Posted by Susan Doll on December 30, 2013
Though quite popular among film-goers from the silent era through the 1950s, the melodrama has rarely gotten much respect from critics and scholars. A slippery genre to define, it is usually identified through its excessive emotion, suffering heroines, focus on relationships, and foregrounding of female interests, points of view, and values. During the Golden Age, movie reviewers—most of whom were male—regularly dismissed “weepies,” or women’s films. Today, melodrama has completely disappeared from the big screen, and the word “melodramatic” is often used as a pejorative term. Melodrama would likely not appeal to young audiences jaded by the computer-generated imagery of fantasy films or to mature audiences accustomed to serious dramas in the realist style. The artificiality that defines the acting, plotting, and visual style of melodrama is antithetical to today’s natural acting styles and realistic storylines.
While Golden Age stalwarts such as Stella Dallas, Now Voyager, Dark Victory, or The Women, get their due as classics, lesser-known melodramas like The Secret of Madame Blanche might be a harder sell. But, Madame Blanche, which airs on TCM this Thursday at 4:45pm, is a solid example of both the melodrama’s conventions and strengths. Viewers should not be put off by the genre’s peculiarities or artifice.
Posted by R. Emmet Sweeney on December 17, 2013
If my blog posts were the only articles you read this year, you’d come away thinking Delmer Daves was the most popular man in America. Alas, this is only true in my living room. But this was the year I delved into Daves, helped along by a two-part retrospective at Anthology Film Archives. The first was way back in May (of which I gushed here), and the second wraps up today, for which programmers Nick Pinkerton and Nicolas Rapold culled from Daves’ less reputable potboiler period. After a long career of open-air Westerns, Daves made a surprising turn to soapy melodrama. The change was necessitated by his health. Daves suffered a heart attack in 1958, and was instructed to ease back on stressful location shoots for the relative safety of studio-bound pictures. So he turned to the soaps, for which he escorted Troy Donahue into stardom. The most famous of these is A Summer Place, which scored a #1 pop hit while embracing the sexually permissive mood percolating in the country. Anthology is screening A Summer Place (yes, which I also wrote about), as well as Youngblood Hawke, his last melodrama for Warner Brothers, and the much-derided topic of today’s post.
Posted by Pablo Kjolseth on November 17, 2013
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]
Posted by R. Emmet Sweeney on September 10, 2013
Earlier this month Turner Classic Movies began airing The Story of Film, a 15-chapter documentary by Mark Cousins tracking the history of the moving image from 1895 – 2000s. Running from now through December, TCM will also air 52 movies that Cousins mentions in his work. To coincide with The Story of Film Chapter 2: 1918 – 1928, tonight TCM will air everything from Nanook of the North (1922, 8PM) to King Vidor’s silent masterpiece The Crowd (1928, 2AM). While Nanook was recently issued on Blu-Ray, The Crowd is only available on out-of-print VHS, so this airing is a rare opportunity to see it in a decent edition. George Feltenstein, the Senior Vice President of Theatrical Catalog Marketing at WB, recently wrote that the home video future of The Crowd depends on the sales of Vidor’s The Big Parade, which comes out on October 1st. It was originally because of the The Big Parade’s massive success that Vidor was allowed to make the smaller, artier The Crowd, so maybe it will have the same effect on WB executives today. Like Murnau’s Sunrise (’27) or Paul Fejos’ Lonesome (’28), The Crowd depicts the trials of the everyday with expressionistic intensity, proving that the working man is as worthy of tragedy as royalty.
Posted by R. Emmet Sweeney on August 20, 2013
Penny Serenade (1941) is the third and final film Cary Grant and Irene Dunne made together. The Awful Truth (1937) and My Favorite Wife (1940) are screwball comedies of re-marriage, and Penny Serenade is their tragic inverse, focusing on the work necessary to maintain a long-haul relationship. The first two are set in high society, produced by the improvisatory Leo McCarey, while Penny Serenade is working class and focused on the fear and trembling of young parents, made with stark realism by the more deliberate George Stevens. Grant worried about audience expectation, the “people who are laughing already, in anticipation of another mad marital mixup”. Both actors were protective of this heart-tugging melodrama, and later in life Irene Dunne declared it the favorite of her films. It was a success, although not to the same blockbuster degree as The Awful Truth, and for years has circulated in beat-up public domain editions. Olive Films is releasing a spiffy Blu-Ray of Penny Serenade next week, and it’s something of a revelation.
Posted by R. Emmet Sweeney on July 23, 2013
The infernal weather system that soaked the Northeast in sweat this past week was moving backwards. In the United States these systems usually travel west to east, but this persistent “dome of hot air” was traveling in reverse. I feel a kinship with this contrarian gasbag, so in its honor I will look back at an undervalued movie set during summer. A Summer Place (1959) is mainly remembered for birthing the #1 instrumental single by Percy Faith (adapted from the Max Steiner score), but it was a sensation at the time for its frank discussion of sex. It marked a transition in director Delmer Daves’ career from macho action-adventure films into melodramatic women’s pictures, one of the more reviled shifts in film history. He completed his twilight Western The Hanging Tree in August of 1958, and made four candy-colored romance pictures for WB afterward. Dismissed by both critics (the NY Times memorably called it “garishly sex-scented…. The whole thing leaves a rancid taste”) and ardent admirers (Jean-Pierre Coursodon called this period “dangerously close to artistic suicide”) , today they are ripe for rediscovery. A Summer Place is bursting with erotic energy that spreads out in the Technicolor widescreen frame, and treats adultery and teen sex with a forthright shrug.
Posted by R. Emmet Sweeney on January 24, 2012
The intrepid Twilight Time label continues their line of limited edition Blu-Ray releases with an absolutely gorgeous version of Picnic, Columbia’s romantic smash of 1955-1956. Sold exclusively through on-line retailer Screen Archives, it presents James Wong Howe’s Technicolor cinematography in eye-titillating detail. Based on William Inge’s Pulitzer Prize winning play from 1953, Picnic is a garishly entertaining melodrama that sets earthy he-man William Holden after prim beauty queen Kim Novak, upending a small Kansas town in the process.
Posted by Susan Doll on July 25, 2011
During post-WWII Hollywood, film noir emerged to reflect, represent, and even romanticize the corruption, dissatisfaction, and cynicism lurking beneath the veneer of normalcy and optimism that America so desperately clung to after a hard-fought war. A pessimistic genre that is dark in theme and visual design, film noir critiqued or challenged America’s social institutions—law and order, the justice system, marriage and family—in contrast to most genres, which support or propagate them. But, the world of film noir is a man’s world; the male protagonist investigates crime outside the home, through the dark streets, and into the seedy clubs and businesses of the city. His prowess as a man and his judgment as a detective are challenged as the genre plays with traditional gender roles and reveals an unstoppable social and political decay; in other words, if the corruption doesn’t get the ill-fated protagonist, the femme fatale will.
With its similar visual style, casts of twisted individuals, and perverted male-female relationships, postwar melodrama is a kind of doppelganger genre to film noir. The primary differences are in the settings and in the gender of the protagonists. I had never really compared the two genres until my friend Lisa Wright and I took a class this summer titled “Home Noir: Domestic Melodramas of the 1940s.” The class was part of Facets Film School, which offers a variety of six-week film courses on specific topics, and it was taught by film scholar Therese Grisham. Therese was terrific at offering just the right amount of lecture to stimulate the class’s powers of observation and interpretation, so the discussions after the movies were lively, spirited conversations. As Lisa noted, “. . .we live in a time where we are used to seeing films mostly alone or with a friend or spouse. Getting so many interesting and diverging opinions about what we saw enhanced the enjoyment.”
Posted by R. Emmet Sweeney on March 8, 2011
Despondent cineaste Jack Andrus should buck up. First, he’s seated in an eye-blazingly Technicolor red chair, which one assumes is also of sensuously high-grain leather. Second, he’s being played by Kirk Douglas at his most flamboyantly masculine, a dream come true for characters of dissolutely manic personalities like Jack. Third, the Warner Archive has released a fine remastered DVD of the film that houses him, Vincente Minnelli’s convulsively beautiful Two Weeks in Another Town. For the rest of us, they also recently put out a remastered version of Minnelli’s The Cobweb (1955) and an un-restored but handsome-looking edition of Blake Edwards’ Wild Rovers (1971). We’ll start with the last first just to get Jack’s goat, but also because the Minnelli greats have already been covered by more seasoned minds, although I’ll still get my thoughts in.
Posted by Moira Finnie on January 26, 2011
“What are you?,” asks the blunt landlady when a new guest arrives unexpectedly on the doorstep of her boarding house in The Passing of the Third Floor Back (1935). Filmgoers and filmmakers had been attempting to answer that question since they first spied this tall enigma in front of a camera, starting from the moment when Cesare the somnambulist opened his extraordinary eyes in the expressionist horror classic, The Cabinet of Dr. Caligari (1919). “I am a wanderer,” Conrad Veidt’s nameless character replies quietly, reminding the viewer of his role as The Wandering Jew in an earlier Gaumont-British film, which marked what was roughly Veidt‘s one hundredth appearance on screen. “I live so out of the world,” he explains, further unsettling the chattering woman.
In truth, the cosmopolitan, German-born actor, whose birthday falls on Saturday, January 22nd, was very much “of the world,” involved in the tumult of his era, but able to hone his gifts to such a point of transcendence, he achieved an international stardom. He could illuminate humanity’s sinister side, but made viewers recognize the human being inside the often troubling characters he brought to life with such exquisite understanding. Ultimately, as Veidt’s friend and contemporary, producer Eric Pommer, once commented, “It is hard to say what was more to be admired in him, his artistry or his humanity.”
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