Ralph Barton and Charlie Chaplin in the Jazz Age

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Charlie Chaplin—an icon of cinema—flirted with the fine arts. He sketched on occasion, and he could converse about art and music in social situations, but his strongest connection to the world of art was his friendship with illustrator Ralph Barton. During the 1920s, Barton was a highly successful caricaturist and cartoonist, whose work was elevated by an understanding of design, line and composition. He served as an advisory editor for The New Yorker from its very beginning in 1924, which reflected the type of social circle Barton traveled in. Barton seemed to know everyone who gave the Jazz Age its flavor, from Mayor Jimmie Walker to actor Paul Robeson.

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Ingrid Bergman: From Luminous to Scandalous to Illustrious

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To see the Ingrid Bergman films available on FilmStruck, click here.

Ingrid Bergman stepped in front of a camera for the first time 85 years ago. Bergman fans will be delighted to discover that FilmStuck offers 13 of her films, including a recent documentary by Swedish critic and filmmaker Stig Bjorkman titled Ingrid Bergman In Her Own Words (2015).

Instead of Bergman’s glamorous Hollywood star turns—Gaslight (1944), Casablanca (1941), Notorious (1946)—FilmStruck offers her lesser-known European films, including seven early Swedish roles, four melodramas by husband Roberto Rossellini, one film made for Renoir, and her penultimate screen performance in Ingmar Bergman’s Autumn Sonata (1978).

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Laurence Olivier and the Anemic Little Medium

WUTHERING HEIGHTS (1939)

To view our theme “Icons: Laurence Olivier” click here.

In the last years of his life, Laurence Olivier was lauded as the world’s greatest actor in print interviews, on talk shows and during presentations for the numerous honorary awards he received. His experience as a classically trained thespian and his repute as an interpreter of Shakespeare generated the persona of an important actor. His stint as the director of London’s National Theatre made him synonymous with the British stage.

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On Film Noir, Poetic Realism and “The Myth of Gabin”

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If you are a fan of film noir, and who isn’t, I suggest checking out the French film movement from the 1930s known as Poetic Realism. Noir fanatics are attracted to the genre’s dark romanticism with its haunting fatalism, melancholy mood and doomed characters—conventions shared with Poetic Realism. Until the end of February, FilmStruck is streaming seven films under the theme French Poetic Realism, including three featuring Jean Gabin. Gabin has been compared to Humphrey Bogart, not because they resemble each other, or employ similar acting styles, but because both became icons of the silver screen. In France, Gabin in his working-class cloth cap is an icon representing Poetic Realism, while Bogart in his fedora and trench coat is the face of film noir.

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On the Passing of Stars

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Movie lovers of all generations are still reeling from the deaths of Carrie Fisher and her mother, Debbie Reynolds, within a day of each other. Photos, memes and personal testimonies flooded the Internet as an expression of collective shock and grief.

Fisher’s character in Star Wars (1977) and Reynolds’s participation in Singin’ in the Rain (1952) dominated the references to their careers, not surprising since Princess Leia and an energetic Reynolds hoofing alongside Gene Kelly and Donald O’Connor are iconic in popular culture. Coincidentally, both Fisher and Reynolds were 19 when hired to appear in their most famous roles. Common cultural consensus has deemed those roles significant in retrospect, but in the context of their lives, their most interesting work lay ahead of them.

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A Forgotten Film to Remember: The Whole Town’s Talking (1935)

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I once took a couple of noncredit courses on the early films of John Ford. I thought I knew a great deal about Ford, but, as taught by talented filmmaker and learned film scholar Michael G. Smith, the courses proved to be a revelation. I was surprised at some of Ford’s influences (German Expressionism!!!!), and I enjoyed the diversity of genres and stars that made up his pre-Stagecoach output. I was reminded of this experience when I came across “John Ford in the 1930s,” a collection of films currently streaming on FilmStruck.

Included in this collection is The Whole Town’s Talking, a 1935 comedy that doesn’t have much of a reputation among Ford biographers. I admit that the first time I saw it, I didn’t realize that it was the work of Hollywood’s premiere director of westerns. In this little comedy, Edward G. Robinson stars in a dual role as mild-mannered hardware clerk Arthur Ferguson Jones and cold-blooded gangster Killer Mannion, who has just broken out of jail. The police arrest Jones, believing him to be Mannion. After they release him, reporters create front-page headlines out of this unfortunate case of mistaken identity, which draws the attention of the real Mannion. The gangster kidnaps his look-alike to use his identification papers in order to continue his crime spree.

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They Don’t Make Stars Like. . . Well, You Know the Rest

THE LOVE GODDESSES, from left: Marilyn Monroe, Carole Lombard, 1965

Recently, I re-visited the extraordinary stars of the past by viewing The Love Goddesses (1965), a documentary streaming on The Criterion Channel of FilmStruck. Directed by Saul J. Turell, this little-known documentary traces the popularity of female stars as a barometer of America’s attitude toward sex and romance throughout the decades. Though I found the connections between the stars and America’s sexual mores too reductive, the clips of the famous, the not-so famous and the infamous were irresistible.

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An Unexpected Farewell: Leslie Howard’s Spitfire (1942)

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With World War II ramping up in his native Britain, Leslie Howard felt compelled to redirect the focus of his film career to the war effort. He also wanted to expand into producer and directorial roles, spending less time in front of the camera. Unfortunately there wasn’t a clear path for him to do so in Hollywood, further adding to his desire to return home to Britain. After a successful string of starring roles in American films such as Of Human Bondage (1934), Romeo and Juliet (1936), Intermezzo: A Love Story (1939) and of course Gone with the Wind (1939), Leslie Howard bid adieu to Hollywood (and apparently quite a bit of money). Once returned home, Howard didn’t waste much time, immediately beginning production on two important propaganda films: Pimpernel Smith (1941), a modern take of the literary masterpiece The Scarlet Pimpernel (in which Howard starred in an adaptation in 1934) and Michael Powell and Emeric Pressburger’s 49th Parallel (1941). Both of these films were instrumental in building morale for British citizens and encouraging support from the United States, which remained neutral at that time. Following the success of Pimpernel Smith and 49th Parallel, Howard continued his contribution to the war effort with the 1942 film The First of the Few (released under the title Spitfire in the United States), a biopic on the aircraft developer R.J. Mitchell, whose accomplishments included the Supermarine Spitfire, an important component of the Royal Air Force’s fleet.

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Yves Montand: My First International Star

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We all have performers or movies that grant us entry into genres, eras, or styles. Spencer Tracy was one of the actors who got me hooked into classic cinema. Boris Karloff hooked me into horror. And Yves Montand was the first international star I ever really knew. Like many stars appealing to a new generation, it was his later work that I saw first and precisely what interested me in seeing his earlier work. I didn’t take too much notice of him at first but as he began appearing in more and more of the movies I was watching on Saturday afternoons in my childhood, I began to wonder where this fine actor got his start. For Montand, it started with singing and live performing until he was discovered by Edith Piaf. For me, it started with Z (1969).

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Robert Mitchum as The Face of Film Noir

blogeddie5A tough week for America. After a long, bitter election year, the end game is a divided and angry country. Disillusioned with both sides, I find escape—and solace—in a pair of moody film noirs in which a cynical, jaded Robert Mitchum encapsulates how I feel.

In The Friends of Eddie Coyle (1973), Mitchum plays Eddie “Fingers” Coyle, a small-time gunrunner who is barely making ends meet on the margins of the underworld. The last of his luck runs out when he finds himself facing another long stint in prison. He weighs his loyalty to his criminal associates against snitching on them to the cops, which would keep him out of prison.

TV writer Paul Monash adapted the screenplay from a novel by George V. Higgins, a real-life assistant DA. Higgins captured a detailed, intimate view of the lifestyle of street criminals. The corrupt, dog-eat-dog world of the novel easily translated to film noir. Gloomy, with only a minimal amount of action, The Friends of Eddie Coyle wraps itself in melancholy, a tone that Mitchum could so easily express in his baritone voice, somnolent expression and minimalist acting style.

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