Posted by Kimberly Lindbergs on January 30, 2014
One of my favorite musicals happens to be BYE BYE BIRDIE (1963) and you can currently catch it playing on TCM On Demand. George Sidney’s film satirized America’s obsession with the burgeoning pop culture of its day and lampooned the perpetual and (often) manufactured hype surrounding music idols like Elvis Presley and bands like The Beatles. The jokes occasionally fall flat but the lively musical numbers more than make up for any of the script’s hiccups and it’s a film I like returning to again and again. Following the media onslaught of Grammy Award stories this week it seemed like a good time to revisit this pop music spoof. So let’s forget about Justin Bieber for a moment and let me introduce you to Conrad Birdie.
Posted by R. Emmet Sweeney on October 22, 2013
Poaching European talent has always been a popular Hollywood pastime, from Murnau to Lubitsch to Lang. Not every import had such an impact however, as proven by the reception of Caravan, a lavish 1934 gypsy musical directed by one Erik Charell. Charell and his leading lady Lilian Harvey had become a hot commodity after the international success of their German film operetta The Congress Dances (1932). Fox decided to make Caravan a “super-special” with a budget over a million dollars, importing French heartthrob Charles Boyer as the male lead. It was a financial and critical disaster, with the NY Times moaning that it was ”an exceptionally tedious enterprise”. Charell’s professional career was over – but what a way to go out (Harvey also flamed out in Hollywood after four films). Fully utilizing the emerging mobile camera technology, Caravan is a perpetually moving marvel, pirouetting through the gypsies like a fellow reveler. The average shot is thirty seven seconds long, so even expository conversations become epic journeys through the cavernous sets – providing an anarchic sense of freedom. Screening as part of MoMA’s “To Save and Project” series of film preservation, Caravan is a major re-discovery.
Posted by R. Emmet Sweeney on August 13, 2013
Going Hollywood (1933) was a gambit by William Randolph Heart to rejuvenate his lover Marion Davies’ career, but instead it accelerated the rise of Bing Crosby. By the end of 1933 Crosby was a top-ten box office attraction, while Marion Davies would be out of movies altogether a few years later. Like their careers, the whole movie is pulled in different directions, as its patchwork backstage musical romantic comedy plot lunges from lavish Busby Berkeley style spectacles to a filmed radio show. Even the box office receipts are schizophrenic, with a cost of $914,000 and total revenues of $962,000 it was a money-maker that barely broke even. Though immensely talented, the actors perform at cross-purposes, with Crosby at his most louche and Davies in a perpetual panic. That Going Hollywood holds together at all can be credited to ace songwriting duo Arthur Freed and Nacio Herb Brown, as well as director Raoul Walsh, who had just managed the controlled chaos of his turn of the century NYC comedy The Bowery (1933). Going Hollywood is out now in a handsome DVD from the Warner Archive.
Posted by David Kalat on August 10, 2013
It takes many people to make a movie. There are hairdressers and set dressers, designers and gaffers, caterers and stand-ins. But never mind—in the public imagination it all comes down to the director and the star.
And there was a moment, in 1953, when one of the greatest directors who ever graced Hollywood came to work with inarguably the most iconic movie star of all time. What they made was a bright Technicolor musical comedy, produced on the tail end of Hollywood’s Golden Age, that was as raunchy as anything made in the pre-Porky’s era. And for all its glorious brilliance, it probably shouldn’t have worked at all—because you can’t just put any director with any star. Sometimes they don’t match.
There’s a phrase—oil and water. It’s meant to suggest that two people are of such disparate temperaments that they can’t mix, like oil and water. But that metaphor is a limited—oil and water may not mix, but they are such inert things. But try mixing potassium and water and see what happens—they don’t mix either, but stuff explodes. And that’s our metaphor for today—because putting Howard Hawks in the same room as Marilyn Monroe and expecting anything other than stuff exploding was madness.
Posted by David Kalat on July 6, 2013
I’ve slagged off the Marx Brothers’ The Big Store in this forum before, but I’ll admit it has one outstanding moment–a memorable instance of absolute transgression against the norms of classical Hollywood by a defiant comedy artist. The thing is, though, this moment isn’t by one of the Marxes.
Posted by Susan Doll on March 18, 2013
Now that I live in Florida, this line of dialogue from Moon Over Miami passes across my mind from time to time. I have not seen any millionaires hanging from palm trees, but I do glance up from time to time.
A colorful musical with a terrific cast, Moon Over Miami stars Betty Grable and Carole Landis as Kay and Barbara, two blonde sisters from Texas. Together, they head for Florida, along with their Aunt Susie, who has just come into a small inheritance. The three use the money to stay at the lavish Flamingo Hotel, where they hope to find millionaire husbands. To lure wealthy men into their circle, Kay masquerades as an heiress, Barbara pretends to be her secretary, while Aunt Susie gets stuck as the maid.
Posted by medusamorlock on February 16, 2013
Those of us who can’t resist a good MGM musical are no doubt now and again thinking about the great screen dancer Vera-Ellen, a sparkling screen presence in an number of films yet someone whose memory is overwhelmed by the passage of time and a peculiar lack of the proper respect paid to her accomplishments. On the occasion today of the 92nd anniversary of her birth on February 16, 1921, and although I wrote about her once already (way back in 2007, check out the post by clicking here), and though she’s been gone for over thirty years — she passed away from cancer on August 30, 1981 at only 60 years old – it’s a perfect time to remember again this most charming and talented actress.
Posted by medusamorlock on January 19, 2013
I haven’t been around here in a while, but I couldn’t resist the opportunity to wish success to TCM’s Danny Kaye 100th Birthday celebration all day this coming Sunday — tomorrow. As I showed in several posts in the past, I’ve been a Danny Kaye connoisseur nearly all my life, since the days I used to skip junior high to watch his movies on TV during the day (this is pre-VCR and DVR, although I used to record the soundtracks on reel-to-reel tape!). I bought my first copies of those “Movies on TV” books because of Danny, too, because I wanted to go through and find all his movies. Little did I know then that he only made 17, but we are fortunate that TCM will be bringing us a good selection of those on Sunday, plus some rare TV goodies.
Posted by R. Emmet Sweeney on August 28, 2012
Against a backdrop of retina-bursting blue, the 22-year-old Ann-Margaret waves goodbye to the classical Hollywood musical in Bye Bye Birdie (1963). Director George Sidney seems prescient in expanding Ann-Margaret’s role at the expense of intended stars Janet Leigh and Dick Van Dyke, considering the explosion of the youth market less than a year later, when The Beatles would appear on The Ed Sullivan Show (which also makes an appearance in Bye Bye Birdie), cementing rock band movies/concerts as the musicals of the near-future. Now available in a gorgeous limited edition Blu-Ray from Twilight Time (for purchase exclusively at Screen Archives), Bye Bye Birdie is an eye-popping transitional work, with the old and the new Hollywood brushing up against each other with both awkward and thrilling results.
MovieMorlocks.com is the official blog for TCM. No topic is too obscure or niche to be excluded from our film discussions. And we welcome your comments on our blogs and bloggers.
See more: facebook.com/tcmtv
See more: twitter.com/tcm
3-D Action Films Actors Actors' Endorsements Actresses animal stars Animation Anime Anthology Films Art in Movies Autobiography Avant-Garde Aviation Awards B-movies Beer in Film Behind the Scenes Best of the Year lists Biography Biopics Blu-Ray Books on Film British Cinema Canadian Cinema Character Actors Chicago Film History Cinematography Classic Films College Life on Film Comedy Comic Book Movies Crime Czech Film Dance on Film Digital Cinema Directors Disaster Films Documentary Drama DVD Early Talkies Editing Educational Films European Influence on American Cinema Experimental Exploitation Fairy Tales on Film Faith or Christian-based Films Family Films Film Composers Film Criticism film festivals Film History in Florida Film Noir Film Scholars Film titles Filmmaking Techniques Films of the 1980s Food in Film Foreign Film French Film Gangster films Genre Genre spoofs HD & Blu-Ray Holiday Movies Hollywood history Hollywood lifestyles Horror Horror Movies Icons independent film Italian Film Japanese Film Korean Film Literary Adaptations Martial Arts Melodramas Method Acting Mexican Cinema Moguls Monster Movies Movie Books Movie Costumes movie flops Movie locations Movie lovers Movie Reviewers Movie settings Movie Stars Movies about movies Music in Film Musicals Outdoor Cinema Paranoid Thrillers Parenting on film Pirate movies Polish film industry political thrillers Politics in Film Pornography Pre-Code Producers Race in American Film Remakes Revenge Road Movies Romance Romantic Comedies Satire Scandals Science Fiction Screenwriters Semi-documentaries Serials Short Films Silent Film silent films Social Problem Film Sports Sports on Film Stereotypes Straight-to-DVD Studio Politics Stunts and stuntmen Suspense thriller TCM Classic Film Festival Television The British in Hollywood The Germans in Hollywood The Hungarians in Hollywood The Irish in Hollywood Theaters Thriller Trains in movies Underground Cinema VOD War film Westerns Women in the Film Industry Women's Weepies