There are times when the received wisdom on a movie separates from the movie itself and starts to run down a track of its own. Consider “Play it again, Sam,” the Thing Everybody Knows about Casablanca even though that line is never spoken in the film. Thinking that’s a line in Casablanca is a trivial error with no real consequences—the sentiment is recognizable from the film, such that it can be true-ish if not strictly accurate.
But then there’s the strange case of Dr. Caligari. Somewhere along the line, the Thing Everybody Knows about this landmark classic of horror cinema took root in our culture like intellectual kudzu—quickly overtaking all available territory and choking to death all the alternative points of view. Thankfully, this remarkable film is making a mini-comeback thanks to some intrepid restorationists, affording an opportunity to rethink its legacy. (Plus it’s on TCM this Sunday, so now’s the time to read up and do our homework on it, right?)
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).
When I was a kid, Ted Turner’s Superstation WTBS ran this thing practically every week. It became as comforting as an old blanket, as familiar as my own skin.
Eventually, as an adult, I revisited the world of Japanese giant monster movies. I wrote a couple of books, gave some lectures, recorded some audio commentaries, blah blah blah. And along the way I came to recognize this film about a doomed dinosaur is basically a doomed dinosaur itself.
In so many ways it prefigured the future: Rodan boldly leaps into full color, introduces one of Toho Studio’s most enduringly popular monsters and introduces one of the studio’s most enduringly prolific movie stars (Kenji Sahara). But for all it innovates, it’s the last gasp of what was then a dying way of making giant monster flicks. This approach to storytelling was almost instantly rendered obsolete.
So, in case you haven’t heard, there’s this movie called Phase IV. It’s a 1970s apocalyptic sci-fi thriller about killer super-intelligent ants, and it was directed by Saul Bass of all people. And instead of special effects, the killer ants are played by real ants, filmed in close-up by National Geographic photographer Ken Middleham.
Either that is enough to make you drop everything and go see it (or go see it again) immediately, or you’re one of those people whose tastes make no sense to me.
But the thing is, as deliriously entertaining as Phase IV is, it’s a singular creation that could only have existed when it did, and couldn’t be (re)made today. And therein lies this week’s story…
Posted by Richard Harland Smith on September 5, 2014
I’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]
Posted by David Kalat on December 22, 2012
If you are reading this, then the world didn’t end. I never put any stock in that whole Mayan calendar silliness–if I had, I wouldn’t have spent any time writing this. And so it is with absolute confidence in the continuation of the world that I am writing this, marking the non-pocalypse by paying tribute to some of my favorite end-of-the-world movies.
Let’s start by noting that in most cases, what we really mean by end of the world movies are not movies about the literal destruction of the planet. Every once in a while you get a Beneath the Planet of the Apes, where the world is actually blown to smithereens, but those are the exceptions. The real point is to explore the end of the world as we know it, that is, the end of civilization.
In my mind, you can divide these movies into three sub-categories, and I’ll offer an example of each.
Posted by David Kalat on October 27, 2012
By sheer coincidence, in one of those warpings of reality that make people believe in Fate or powers greater than themselves, I happened to see Alfred Hitchcock’s Shadow of a Doubt for the very first time just a few days after seeing The Return of Dracula. And to quote Robert Frost, “that has made all the difference in the world.”
Posted by Pablo Kjolseth on August 26, 2012
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]
Posted by Pablo Kjolseth on July 15, 2012
Bruce Kawin is a widely published scholar, film historian, and poet. As Professor of English and Film at the University of Colorado at Boulder, he has influenced many careers. Some 25 years ago, Dayton Taylor, the producer of Habit (1995) and Wendigo (2001), got the idea for his three-dimensional imaging Timetrack® camera system while learning about Eadweard Muybridge in Kawin’s class. (In 1877 Muybridge captured continuous motion of a horse by setting up twenty-four cameras in a row along a racing track.) More recently, both Derek Cianfrance, director of Blue Valentine (2010) and Drew Goddard, director of Cabin in the Woods (2011), have cited him as an influence. In the interest of full-disclosure, I should mention that I took my fair share of classes from Kawin and later did a stint as his T.A. and projectionist, and he played a pivotal role in my path toward cinema literacy. Kawin had a reputation among the students as being a demanding teacher. Kawin was not afraid to flunk people who did not show up or do the assigned work, thus he has had his fair share of detractors. Kawin’s encyclopedic knowledge and keen attention to detail could be daunting to students used to fudging their answers. In his class, if you spelled Gregg Toland’s name with only one “g,” or only knew him as the cinematographer of Citizen Kane (1941) without being able to link him to Mad Love (1935), your grade would suffer. For Kawin, history and connections are both important. It is also one of many reasons why serious lovers of the horror genre have reason to rejoice, because here now is a book that fuses Kawin’s keen intellect and attention to detail with his passion for monster movies. [...MORE]
Posted by David Kalat on July 7, 2012
J-Horror don’t get no respect. The long-haired ghosts have become a cliché to be ridiculed, and the tragedy of it is that the audiences perhaps best attuned to appreciate what J-Horror had to offer in its heyday are those least inclined to give it a chance. I know—I speak from experience. My love affair with J-Horror began, as all the best movie love affairs do, with opposition.
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