Adventures of a Movie-Location Tourist in New Orleans

nolaopenerAhhh, New Orleans! Where else can outrageous people eat exotic food while downing powerful alcoholic drinks with catastrophic names. On a recent trip to NOLA, I was prepared for everything—the crowds of colorful revelers, the world’s most demented ghost stories, even the parents who dragged small children to Bourbon Street on a Saturday night. But, what really surprised me—and, pleasantly so—was how much I learned about movie history during my brief vacation. Avid movie-goers know that a variety of contemporary films and television programs have been shot in New Orleans and Louisiana, including the third season of American Horror Story. But, Louisiana’s contributions to American film history go back to the earliest silent days.

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If I Were Offering a Movie-Location Tour

tourbus* Thursday is generally Morlock Kimberly’s territory, but she is taking a brief break. I know her fans will miss her, but I will do my best to fill her blogging shoes.

When I was a college student working the graveyard shift at a truck stop, a movie crew stopped by one morning to have breakfast. The crew was on their way to dress the set for Harvest Home, a TV mini-series starring Bette Davis. Being one of those flirtatious truck-stop girls, I was invited to come onto the set to watch the filming. I am sure the crew member thought it was his idea all along! It was exciting to watch as the town square in tiny Kingsville, Ohio, morphed into a thriving New England farming village. The experience gave me a life-long fascination with visiting movie locations, a pastime that I parlayed into a book a few years ago titled Florida on Film: The Essential Guide to Sunshine State Cinema.

As part of their agenda to entertain and educate the public about classic cinema, Turner Classic Movies has put their own spin on movie tourism by offering the TCM Movie Location Tour in Los Angeles and the TCM Classic Film Tour in New York City. While no one at Turner has asked my opinion on these matters, I whole-heartedly suggest Chicago for their next movie-location tour. From the pioneering efforts of Colonel William Selig to the slapstick antics of Charlie Chaplin to the overblown atrocities of Michael Bay, Chicago has been an active center for movie-making. Few people realize Chicago’s importance, because writers and documentarians too ingrained in the canon of film history regularly leave out the city’s contributions. (Film historians Michael Smith and Adam Selzer hope to compensate for this oversight with their upcoming book Flickering Empire: How Chicago Invented the U.S. Film Industry, soon to be published by Wallflower Press).

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June 21, 2014
David Kalat
Posted by:

A cheap holiday in other people’s misery

Key Largo (tonight on TCM) is one of those venerable mainstays of TCM and likely something everyone here has already nearly memorized.  I remember once I made a point of watching it in Key Largo, while on vacation (much like how I watch movies like Airport 77 while flying).  I mentioned this to the proprietors of the bed and breakfast where we were staying, and they told me that the island of Key Largo was actually named in honor of the movie.

It took me a long time to wrap my head around that statement.  That couldn’t possibly be true, could it?

Well, it is and it isn’t.  Click the fold below to read the whole story, about the citizens of a gorgeous island paradise insisted on naming their community after a grim thriller about murderous thugs and a hostage crisis.  Like you do.

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KEYWORDS: Edward G. Robinson, Humphrey Bogart, Key Largo, Lauren Bacall
COMMENTS: 4
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The Last Picture Show

Bogdanovich Last Picture Show

“I thought you might want to go to the picture show. Miss Mosey is having to close it. Tonight’s the last night.” – Sonny Crawford (Timothy Bottoms)

How is it that nobody has done a modern version of The Last Picture Show? I realize that Peter Bogdanovich’s 1971 film, based on the novel by Larry McMurtry, is about much more than Miss Mosey having to close down the movie theater due to dwindling business and the rise of television, but let’s face it: the death of the Royal Theater in a small town, circa 1952, serves as a larger emblem of the many chapters in life that open and close for the characters of Anarene, Texas. It does so in ways that are understandable for anyone going through adolescence, their mid-life, and even death. Still: so much is implied by the four simple words of the title that it’s no surprise the book caught the eye of someone like Bogdanovich.

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Gloria Swanson’s Adventures in the Parlor City of the Ohio Valley

gloiraopenergloriastage

This past August, two new biographies about the silent era’s most glamorous star were published, Gloria Swanson: Ready for Her Close-Up by Trish Welsch and Gloria Swanson: The Ultimate Star by Stephen Michael Shearer and Jeanine Basinger. Both are profiled on the Books page of the TCM website. I breezed through both of them, looking for info on my favorite Swanson flick, Stage Struck.

If the title doesn’t sound familiar, it’s because Stage Struck doesn’t have the reputation of those romantic melodramas that Swanson made for Cecil B. De Mille—Male and Female, Why Change Your Wife, Don’t Change Your Husband, etc.  Also, the film has never been released for home viewing, not even in the good ole bad VHS days. Years ago, I checked out a poor VHS copy from the public library in New Martinsville, West Virginia. The librarian recommended it because Stage Struck had been shot in New Martinsville in 1925. Local resident R. Bryan Wilson had tracked down a 16mm print and paid for a videotape copy for the library so that residents would have an opportunity to see it.

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Movie Geography: When the White House is in Shreveport and Miami Doubles for Eastern Europe

blogwhite2Last week, actor Dylan McDermott dropped by Ringling College to mingle with students and to speak to an audience of students, staff, and local residents. The latter event was the last in Ringling’s Digital Filmmaking Lab Series, which is designed to give the filmmaking students exposure to real-world industry personnel. The event consisted of a clip reel and a live interview with McDermott by a local journalist, who then fielded questions and comments from the audience. Articulate and charismatic, he graciously addressed questions that I am sure he has answered many times in the past.

However, one anecdote by McDermott really took the audience by surprise. When talking about his latest film, Olympus Has Fallen, an action film in which terrorists infiltrate the White House, the actor noted that principle photography was done entirely in Shreveport, Louisiana. Though the bulk of the film takes place in the White House, as a secret service agent tries to rescue the President, McDermott said that he never set one foot in Washington, D.C. during production. The studio recreated the White House in Shreveport. Apparently, Louisiana residents got a kick out of driving down the road in Shreveport and seeing the White House in plain view, or at least a part of it.

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A New Perception of ‘Inception’

What’s better than listening to a behind-the-scenes DVD commentary and discovering something new about a favorite film? It’s listening to a live commentary while watching the film on a big screen! Last week, I attended a “sound-down” of the sci-fi blockbuster Inception presented by cinematographer Wally Pfister. A sound-down is exactly what the term implies: The film is screened with the sound so low that it cannot be heard while a person of note—in this case, Pfister—provides an expert commentary. A sound-down offers an opportunity to fully understand the art behind the illusion that is Hollywood movie-making without destroying the magic.

A free event open to all film students and movie-lovers, the sound-down of Inception ended a week of workshops, master classes, and screenings at Ringling College of Art and Design in which Pfister generously gave his time and expertise to the students. Located in my new hometown of Sarasota, Florida, Ringling is the college where I now teach film and art history to a talented student body of future illustrators, fine artists, animators, and filmmakers. I was lucky to squeeze into a class in which Pfister provided an insider’s view of production design by explaining the interrelationship between the director, the production designer, and the cinematographer. Informal yet informative, Pfister painted a clear picture of the process of production, emphasizing that story needs to drive the choice of visual techniques—not the other way around.

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Clyde Ware and No Drums, No Bugles

The independent film Winter’s Bone received four Academy Award nominations, including one for Best Picture, which illustrates one reason why the Oscars matter. Oscar recognition ensures increased publicity and therefore a wider audience for this film in contrast to other well-done indies not lucky enough to catch the spotlight.

Set in southern Missouri, Winter’s Bone captures contemporary life in the Ozarks, where the remnants of a rural-based, traditional lifestyle clash against the vices of the modern world. Jennifer Lawrence earned her Best Actress nomination as 17-year-old Ree Dolly, who tends to her family, including a psychologically disturbed mother and two younger siblings. When their father is arrested for producing methamphetamine, he puts their house and land up for his bail bond and then disappears. Ree sets out to find him before the Dollys are kicked off the land that has been in their family for generations. Based on a novel by Daniel Woodrell, Winter’s Bone authentically depicts the dark side of the contemporary rural South without resorting to the ugly stereotyping that marks so many films set below the Mason-Dixon line.

Director Debra Granik and cinematographer Michael McDonough took great pains to ensure authenticity by shooting on location in southern Missouri, noting in the DVD commentary, “We toyed with the idea of filming in other states, but ultimately came to the conclusion that shooting in Missouri was crucial, more important even than the aspect of winter. . southern Missouri is a muse for the author, Daniel Woodrell, and there’s no way that this story could be detached from its home turf.” The commentary is filled with statements about the way the locale and landscape shaped the characters and material, with McDonough declaring, “The landscape is a character.” While location shooting is often crucial to the atmosphere, authenticity, and sense of character in films, the characters in Winter’s Bone are defined by it, their motivations drawn from it, and the drama shaped by it. The same could be said of the actual residents of southern Missouri who—despite poverty, hardships, and exploitation—still live in the rural hill country of their ancestors.

THE FOOTHILLS OF APPALACHIA IN TYLER COUNTY, WEST VIRGINIA--ASHBY GATRELL'S STOMPING GROUNDS

The use of locale and landscape in Winter’s Bone reminded me of a long-forgotten Civil War drama shot in Tyler and Doddridge Counties in West Virginia, where my extended family still live. No Drums, No Bugles starred a young Martin Sheen as Ashby Gatrell, a soldier who deserted both the Confederate and Union armies. He spent three years in the hills, living off the land and avoiding human contact less he be captured by either side. No Drums, No Bugles was directed as an independent production in 1972 by Clyde Ware, who hailed from West Union in Doddridge County. Ware, who was a respected director of tv westerns, such as Gunsmoke and Bonanza, died last year. With his death, it is unlikely that No Drums, No Bugles will ever see a DVD release. I have an old VHS copy of the film that is so worn, the image drops out in several scenes. When I watched the film recently, I noticed that the content reflected the issues and politics of the Vietnam era, but the low-budget indie style—with its emphasis on authentic locations—seemed remarkably contemporary.

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Summer Time, and the Movie Is Silly

“Forgive me for being profound, but it’s good to be alive,” mumbles Troy Donahue to his date, Suzanne Pleshette, as Italian singer Emilio Pericoli warbles the reverberating “Al-Di-La,” in Rome Adventure (1962-Delmer Daves).  Well, forgive me for being a goof, but this girl’s fancy, (and questionable taste) finds such fare pretty irresistible as the days are getting longer and Spring melts into Summer. Besides, this movie, filmed in Roma, Firenze, and Lago Maggiore is a cheap, vicarious way of visiting Italy without having to stand in line at the airport or mispronouncing this beautiful language myself.  The fact that it also features two actresses I’ve always loved–Suzanne Pleshette and Constance Ford–was icing on this Italian ciambella.

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Ride, Vaquero! (1953): We both know how this will end

This is an MGM Movie?
In the rousing opening scene of Ride, Vaquero! (1953), a half-drunken bandido leader called José Esqueda (Anthony Quinn), announces to his ragtag, brawling followers that the Civil War has ended. The Americans, he explains, will turn their violent attentions to the Indians and gangs like theirs, moving into their territory along the Rio Grande border. To counter this threat, José Esqueda (Quinn), self-described as “the strongest and most cunning of them all,”  promises that they will now burn all the newcomers’ ranchos as soon as they build them.This bit of desperado theater may seem to be performed for the animalistic men and women who populate the squalid lair of Esqueda, but it is soon clear that his real capering is reserved for an audience of one–his intense, soft-spoken right hand man Rio (Robert Taylor), who privately questions the logic of this promised action while he carefully cleans his gun. Their relationship is a study in contrasts. Esqueda is the personification of every human appetite on two legs, filthy, effusively violent, shooting a man who dares to drink from his bottle. He’s also illogically generous, sending Rio to town to give a priest some of his booty for orphans. Esqueda even indulges in a bit of wood carving sculpture in his off-hours. However, when faced with Rio, Esqueda is confronting his beloved opposite, a man he calls brother, though they are not related in a traditional sense. Rio, encased in a black moodiness as dark as his clothing, has a self-possessed, lethally quiet manner and an unsettling detachment from life that frustrates Esqueda. Alternately threatening Rio and cajoling him, the garrulous Esqueda thinks that the other man relies on his fondness for him to keep him from killing him.

Giving his companion a cold, knowing glare after he is threatened, Rio asks “Why do you talk to me this way? You wouldn’t kill anything…unless it was alive.”

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