Posted by Nathaniel Thompson on October 5, 2016
It’s October, and you know what that means: spooky movies all month long! Every horror fan of a certain age has a favorite movie monster they first encountered as a child: Dracula, Frankenstein, the Wolf Man, and of course, the Creature from the Black Lagoon. For me it was the Phantom of the Opera, whom I met in a number of cinematic guises before I was out of elementary school. The combination of grotesque horror, cliffhanger thrills, and doomed romance is like catnip to an impressionable young viewer. Now it’s a fine chance to make the Phantom’s acquaintance right now, since TCM’s running the Lon Chaney silent version on October 7, and Herbert Lom’s turn in 1962 just made its Blu-ray bow in a sparkling new presentation as part of Universal’s Hammer horror set.
So here we go with a few thoughts about the many faces of the Phantom we’ve seen over the past century, and what’s remarkable about this seemingly immortal character is the fact that every significant movie adaptation has turned out to have something of value. [...MORE]
Posted by Nathaniel Thompson on August 17, 2016
Posted by Susan Doll on November 9, 2015
“The fingers with the little blue letters. Now as the fingers stirred John could see them all. He supposed that at first the letters meant nothing; that perhaps each finger had a name and the name was a letter. H—A–T—E . The left hand. L—O—V—E. The right hand. Left hand and right hand and the fingers each had names. Now Preacher saw the boy staring and the hands sprang apart and he held them up. ‘Ah, little lad! You’re staring at my fingers!’”
This passage from the novel Night of the Hunter inspired one of Hollywood cinema’s most iconic images—Robert Mitchum’s tattooed hands. The widely recognized motif was referenced in later films (Do the Right Thing; Scorsese’s Cape Fear) as well as in song lyrics (Springsteen’s “Cautious Man”). Mitchum is chilling as Preacher Harry Powell who tells the story of his right hand and left hand, which represent the eternal struggle over love and hate, good and evil. Much has been written about Mitchum’s performance, James Agee’s script, and Charles Laughton’s direction in the film version of Night of the Hunter. However, the book’s author, Davis Grubb, who originated the love-hate tattoo and its symbolism, is generally overlooked.
Posted by Pablo Kjolseth on May 31, 2015
A few weeks ago I had a conversation with Tim Kirk, producer of Room 237, The Nightmare, and other titles. We talked about commentary tracks because he is releasing something called Director’s Commentary: Terror of Frankenstein. The normal order of business would be to simply re-release Terror of Frankenstein (Calvin Floyd, 1977), and then add a commentary track as a bonus. Sadly, the only existing elements that remain for Terror of Frankenstein are sketchy at best and not worth revisiting in and of themselves. A serendipitous conversation, however, between Kirk and Terror of Frankenstein star Leon Vitali opened the door to a mysterious world behind Floyd’s surprisingly faithful adaption of Mary Shelley’s story. Given Vitali’s work with Stanley Kubrick, he is already the subject of a few conspiracy theories himself, but what Vitali reveals in his commentary track to Terror of Frankenstein suggests that method-acting can go too far. It might even lead to murder. [...MORE]
Posted by Susan Doll on February 3, 2014
It is easy to assume that serial killers as a subject for crime movies is a relatively recent phenomenon, particularly those that delve into the unique psychology of the killer. After all, the term serial killer does not pop up in common usage until after Ted Bundy was incarcerated in prison, though it was coined earlier. Credit for the term is often given to FBI Agent Robert Ressler, who adopted “serial killer” and “serial homicide” in the 1970s. However, the phrase “serial murderer” goes as far back as the 1930s when director of police Ernst Gennat used it to describe Peter Kurten. I once read a passage by author James Ellroy in which he lauded Thomas Harris and his 1981 novel The Red Dragon as a watershed moment in crime fiction because of Harris’s detailed understanding of the psychology of the serial killer.
So, I am always surprised when I come across early pop culture depictions of serial killers that seem to accurately capture the demons that drive them. This Friday, February 7, at 6:30am, TCM will air Night Must Fall, a 1937 drama starring Robert Montgomery as a likable killer named Danny. The film is based on the 1935 play penned by Emlyn Williams, who originally starred as Danny on stage. A working class Irish lad, Danny charms his way into the good graces of wealthy, cantankerous Mrs. Bramson, who exploits her age and presumed ill health to dominate the people in her household. The conniving killer discovers Mrs. Bramsom’s weakness for attention and quickly becomes the old lady’s primary caretaker. Mrs. Bramson’s niece, Olivia, is immediately suspicious of Danny. However, Olivia and her aunt are on such poor terms that Mrs. Bramson refuses to listen to her about anything. The killer’s identity is obvious from the beginning, which might frustrate those viewers who prefer a plot-twisting whodunit. Night Must Fall is not that kind of crime story. The tension derives from the interplay of the characters. It is disturbing to watch Danny worm his way into Mrs. Bramson’s heart, while the cat-and-mouse game between Danny and Olivia hints at her dark thoughts and desires. I chose Night Must Fall as a forgotten film to be remembered for two reasons—the performance by Robert Montgomery as Danny and the insight into the sociopathic character by writer Emlyn Williams.
Posted by David Kalat on December 8, 2012
I’m going to wind up my exploration of pulp mysteries with the ultimate pulp detective of them all—Sherlock Holmes. And for any of my regular readers, the fact that I’ve chosen Zero Effect with Bill Pullman and Ben Stiller instead of the more obvious selections like Hound of the Baskervilles shouldn’t be a surprise. And, just like when we looked at Warren Beatty as an ersatz James Bond back in the discussion of Kaleidoscope, the only way we get to such unlikely casting is by examining an unauthorized project from the margins.
As it happens, it is that aspect of Zero Effect—its status as an authorized adaptation—that is the focal point of our story this week. So—click to open the fold and let’s take a journey through the tangled jungle of Sherlock Holmes’ complicated rights issues.
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