Posted by R. Emmet Sweeney on January 10, 2017
Guru Dutt is a tragic figure in Bollywood history, a tremendously talented actor and filmmaker who committed suicide at the age of 39. He was able to direct eight films before his passing, the most famous of which is Pyaasa (1957), an intensely moving melodrama about a struggling poet, Vijay (played by Dutt). It is a movie about failure, as Vijay’s poems are roundly rejected, while his vagabond lifestyle alienates him from his immediate family. Broke and depressed, Vijay wanders the lower depths of the city and finds the first honest people he’s ever met, they just happen to be prostitutes and hucksters. As proper society would rather he disappear, Vijay pursues his art anyway, to destructive and unpredictable consequences. Filmed with a delirious mobility, the camera is always dollying from long distances into huge closeups, the distance between two unrequited lovers closed by the lens. With sinuous, unforgettable music by S.D. Burman and evocatively nihilistic Urdu poetry by Sahir Ludhianvi, FilmStruck is streaming Pyaasa as part of its “Classic Bollywood” package, and if you are looking to start exploring Bollywood cinema, this is a wise place to begin.
Posted by Kimberly Lindbergs on December 29, 2016
Biopics can be predictable and formulaic affairs. They often rely on a checklist of theatrical high points and low points, which restrict the scope of the drama and transform the rich panorama of life into a cheap paint by numbers routine. John Huston’s Moulin Rouge (1952) is an exception to that tired rule thanks to some innovative directing choices that challenged standard Hollywood tropes at the time it was made. In turn, this stirring dramatization of French artist Henri de Toulouse-Lautrec’s brief life is a brooding contemplation of the artistic process and a celebration of nineteenth-century bohemian Paris.
Posted by Nathaniel Thompson on December 7, 2016
With the unabashed love letter to director Jacques Demy La La Land now hitting theaters, there couldn’t be a better time to hone in on a singing and dancing delight from the French filmmaker himself: The Young Girls of Rochefort (Les demoiselles de Rochefort) (1967). If you can’t afford to take a tour of France, Demy’s films are probably the next best thing as he had a knack for highlighting its cities over the course of his career, from his hometown of Nantes to the one film that overshadows them all, The Umbrellas of Cherbourg (1964). The Young Girls of Rochefort is usually regarded as a kind of also-ran to that legendary, Oscar-nominated milestone, but it’s really best if you just set aside any comparisons and watch it on its own terms as a buoyant, Gallic take on classic MGM musicals, made obvious with the importing of Gene Kelly and West Side Story’s George Chakiris as two of its stars. [...MORE]
Posted by Nathaniel Thompson on October 5, 2016
It’s October, and you know what that means: spooky movies all month long! Every horror fan of a certain age has a favorite movie monster they first encountered as a child: Dracula, Frankenstein, the Wolf Man, and of course, the Creature from the Black Lagoon. For me it was the Phantom of the Opera, whom I met in a number of cinematic guises before I was out of elementary school. The combination of grotesque horror, cliffhanger thrills, and doomed romance is like catnip to an impressionable young viewer. Now it’s a fine chance to make the Phantom’s acquaintance right now, since TCM’s running the Lon Chaney silent version on October 7, and Herbert Lom’s turn in 1962 just made its Blu-ray bow in a sparkling new presentation as part of Universal’s Hammer horror set.
So here we go with a few thoughts about the many faces of the Phantom we’ve seen over the past century, and what’s remarkable about this seemingly immortal character is the fact that every significant movie adaptation has turned out to have something of value. [...MORE]
Posted by Kimberly Lindbergs on August 25, 2016
Yul Brynner in The King and I. TCM & Fathom Events are screening this classic musical on August 28 and 31 in select theaters across the U.S.
In December of 1982 I was given a ticket to see Yul Brynner perform The King and I at the Orpheum Theatre in San Francisco. It was a birthday gift from my mother who knew how much I loved the classic Rodgers and Hammerstein musical and Yul Brynner. I was a hard-to-please adolescent and I’d never had the opportunity to see a big Broadway production before but at the time I was studying dance and trying to figure out if I wanted to pursue a career in theatre, music or writing. You all know what I eventually decided to do but seeing Brynner on stage in the role he made famous was one of the most electrifying and downright amazing experiences of my life.
At age 62, the bronze and barrel-chested actor was still a charismatic and commanding performer. A true ‘original’ as the commercial for The King and I advertised who had created the character of King Mongkut on stage in 1951 before bringing him to the screen in 1956. A year after I watched Brynner belt out “Shall We Dance?” he was diagnosed with inoperable lung cancer and died in 1985 following a hugely successful return to live theatre. His death devastated me but Brynner remains immortal in my mind thanks to his unforgettable appearances in a number of great films.
Posted by Susan Doll on August 15, 2016
My favorite days of TCM’s Summer Under the Stars are those devoted to character actors, neglected stars, or actors whose careers were limited to one genre—sort of, the forgotten and forsaken of film history. It’s not that these actors were not famous, established, or major stars in their day, but to today’s audiences, they lack the iconic recognition of Golden Age favorites like Bogart, Tracy, Ball, or Davis. If it weren’t for TCM, the forgotten and forsaken would be lost to time.
Case in point: Ask most people to name a Ruby Keeler film, and the response would be, “Who?” Even movie lovers know her only from a handful of Warner Bros. musicals, specifically 42nd Street and Gold Diggers of 1933. I confess I knew very little about her: I have seen her Depression-era musicals, I remembered that she was married to Al Jolson, and I recalled that she had an amazing comeback in the early 1970s when she starred on Broadway in No, No Nanette.
Posted by R. Emmet Sweeney on August 9, 2016
Silk Stockings (1957) is remembered less for what it is than what it represents – the end of the Golden Age of MGM musicals. It was adapted from the last musical Cole Porter wrote for the stage, contains Fred Astaire’s penultimate leading performance, and was director Rouben Mamoulian’s farewell feature film. Viewed outside of that melancholic context, the film is a peppy Cold War burlesque that turns the ideological battle of Communism and capitalism into a decision between cold logic and effortless entertainment (guess what wins). Astaire reunites with his Band Wagon co-star Cyd Charisse to solve East-West relations through dance and expensive undergarments. An enormous hit in its time, it was the highest grossing musical to ever play Radio City Music Hall, but its reputation has suffered since. Silk Stockings deserves a better fate than to be an answer to an end-of-career trivia question, and Warner Archive is helping by releasing it on Blu-ray. It will also screen on TCM this coming Sunday, August 14th, at 6PM.
Posted by Nathaniel Thompson on July 27, 2016
Earlier this year I made a trek with three friends to Stockholm where we got to experience firsthand the Eurovision Song Contest, that annual feast of musical excess, questionable taste, vocal acrobatics, and international squabbling. This year proved to be no exception, and though it’s still a niche event in the United States, all of Europe and many other countries (particularly Israel and Australia) treat it like a major sporting event. Tradition holds that the winner’s country hosts the following year’s contest, so it was Sweden’s sixth turn to be taken over for a couple of weeks by Eurovision fans.
Not surprisingly, you couldn’t walk through a store or sit through an event without hearing the name “ABBA” at least a few times. Sweden’s greatest pop music export, the fabulous foursome famously won the contest in 1974 with “Waterloo,” energizing a career that would burn brightly until the group’s dissolution in 1982. Since 2013, Stockholm has also been home to ABBA: The Museum, an eye-popping immersion in the group’s music, impact, and blazingly colorful outfits (including the weirdly lifelike figures in the photo below). However, the group’s popularity is perhaps greater than ever around the world, and as I concluded walking through rooms flickering with concert footage and music clips, they’re also one of the most cinematic music acts of all time. [...MORE]
Two lovers, locked in a room—the future of the state itself depends on whether their roiling lust for each other will override their other emotions and compel them into a marriage. The last time these two saw each other, Danilo (Maurice Chevalier) thought Sonia (Jeanette MacDonald) was a whore. The first time they saw each other, Sonia knew Danilo was a gigolo. And if all this talk of prostitution sounds tawdry, just remember that is in fact what this is all about: the King has ordered Danilo to seduce Sonia because unless she has a compelling reason to stick around in the Ruritanian kingdom of “Marshovia” she’ll take her wealth with her, crippling the economy. This is about trading money for sex, and sex for money.
Fans of high culture of course know this story as the beloved Merry Widow (which is just this weekend finishing a glorious run at Chicago’s Lyric Opera–awesome stuff). Franz Lehar’s opera had been entertaining audiences around the world since its Vienna premiere in 1905. But the prudish censors who governed Hollywood in 1934 weren’t what you’d call fans of high culture. For them, Ernst Lubitsch’s film version of The Merry Widow was just a piece of smut.
So how exactly did this thing get made in the first place? And what did it have to do with the Marx Brothers?
TCM is partnering this month with Fathom Events to present exclusive theatrical screenings of the Grease Sing-A-Long in select theaters August 16 and 19 only (buy tickets by clicking this link). For those of you who like me grew up in the 1970s and early 1980s this will be a fun walk down memory lane and a chance in indulge in some groovy nostalgia. For younger readers, this can be a chance at some cinematic archeology—an opportunity to explore a baffling oddity, a fragment of pop culture from some alternate universe that broke off from its parallel dimension and jabbed through a rift in time and space into our own unsuspecting world. Put simply, Grease is v. weird.
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