Posted by Susan Doll on January 25, 2016
Once again, I am teaching a section on Hitchcock to my advanced film history course. I told the students that we would study one filmmaker this semester, and I let them choose a director from a short list. The students selected Hitchcock, which was also the choice last year. The Hitchcock section consists of four films, one from his early period in England and three from his Hollywood career. I am letting the students pick the director’s Hollywood-produced movies, but I will start out with a film from his early period when he was England’s best and brightest director. Ay, there’s the rub. I can’t seem to decide which early Hitchcock to show.
Last summer, I was undecided about whether to show Night Moves or The Long Goodbye in my film noir course. I put the choice to the knowledgeable Morlocks readers, and based on your helpful input, I decided on The Long Goodbye. So, I thought I would ask for your educated opinions once more.
Posted by Kimberly Lindbergs on October 8, 2015
You can’t go wrong with any of these fine thrillers but today I’d like to single out Cast a Dark Shadow, a gripping and remarkably grim British production starring Dirk Bogarde as a suave young Romeo who seduces wealthy older women for financial gain and then murders them in cold blood. Clocking in at a brisk 82 minutes and featuring some stellar talent behind and in front of the camera, Cast a Dark Shadow presents an interesting early example of a seductive and unscrupulous serial killer who will stop at nothing to satisfy his basest urges.
I’m not sure if you’ve noticed, but in TCM’s program descriptions, every single silent film shown is described with “In this silent film, …” as a sort of talismanic warning: Abandon All Hope All Ye Who Enter Here.
The presumption is clear: silent films are slow, they’re old, they’re in B&W, they’re silent. Better warn people so no one turns in unsuspecting.
Of course, the bias is absurd. Practically everything TCM shows is old and B&W, and most of it is slow–by modern standards, surely. If you’re watching this channel, you’ve already signed up for a different pace and style to contemporary filmmaking. So why the fear of silents? Especially when there are such mad gems as the 1926 Soviet Russian serial Miss Mend, a cliffhanger-driven pulp adventure in the Fantomas vein. Last week we talked about Arsene Lupin–if you enjoy that, this is up your alley too.
Posted by Susan Doll on July 13, 2015
In watching Side Street (left) last Friday as part of TCM’s Summer of Darkness, I noticed how cleverly the locations were integrated into this story of an average guy stepping into a web of intrigue out of his control. As a matter of fact, he was such a “regular Joe,” that the character’s name was actually Joe!
The typically convoluted plotline had Joe chasing all over New York looking for a cache of stolen money. Each new clue led him to a specific address in a different part of the city—Central Park West, Belleview Hospital, W. 8th Street, Wall Street, etc. The streets were located all over Manhattan in a variety of neighborhoods, as though the impact of this particular crime was spreading out across the city map, like spilled ink. Side Street was directed by Anthony Mann and shot on location by Joseph Ruttenberg; the locations gave the narrative authenticity.
Posted by Kimberly Lindbergs on May 21, 2015
In case you haven’t noticed, Sterling Hayden is TCM’s Star of the Month and I’ve enjoyed catching up with the tall, blond and brawny actor’s filmography on Wednesday nights. Today Hayden is best remembered by film lovers for his memorable roles in a number of classic noirs and westerns that air on TCM regularly as well as subsequent standout parts in Kubrick’s DR. STRANGELOVE: OR HOW I LEARNED TO STOP WORRYING AND LOVE THE BOMB (1964), Coppola’s THE GODFATHER (1972) and Altman’s THE LONG GOODBYE (1973).
Late in life, Hayden also made a brief but notable appearance in an unusual thriller called DEADLY STRANGERS (1975), which I was compelled to revisit again over the weekend. Directed by the talented Sidney Hayers (CIRCUS OF HORRORS; 1960, BURN WITCH BURN; 1962, THE TRAP; 1966, REVENGE; 1971, A BRIDGE TOO FAR; 1977, Etc.) and starring Hayley Mills along with Simon Ward, this low-budget British horror effort may not rate as one of Hayden’s finest hours among his devoted fans but I think the film is worthy of reconsideration due to its smart direction and probable influence on beloved horror classics including John Carpenter’s original HALLOWEEN (1978).
Posted by Susan Doll on May 11, 2015
Film historians often proclaim the 1960s and 1970s to be one of Hollywood’s most creative eras. Dubbed the Film School Generation, or New Hollywood, directors, producers, and writers enjoyed a level of creative control in the film industry that few filmmakers have experienced before or since. Directors such as Scorsese, Coppola, Penn, Nichols, Bogdanovich, Altman, Lumet, DePalma, Kaufman, and others were influenced by the work of European filmmakers, inspiring them to experiment with form and content. The result is an era of original films that as a group challenge, entertain, and provoke.
As we approach the anniversary of 9/11, I do at least have some good news to report. No, international terrorism is still a thing. Violence still reigns across Iraq, Afghanistan, the Gaza strip, and Ukraine. Injustice and racism still festers here at home, and the income gap widens. But… on this September 11, TCM is gonna run the 1938 Arense Lupin Returns, and if you’re too impatient to wait until then, you can go to Warner Archive and get a DVD double feature of that delightful treat and its even more fabulous predecessor, the Pre-Code gem Arsene Lupin. So, there are silver linings, if you know where to look.
Now that the announcement has been made official I can go ahead and ‘fess up: I recently recorded an audio commentary for the newly restored Cabinet of Dr. Caligari for the UK Blu-Ray release by Masters of Cinema. It was a huge thrill for me—I’d been wanting to do a Caligari commentary for years and no one had asked me yet. But not only was it a chance to finally yammer my way through Robert Wiene’s masterwork, but this new restoration is simply stunning—it’s from the original 35mm negative. Looks like it was shot yesterday.
And seeing this film fresh makes all the difference in the world, because there are so many myths and misconceptions about Caligari that need clearing up. Like, that this film is some kind of avant garde work of art. Because (ahem) it’s not.
Séance on a Wet Afternoon, the chilling 1964 British classic by Bryan Forbes, will be on TCM in the middle of the night tonight. It’s a must-see. It is not, however, my favorite screen adaptation of Mark McShane’s novel. That honor goes to Kiyoshi Kurosawa’s version, which effortlessly turned this mid-century British ghost story into a work of 21st century J-Horror, largely because Kurosawa hadn’t seen Forbes’ must-see version.
There are some directors who make their breakout hits early in their careers. Their landmark films announce the arrival of an important new talent by showcasing distinctive visual or thematic ideas—but these marks of distinction can also serve to limit that filmmaker’s future growth. Their subsequent films can’t help but be compared to their early classics, and after a while they risk being accused of simply repeating familiar motifs, cobbling together pastiches and Greatest Hits collections.
Not Alfred Hitchcock. Not only did his later works like Marnie or Topaz veer wildly away from anything in that career that preceded them, it’s in his early films that we find what might be called pastiches—only these are pastiches not of past glories, but patchworks of the masterpieces yet unmade.
Consider Secret Agent. It’s a 1936 wartime spy thriller (bet you couldn’t guess that from the title, huh?) based on some stories by Somerset Maugham, and made for Michael Balcon and Ivor Montagu during Hitch’s British period.
It is by no means one of Hitchcock’s greats—even in 1936, it was only voted the fifth best British movie. But it’s a template for almost everything great Hitchcock did after it.
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 Academy Awards Action Films Actors Actors' Endorsements Actresses animal stars Animation Anime Anthology Films Art Direction Art in Movies Asians in Hollywood Australian CInema Autobiography Avant-Garde Aviation Awards B-movies Beer in Film Behind the Scenes Best of the Year lists Biography Biopics Black Film Blu-Ray Books on Film Boxing films British Cinema Canadian Cinema Character Actors Chicago Film History Children 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 Festival 2015 film festivals Film History in Florida Film Noir Film Scholars Film titles Filmmaking Techniques Films About Gambling Films of the 1930s Films of the 1960s Films of the 1970s 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 Memorabilia Method Acting Mexican Cinema Moguls Monster Movies Movie Books Movie Costumes movie flops Movie locations Movie lovers Movie Magazines Movie Reviewers Movie settings Movie Stars Movie titles Movies about movies Music in Film Musicals New Releases 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 Russian Film Industry Satire Scandals Science Fiction Screenwriters Semi-documentaries Serials Set design/production design Short Films Silent Film silent films Social Problem Film Spaghetti Westerns Sports Sports on Film Stereotypes Straight-to-DVD Studio Politics Stunts and stuntmen Suspense thriller Swashbucklers TCM Classic Film Festival TCM Underground Television The British in Hollywood The Germans in Hollywood The Hungarians in Hollywood The Irish in Hollywood Theaters Thriller Trains in movies U.S.S. Indianapolis Underground Cinema VOD War film Westerns Women in the Film Industry Women's Weepies