Posted by R. Emmet Sweeney on February 17, 2015
Syncopation (1942) tells the history of jazz through the story of two white kids, so its limitations are obvious. But it is a fascinating film for how aware it is of the histories that are being left out. The film acknowledges the music’s roots in black America, and begins with a pocket history that traces its path from Africa through slavery and the development of jazz that began in Congo Square in New Orleans. A Louis Armstrong avatar, here named Rex (Todd Duncan), seems to be a leading character, his friendship with the jazz-mad white girl Kit (Bonita Granville) the early focus of the story. But his character is essentially erased as it moves along, focusing instead on Kit’s relationship with struggling (white) hot jazz trumpeter Johnny (Jackie Cooper). Johnny learns from Rex, co-opts his music, and starts the swing music fad. But Johnny is extremely self-conscious about his artistic debt, worrying that what he is doing inches from influence to theft. The film forgives and endorses his actions, but the fact that this doubt is opened up at all is unusual for such seemingly whitewashed material.
The Cohen Media Collection released Syncopation in a beautiful Blu-ray last week, restored in 2K from an archival fine grain 35mm from the Library of Congress. What makes this an essential purchase for jazz fans are the bonus features – classic shorts previously available in muddy prints on YouTube, here now in HD, including Duke Ellington’s Black and Tan (1929), Bundle of Blues (1933), and Symphony in Black (1935, with an appearance by Billie Holliday), as well as shorts featuring Louis Armstrong, Bessie Smith, Cab Calloway, Hoagy Carmichael, Jack Teagarden and Artie Shaw.
Posted by Pablo Kjolseth on December 28, 2014
A blurb written in 1998 by Rick Polito for a TCM screening of The Wizard of Oz was resuscitated on the internet two years ago and went viral: “Transported to a surreal landscape, a young girl kills the first person she meets and then teams up with three strangers to kill again.” Eight years before that, during my college years in 1990, space limitations on the calendar film series I was programming inspired similarly curt descriptions. Mine, however, were not funny and only annoyingly glib. For 2001: A Space Odyssey I wrote one sentence: “Do we really need to write a description for this?” My flippant entry for The Wizard of Oz was no better: “You know this one too. It’s not like it hasn’t been on TV every year for the last 25 years.” Had I done my homework I would have known that, at the time, it had actually been on TV for even longer than that but, either way, readers were not amused. And rightly so, because no matter how familiar you are with The Wizard of Oz, the film has many layers, it deserves more than flippant sentences, and it rewards repeat viewings. More to the point, people who are only familiar with The Wizard of Oz from television will have a big-screen opportunity to tremble under the earth-ripping power of those opening cyclone shots, thanks to TCM and Fathom Events which will be bringing the movie to select theaters nation-wide on January 11th. [...MORE]
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.”
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