Posted by R. Emmet Sweeney on April 25, 2017
To view Whirlpool of Fate click here.
In a fortuitous sequence of events, right after I acquired Pascal Mérigeau‘s biography of Jean Renoir, FilmStruck started streaming 16 of the director’s features and shorts. I’ve skimmed over the surface of Renoir’s career, having seen the acknowledged masterpieces like The Rules of the Game (1939) and Grand Illusion (1937), but never managed to explore much beyond that. So over the next few weeks I will be discussing an individual Renoir film, providing production info gleaned from Mérigeau‘s exhaustively researched tome. First up is the hypnagogic melodrama Whirlpool of Fate (the original French title is La Fille de l’eau, The Girl in the Water, 1925), starring his Gloria Swanson-worshipping wife Andree Heuschling (using the screen name Catherine Hessling). Though he received a co-directing credit on 1924′s Catherine (aka Backbiters), Fate is the first film where he had complete control, and he used it to experiment with a range of tones and techniques, from poetic realism to flights of expressionist fancy.
Posted by Susan Doll on December 19, 2016
Recently, I re-visited the extraordinary stars of the past by viewing The Love Goddesses (1965), a documentary streaming on The Criterion Channel of FilmStruck. Directed by Saul J. Turell, this little-known documentary traces the popularity of female stars as a barometer of America’s attitude toward sex and romance throughout the decades. Though I found the connections between the stars and America’s sexual mores too reductive, the clips of the famous, the not-so famous and the infamous were irresistible.
Posted by Susan Doll on November 28, 2016
Charlie Chaplin had been in Hollywood only two years when he signed a lucrative deal with the Mutual Film Corp., but he was already a star because of his one-reelers with Keystone and Essanay. The years 2016-2017 mark the 100th anniversary of Chaplin’s Mutual two-reelers, which I believe rank among the best comedies of the silent era.
FilmStruck offers Chaplin’s Mutual Comedies in three parts for your streaming pleasure. My personal favorite, Easy Street (1917), can be found in Part 3.
Posted by Kimberly Lindbergs on July 21, 2016
On the last two Sundays of July, TCM is airing a selection of groundbreaking films made by African-Americans during the early 20th Century. Faced with racism within the industry these pioneering filmmakers were forced to work outside of the Hollywood studio system. Independently they created hundreds of diverse “race films” addressing the concerns of black audiences that were screened in segregated theaters across the country. Due to neglect, many of these films have been lost but what remains is an innovative, wide-ranging and fascinating record of black culture.
The films will be hosted by TCM’s own Ben Mankiewicz along with Jacqueline Najuma Stewart, a Professor at The University of Chicago and author of Migrating to the Movies: Cinema and Black Urban Modernity. Stewart’s research and teaching explore African American film cultures from the origins of the medium to the present. She also directs the South Side Home Movie Project and is co-curator of the L.A. Rebellion Preservation Project at UCLA as well as an appointee to the National Film Preservation Board. Stewart is currently completing a study of the African American actor, writer and director Spencer Williams.
Posted by Greg Ferrara on April 8, 2016
Tonight TCM airs one of the all time classics by anyone’s yardstick, The Wizard of Oz. It’s a movie that occupied a great deal of my childhood imagination as its annual showing was a highlight of each passing year, long before the days of cable and VCRs and DVDs when making sure you were home in front of the tv on Good Friday was your only chance to take in the magic of Oz. And a magical movie it was, and is to this day. It’s also a movie that can easily lead off a list I’ve wanted to do for some time: The First Time I Ever… What does that mean? Let’s start off with The Wizard of Oz and it should be clear.
Posted by Greg Ferrara on March 25, 2016
Last Friday, March 18th, when I looked at the TCM schedule, I was reminded how many movies there are out there and how few any of us has really seen. Much of the time I look at the TCM schedule and can honestly say I’ve seen at least half of what’s on that day. The other half I may not have seen but I’m completely familiar with them and may have even seen a few scenes. There are other days when I have seen literally every movie on the schedule for that day. Big classic movies that we’ve all seen, say, during the 31 Days of Oscar. And then, on days like last Friday, I look at the schedule and think, “Wow, I’ve only seen two!” Those two were A Song to Remember and That Uncertain Feeling. Of those on the schedule that I hadn’t seen? Well, there was Wide Open, But the Flesh is Weak, Lonely Wives, Roar of the Dragon, Sing and Like It, Smarty, The Night is Young, Young Man with Ideas, Gypsy Colt, Moonfleet, and First Comes Courage. I have not seen a one of them. And why should I have anyway? Do have any idea how many movies have been made?!
Posted by Pablo Kjolseth on November 15, 2015
The 38th Denver Film Festival calls it a wrap today. When it began in 1978 it featured the works of such diverse directors as Woody Allen, Wes Craven, and Louise Malle. This year #DFF38 was held November 4 – 15 and it had an equally varied lineup that covered a wild gamut of genres from all around the world. Of specific interest to TCM viewers would be a documentary by Kent Jones that screened last night at the DFF titled Hitchcock/Truffaut. It uses a legendary 27-hour interview between François Truffaut and Alfred Hitchcock conducted in 1962 as its starting point. The results provide an excellent launch pad for cinephiles looking to rekindle a discussion for what Hitchcock referred to as “the greatest known mass medium in the world.” [...MORE]
Posted by Susan Doll on October 12, 2015
Next Sunday, October 18, at 2:30am, TCM airs The Life of the Party starring Fatty Arbuckle. It was released in November 1920, ten months before the fateful party that ruined the comedian’s life and career. Life of the Party, indeed.
On September 5, 1921, Roscoe Conkling Arbuckle was arrested for manslaughter in the death of starlet Virginia Rappe, one of the attendees at his infamous Labor Day party at the St. Francis Hotel in San Francisco. Prohibition had been in effect for over a year and a half, but the main reason for the party was to consume alcohol. The party began on Saturday, and drunken participants drifted in and out of Arbuckle’s hotel rooms all weekend. On Labor Day, Rappe dropped by with two other guests. In the afternoon, she was found semi-conscious in one of Arbuckle’s rooms. She was carried to another room in the hotel, and later that week, she was taken to a hospital, where she died of peritonitis due to a ruptured bladder. Arbuckle was charged with manslaughter based on the dubious, ever-changing testimony of a key witness. After three trials, he was eventually acquitted, but the relentless sensationalized press coverage had exposed and exaggerated a party lifestyle of drinking and carousing. Huge headlines, such as “Arbuckle the Beast,” had left their mark. Despite the declaration of innocence by a jury, the newly appointed head of the Motion Picture Producers and Distributors of America, Will Hays, banned Roscoe Arbuckle from starring in future films and ordered distributors to cancel any of his movies still playing in theaters.
Posted by Susan Doll on September 28, 2015
Tonight on TCM, bubbly Colleen Moore stars as flapper Pert Kelly in Why Be Good?, a 1929 romantic melodrama that turned out to be the last gasp of the flapper archetype. When the stock market crashed eight months later, the mood of the nation changed, and the high-spirited frivolity of the flapper no longer seemed appropriate.
Posted by R. Emmet Sweeney on August 4, 2015
Bebe Daniels was a born performer. She debuted on film at the age of nine as Dorothy Gale in The Wonderful Wizard of Oz (1910, a Selig Polyscope short), and went on to a long and varied career, from co-starring in Harold Lloyd comedy shorts to headlining Cecil B. Demille bodice rippers, before settling in England as a popular radio personality. In 1928 she was in the middle of an interesting run at Paramount/Famous Players Lasky, making subversive comedies in which she was taking on traditionally male roles (as Fritzi Kramer has noted at Movies Silently). She was the lead in Miss Brewster’s Millions (1926), re-booting the George Barr McCutcheon novel with a female lead, a Zorro-figure in Senorita (1927), and takes on a Valentino-esque persona in She’s a Sheik (1927). In 1928 the cast of She’s a Sheik (Daniels, Richard Arlen, and William Powell) was brought back together for Feel My Pulse (1928), a madcap hypochondriac comedy directed by the up and coming Gregory La Cava. La Cava was a cartoonist who was hired by William Randolph Hearst’s International Film Service to oversee their animations. After that business went kaput, he entered live action two-reelers and features, finally making his way to Bebe Daniels and Feel My Pulse. Anthology Film Archives recently screened a beautiful print preserved by the Library of Congress, which is 63 minutes of gags, a showcase for Daniels’ effervescent personality and La Cava’s comic strip punchlines.
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