OK, so I’m a couple of weeks late writing about the restored A Hard Day’s Night. C’mon people, the movie’s 50 years old, no matter when I wrote about it would be late, so gimme a break.
But my daughter is an aspiring singer/songwriter, and I love me some absurdist British comedy, so this is a natural fit with me and I couldn’t let its glorious restoration pass by unremarked. Plus, it is quite striking how innocent, sincere, uncalculating, necessary, and humane the rebellion embodied by the Beatles is/was, especially compared to the alternately cynical and dangerous rebellion presented by today’s rock stars.
Posted by Pablo Kjolseth on June 1, 2014
If you missed A Hard Day’s Night (Richard Lester, 1964) when it screened at the recent TCM Film Fest, you’ll get another shot tomorrow when it airs as part of an evening celebrating the British Invasion. A Hard Day’s Night marks the Fab Four‘s debut in front of the cameras for a feature film and is credited with breaking away from the previous template for musical pictures of a boy-meets-girl story interspersed with musical numbers. This is not to say our four boys don’t meet girls, as there are throngs of screaming women, many random encounters, and George Harrison would even meet his future wife, Pattie Boyd, on the shoot (she’s one of the women the Beatles run past in the train – and was also responsible for grooming his hair during the film shoot). But what really fuels the film is an anarchic energy inspired by The Goon Show radio program of the ’50s that also influenced the lads in Monty Python. To be more specific: one of the people talking into the microphone for the Goon Show was Peter Sellers, before he was a film star, and Sellers would later co-direct with Lester The Running Jumping & Standing Still Film (1960), which was an 11 minute short that the Beatles quite liked and which led to Lester being hired for A Hard Day’s Night (and a year later also Help!). [...MORE]
Posted by David Kalat on August 17, 2013
While celebrating my 20th wedding anniversary at Walt Disney World a couple of weeks ago, I had occasion to think about racist content in family movies.
No, no–hold on, bear with me. I was having a great time and was fully immersed in the magical world of Disney like I was supposed to, but I ran across an interesting paradox that got me thinking. You see, over the years, Disney has retired some rides because their source material was deemed too obscure (bye bye Mr. Toad’s Wild Ride), and even some that didn’t seem all that obscure got the axe to make way for attractions based on the latest releases (bye bye 20,000 Leagues Under the Sea).
Given this policy, the enduring popularity of Splash Mountain at the Magic Kingdom is something to marvel at, since the ride is based on perhaps the most obscure work in the entire Disney canon, Song of the South. Weirder still, Splash Mountain debuted in 1989, a few years after its source material Song of the South was decommissioned and mothballed. It would have been easier to just forget Song of the South ever existed–but there’s something about this film that is not so easily forgotten.
Posted by David Kalat on April 6, 2013
Carnegie Hall (airing on Tuesday at midnight—set your DVR) is an epic-length cinematic love letter to classical music from one of America’s most important, if elusive and enigmatic, directors. It is also the movie that indirectly saved my DVD venture from premature death, and for that I owe it an eternal debt.
Maybe the title is unfamiliar. I should ‘splain what it is first:
Posted by David Kalat on January 26, 2013
On the Saturday after Thanksgiving, I had the privilege and pleasure of attending a rare screening of a more-or-less unique version of Walt Disney’s Fantasia. The venue was the Chicago Symphony Orchestra, under the direction of Riccardo Muti and the conducting of Ludwig Wicki, performing live to a screening of selections from both Fantasia and Fantasia 2000.
It was, in a way, a realization of Disney’s original ambition back in 1940. He had cooked up the idea that Fantasia would remain in a state of perpetual flux, with musical selections being rotated out and in continually. One such alternate selection was prepared, but not used, or at least not used for its originally intended purpose, and the Chicago Symphony Orchestra’s version of Fantasia presented this scene, re-integrated in amongst Mickey the wanna-be Sorceror and the dancing alligators.
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 R. Emmet Sweeney on September 20, 2011
Vincente Minnelli had been interested in making a surrealist musical since his days as a Broadway set designer and director. After he saw successful stagings of “Four Saints in Three Acts” (with libretto by Gertrude Stein) and “Pins and Needles” (starring members of the International Ladies Garment Workers Union), he was convinced he could make it work. In 1938, he tried to woo musical comedy star Bea Lillie to take the lead role in a “surrealist revue” he titled “The Light Fantastic”. In a letter to Lillie, quoted in Minnelli’s autobiography, he wrote, “It sets out to prove that the world today is completely screwy. A surrealist fantasy set in jig time.” The project was shelved, and he moved on to direct “Very Warm For May”, the first Jerome Kern-Oscar Hammerstein collaboration in eight years.
Once in Hollywood, and flush with studio goodwill off the hits Meet Me In St. Louis (1944) and The Clock (1945) (he had also directed the majority of the revue-style Ziegfeld Follies, which the studio tinkered with until ’46), he finally put his “Light Fantastic” inspiration into action, resulting in Yolanda and the Thief (1945), one of the strangest and most enchanting films ever released by a Hollywood studio. Released earlier this year on DVD by the Warner Archive, Yolanda and the Thief is also screening at the Brooklyn Academy of Music in October, as part of a complete retrospective of the director’s work (presented along with the Locarno Film Festival).
Posted by Kimberly Lindbergs on February 17, 2011
“It’s a god-awful small affair
Sailors fighting in the dance hall
In a 1997 interview David Bowie was asked what his song “Life On Mars” was about and he said, “A sensitive young girl’s reaction to the media. I think she finds herself disappointed with reality … although she’s living in the doldrums of reality, she’s being told that there’s a far greater life somewhere, and she’s bitterly disappointed that she doesn’t have access to it.”
Posted by Kimberly Lindbergs on February 3, 2011
John Barry loved movies and the movies loved him. The British born composer passed away on Sunday, January 31st at age 77 following a heart attack but he left a rich legacy of musical accomplishments behind. Barry was a giant in the industry and the obituaries and tributes that have followed his death have reflected his importance as an Oscar winning film composer who worked on award winning films like Born Free (1966), The Lion in Winter (1968), Midnight Cowboy (1969), Out of Africa (1986), Dances with Wolves (1990) and Chaplin (1992) as well as his contribution to the classic James Bond theme, which happens to be one of the most recognizable pieces of music ever recorded. John Barry’s work touched people and many of the heartfelt remembrances that I’ve read express a real connection to the man and his music. His soundtracks were often some of the first film scores that movie fans purchased and when a film was easily forgettable it was John Barry’s music that often stayed with viewers long after the credits rolled. Barry didn’t just make music, he made movie magic. The searing melodies, guitar driven rhythms, punchy horn sections and lush orchestration found in his scores have the ability to transport audiences to another place and time. Few artists can claim to have that kind of power but Barry’s musical wizardry is renowned. I thought it would be fun to take a look back at Barry’s impressive career and see how he progressed from a film projectionist’s son into an Oscar winning composer.
Posted by medusamorlock on November 17, 2010
Probably everybody’s heard by now about the resurgence of Pee-wee Herman, actor Paul Reubens’ singular creation, who’s now enjoying a joyous renaissance on the Broadway stage after wowing audiences in L.A. with a new version of his classic stage show of the 1980s. As a super fan of Pee-wee and Reuben I’ve been following the latest reviews since his show opened the other day. While the Los Angeles critics seemed to be totally into the revivial, the NYC press is an interesting mix of reactions, from the adoring to the “Huh?”, which suggests to me that the latter reviewers simply never got into Pee-wee and his particular brand of absurdist amusement. Not to say that everybody has to like the character or the show, but to not “get” Pee-wee…well, if you don’t buy into the premise, there’s no way his world view is going to make any sense, or more importantly, make you laugh. But for those of us who love Pee-wee, and maybe even for people who don’t, 1985′s big screen success Pee-wee’s Big Adventure should provide enough evidence that Paul Reubens’ character of the child-man Pee-Wee Herman is a classic of movie comedy.
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