Posted by Susan Doll on April 17, 2017
To view Thelma & Louise click here.
I recently showed Thelma & Louise in one of my film history courses. I had never shown the film in a class before, and I had not seen it for over a decade. Most of the students had never seen it, though they knew the basic story. Referenced for over 25 years in talk-show monologues, sitcoms and The Simpsons (1989-2017), Thelma & Louise has become an iconic tale of female frustration and dissatisfaction with the patriarchal status quo. In a way, that identity does the film a disservice, reducing it to a feminist rant. But, Thelma & Louise, which is currently streaming on FilmStruck, is so much more. I had forgotten just how well crafted and entertaining it was until I re-viewed it with my students, who smiled, laughed, and sat on the edge of their seats as the characters’ misadventures escalated.
Posted by Pablo Kjolseth on November 16, 2014
Having spent most of my life in Colorado, I take note of films that bother to put us on the map. I’m also a sucker for humanist studies of working class drifters or other misfits who seek salvation outside of the traditional institutions of marriage and family. Small surprise, then, that I’d be a fan of Scarecrow (Jerry Schatzberg, 1973). I first saw the film at the Telluride Film Festival a few years ago, but last year it received a wider revival thanks to a digital restoration commemorating its 40th year anniversary. Gene Hackman (who worked opposite of Al Pacino on the film) has cited it as his favorite role, because it was the only film that he ever made that allowed him to work in absolute continuity that allowed him “to take all kinds of chances and really build my character.” Odd to think now that this buddy film was originally intended for Bill Cosby and Jack Lemmon, and who is to say what kind of film that would have been? All I can say in retrospect is that Hackman and Pacino shine in a way that makes it hard to picture anyone else in the title roles of, respectively, Max Millan and Francis Lionel “Lion” Delbuchi.
Posted by Pablo Kjolseth on March 9, 2014
This Thursday TCM is featuring four films that fall under the theme of European Auto Racing: Le Mans (Lee H. Katzin, 1971), Grand Prix (John Frankenheimer, 1966), The Racers (Henry Hathaway, 1955), The Young Racers (Roger Corman, 1963), and Speed (Edwin, L, Martin, 1936). Last month I sold the Subaru that I’d owned since 1996. The odometer had 102,000 miles on it, and probably only had that many due to the two or three road-trips I’ve taken to visit various film festivals every year over its almost two-decades of service. That’s my way of saying I’m not much of a car guy, so it’s probably not a surprise I’ve missed out on all the aforementioned films except for Le Mans, which I saw for the first time at the 2013 TCM Classic Film Festival. Special guests Chad McQueen and race-drivers Derek Bell and Vic Elford were in attendance, and the experience was truly riveting. For the film, Steve McQueen famously tossed out most of the dialogue and it seemed like a half hour went by before anyone said anything at all – leaving viewers instead to marinate in the sound of motors…. motors going dangerously fast and rubbing shoulders with death, both on and off-screen. [...MORE]
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 David Kalat on November 26, 2011
I have something I need to say. It’s something I don’t say often enough, and for that I am sorry. You deserve to hear it. The words are few but powerful.
I love you. I love you, Muppet Movie.
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.
Posted by Pablo Kjolseth on July 18, 2010
I rarely attend films on opening night, but made an exception for Christopher Nolan’s Inception, knowing that it would be one of those films, like The Usual Suspects, whose ending can be telegraphed in two or three words by anyone who’d seen the film before me. Among other things, Inception is about dreams, dreams within dreams, lucid dreaming and shared dreams – which is ripe terrain for cinema since films themselves reveal the collective unconsciousness of the nations that burp them into existence. I followed up Inception with Sullivan’s Travels, and found it an appropriate choice. After all, Preston Sturges’ 1941 classic is, like the dreamer who knows he’s dreaming, very much self-aware. It’s a film about films that knows it’s a film. The more precise and academic term that Bruce Kawin, my Film History professor would use for this is “self-reflexive.” [...MORE]
Posted by Pablo Kjolseth on May 30, 2010
Dennis Hopper passed away yesterday morning at the age of 74 from complications related to prostate cancer (he’d been diagnosed with it late in 2009). That same morning I heard of the news from over 12 Facebook posts by friends, and from there the tally continued to climb. Somewhere, someone has surely come up with a formula that matches the speed and quantity with which news of a passing celebrity gets around along with a correlating chart mapping out their iconic status. Clearly, in Dennis Hopper’s case, that iconic status was cemented over the years, and for different generations, by various roles that tapped perfectly into the zeitgeist. [...MORE]
Posted by Susan Doll on May 10, 2010
This month marks the 107th birthday of Bob Hope, who was an icon of the entertainment industry for almost nine decades. From vaudeville to radio to movies to television to video/DVD releases of his films, Hope’s comic style and persona were remarkably consistent and adaptable from one arena of entertainment to another.
Anyone who knows Hope from his television specials and his stints at hosting the Academy Awards remember his breezy monologues, one-liners, and ad libs. Those who are fans of his films enjoyed his comic persona as the cowardly smart-mouth or likable cad, who could crack wise with exquisite timing. He could spray jokes with astonishing rapidity, or slow the momentum down with a calculated pause or double take. Hope’s talent was primarily verbal, but he was also adept at donning ridiculous costumes, handling a prop with comic aplomb, taking a decent pratfall, and reacting with just the right expression to his costars’ dialogue or actions. Even the way he strolled into a comic sketch or sidled onto a film set could be funny. Like many a former vaudevillian, he knew the comic value of making an entrance.
Posted by Moira Finnie on December 2, 2009
A holiday movie, like the raised expectations of the festive season, can be burdened with some pretty extravagant hopes. Like the day itself, we always seem to hope for a cinematic experience that might transcend the reality of an enjoyable if sometimes stressful day such as Thanksgiving. This year we got lucky. After rejecting family votes for some familiar films, including Avalon (1990-Barry Levinson), with its cri de coeur line, “you cut the too-key without me?!” spoken by with the now immortal Lou Jacobi; any hopes for those who wanted to see The Searchers (1956-John Ford) for the umpteenth time were also dashed; as was one l-tryptophan induced vote for Pulp Fiction (1994-Quentin Tarantino). We finally settled on a movie with little obvious connection to the holidays, The Straight Story (1999) on DVD.
Streamline is the official blog of FilmStruck, a new subscription service that offers film aficionados a comprehensive library of films including an eclectic mix of contemporary and classic art house, indie, foreign and cult films.
Actors Alfred Hitchcock Bela Lugosi Bette Davis Boris Karloff British Cinema Buster Keaton Cary Grant Charlie Chaplin Citizen Kane Comedy Criterion Dracula DVD Elizabeth Taylor Film Film Noir FilmStruck Frankenstein Fritz Lang Hammer Horror Horror horror films Horror Movies Humphrey Bogart James Bond Joan Crawford John Ford John Huston John Wayne Joseph Losey MGM Movie movies Night of the Living Dead Orson Welles Peter Lorre Psycho Roger Corman Screwball Comedy Steve McQueen TCM The Exorcist Warner Archive Westerns