Posted by David Kalat on September 14, 2013
A while back, when I was preparing the audio commentary for To Be Or Not To Be, I found myself making repeated allusions and references to Foreign Correspondent. The more I made them, the more I found them not just useful but essential–and before long I had started to discover an entire network of deep structure connecting the two films. Not all of that was relevant to a discussion of To Be Or Not To Be, and the commentary track was already overstuffed so I had to jettison some material. This month’s celebration of Hitchcock seems a perfect opportunity to explore Foreign Correspondent‘s secret twinship with To Be Or Not To Be. (Sorry I couldn’t align this with last week’s cablecast of Foreign Correspondent–I wanted to get the Edwin S. Porter post in as close to the start of The Story of Film cycle as possible)
Posted by Kimberly Lindbergs on July 25, 2013
He promised he’d buy me a fairing should please me,
British director Terence Fisher is best known for his work with Hammer Films but before he started making movies for the studio that dripped blood, Fisher edited and co-directed a number of films for Gainsborough Pictures. One of his most accomplished early directorial efforts is SO LONG AT THE FAIR (1950) starring a very young Jean Simmons and Dirk Bogarde. This absorbing thriller isn’t available on DVD in the US but SO LONG AT THE FAIR will air this coming Sunday (July 28th) on TCM at 7:15 PM PST and 10:15 PM EST. Fans of well-acted period dramas and good gothic mysteries should consider tuning in but the film will be of particular interest to anyone curious about the origins of modern British horror cinema.
Posted by David Kalat on December 8, 2012
I’m going to wind up my exploration of pulp mysteries with the ultimate pulp detective of them all—Sherlock Holmes. And for any of my regular readers, the fact that I’ve chosen Zero Effect with Bill Pullman and Ben Stiller instead of the more obvious selections like Hound of the Baskervilles shouldn’t be a surprise. And, just like when we looked at Warren Beatty as an ersatz James Bond back in the discussion of Kaleidoscope, the only way we get to such unlikely casting is by examining an unauthorized project from the margins.
As it happens, it is that aspect of Zero Effect—its status as an authorized adaptation—that is the focal point of our story this week. So—click to open the fold and let’s take a journey through the tangled jungle of Sherlock Holmes’ complicated rights issues.
Posted by David Kalat on December 1, 2012
Having brought up Dr. Mabuse recently, naturally my thoughts also flit to Fantômas. I had promised a while back that I would eventually address Andre Hunebelle’s 1960s Fantômas revival in this blog, and now seems the best time to live up to my word. Along with last week’s visit to Dr. Mabusiana, I’m going to spend the next several weeks exploring the world of pulp mysteries on film—specifically how different filmmakers have approached the task of rendering in cinematic terms a corpus of literature that flourished in the late 1800s and early 1900s.
The Hunebelle Fantômas films are not readily available for viewing. It is the case that anyone with an Amazon account can obtain a DVD box set of the entire trilogy—but this import set will come without English subtitles and will only be playable in a region-free player, so it’ll alienate most casual American viewers. With that in mind, I’m going to be fairly heavy on clips this week, so give you a good sense of what these three films are really like. I’ve added subtitles to these clips from an online source of fan-created subtitles. Given the awkward wording, I’m guessing by “fan-subbed” they really mean “ran the French script through Google Translate and performed no proof-reading at all.”
Posted by David Kalat on November 3, 2012
For the last couple of weeks, we’ve been looking at secret Hitchcock remakes—movies that may or may not have taken direct inspiration from Hitchcock’s classics, but at least pretended they didn’t. Those films attempt to stand on their own merits, independent of any comparisons to Hitchcock that their content might invite.
But we haven’t yet addressed the thorny mess of overt Hitchcock remakes—the ones that openly identify themselves as updates of movies made by the Master of Suspense. Somehow that makes a significant difference—and the direct comparisons are never flattering.
So when we come to something like Hammer’s 1979 version of The Lady Vanishes, not only do we have the worrisome aspect of a direct Hitchcock remake, we also have the exceedingly problematic audience expectations generated by the phrase “Hammer does Hitchcock.”
Posted by David Kalat on October 27, 2012
By sheer coincidence, in one of those warpings of reality that make people believe in Fate or powers greater than themselves, I happened to see Alfred Hitchcock’s Shadow of a Doubt for the very first time just a few days after seeing The Return of Dracula. And to quote Robert Frost, “that has made all the difference in the world.”
Posted by David Kalat on July 14, 2012
When you’re wrong, you’re wrong. And I was wrong.
I figured the breakout thriller to see in 1995 was going to be Copycat. I know, I know, but hear me out—I wasn’t alone. A lot of industry press at the time leaned the same way. The previews for Copycat made it look like Silence of the Lambs meets Thelma and Louise, and it has Sigourney Weaver in it. Actually, that’s about all I can say—I never did see Copycat, which puts me squarely in the majority.
Instead, when my wife Julie and I decided to go to the theater, she insisted on Seven instead (or Se7en, if I’m going to follow the conventions of Video Watchdog, which I might as well). She advocated loudly, strongly, and effectively for Se7en, and god bless her for it.
Posted by David Kalat on June 9, 2012
Having retired from the DVD business, I am realizing now that I’m sitting on 15 years’ worth of anecdotes from behind the scenes that I never felt like sharing publicly at the time, because I worried they didn’t gibe with my marketing plans, and I was also mindful of not misusing this forum for self-promotion. But I no longer have a vested interest in any of these movies, and I’m now starting to feel more willing to talk about what went on in the making of some of these DVDs. I’m posting a few stories these weeks to gauge reader interest.
This week I want to talk a bit about my triptych of DVDs with the estate of Victor Pahlen!
Posted by Kimberly Lindbergs on May 31, 2012
British actor Dirk Bogarde never played James Bond but he did appear in a handful of interesting spy films made during the ‘60s and ‘70s. He may not have resembled the tough, no-nonsense brute that many associate with 007 but Bogarde’s devilish charm, quick wit, understated elegance and roguish good looks made him a good candidate for playing the British secret service agent or his evil nemesis. For my latest installment of Spy Games I thought I’d take a look at the various spy spoofs and espionage thrillers that Bogarde appeared in and discuss their questionable merits. While some might find Bogarde’s contributions to the spy genre unimpressive, I think the following films are indispensable fun and fascinating footnotes in the actor’s long and impressive career although Bogarde himself would probably disagree with me.
Most of the spy films Bogarde appeared in weren’t particularly successful at the box office and critics rarely gave them the time of day. In numerous letters and books that the actor published he openly admits that he often took these roles to pay the bills. There was little motivation to make these movies besides a paycheck but today they’re testaments to Bogarde’s incredible professionalism, renowned talent and passion for his craft, which is apparent in every one of these movies. No matter how flimsy the script was or how disengaged his fellow cast members became, Bogarde proves himself to be a consummate professional. He’s an actor’s actor if there ever was one.
Posted by R. Emmet Sweeney on April 10, 2012
Edward L. Cahn directed 11 films in 1961, and You Have to Run Fast was one of them. MGM recently released it on their DVD burn-on-demand service in a crisp transfer, making it easy to appreciate the thriller’s tight construction and open-air location shooting. The AFI Catalog lists no production dates but it was undoubtedly completed in a week or two before Cahn and producer Robert E. Kent moved on to the next programmer (17 of which are now streaming on Netflix). I was tipped to Cahn’s work by Dave Kehr’s “Further Research” column in the November/December 2011 Film Comment, where he says, “Cahn…seemed to embrace the aesthetic of speed with a passion and personal commitment not always apparent in the work of his more feverishly productive Poverty Row peers.” Cahn reportedly filmed “an astonishing 40 setups a day”, but as You Have to Run Fast clearly shows, they flow with an ironclad visual logic, and establish a moral equivalency between a mob boss and the innocent he is tracking down.
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