Posted by Susan Doll on March 2, 2015
When Leonard Nimoy died at the end of last week, many from my generation mourned the loss by posting photos and quotes related to Mr. Spock, Nimoy’s iconic television character, to social media outlets. The outpouring of sorrow and the testimonials of childhood devotion reveal the profound impact that a beloved television program can have on a generation.
Like William Shatner, Nimoy did not always relish his identification as one of television’s most recognizable characters. When Star Trek ended in 1969 after three seasons, both tried to shake off their Trek personas by pursuing other roles. Nimoy even penned an autobiography titled I Am Not Spock in 1975. DeForest Kelley, the third in the trio of interstellar comrades, was not as vocal about moving on to new opportunities, but he, too, was eager to continue his career. It took several decades for the trio to realize what fans knew all along—Captain Kirk, Mr. Spock, and Dr. Leonard “Bones” McCoy were more than characters from an old TV series. Eventually, Shatner and Nimoy embraced their iconic characters, discussing them at length in their bios Star Trek Memories and I Am Spock.
Posted by Kimberly Lindbergs on January 29, 2015
It’s 1974 and one of Hollywood’s oldest and most majestic movie studios is on the verge of collapse. Worldwide Films is deep in debt and in order to stay afloat they’ve decided to sell vast amounts of land they own that is currently occupied by dilapidated sets and abandoned sound stages. As bulldozers and wrecking balls begin to lay waste to decades of film history a lone cloaked figure arises from the devastation to take revenge on hapless vandals and careless construction workers. This masked ‘Phantom of Hollywood’ (Jack Cassidy) is determined to be classic cinema’s avenger and he kidnaps a studio executive’s daughter (Skye Aubrey) for leverage. But his flowery dialogue and medieval weapons are no match for the greedy studio moguls (Peter Lawford and Broderick Crawford ) eager to make a quick profit from property sales.
Unfortunately for classic film fans THE PHANTOM OF HOLLYWOOD (1974) isn’t 100% invention. In fact, many aspects of the telefilm’s plot are taken right from news headlines at the time. The fictional Worldwide Films studios are actually a stand-in for the world renowned Metro-Goldwyn-Mayer studios, which began systematically selling off its backlots in the early 1970s while auctioning off costumes and props from the beloved films they once produced. Director Gene Levitt (RUN A CROOKED MILE; 1969, NIGHT GALLERY; 1971, KOLCHAK: THE NIGHT STALKER; 1975) and writer George Schenck (KILL A DRAGON; 1967, MORE DEAD THAN ALIVE; 1969, FUTUREWORLD; 1976) managed to capture the appalling demolition of MGM and turn it into a melancholy made-for-TV movie that borrows generously from Gaston Leroux’s The Phantom of the Opera. But instead of a vengeful musician living underneath a Parisian opera house, THE PHANTOM OF HOLLYWOOD features a vengeful actor living underneath the ruins of what was once Mrs. Miniver’s house as seen in William Wyler’s 1942 film.
Posted by Pablo Kjolseth on May 18, 2014
I can’t let a month featuring a Friday Night Spotlight on Australian Cinema go by without putting in a plug for a small gem coming up later this week; Peter Weir’s The Plumber (1979). Shot on 16mm and made for TV, this quickie project shot in under three weeks was a middle step-child between Weir’s The Last Wave (1977) and Gallipoli (1981), and as such is often overlooked. Interestingly, water plays an important and ominous role in all three films. [...MORE]
Posted by Susan Doll on March 10, 2014
My generation grew up watching Hollywood classics on television, expanded our tastes through the provocative movies of the Film School Generation, and then witnessed the return to genre–based filmmaking in the 1980s and 1990s. I am eternally grateful for this extensive knowledge of movies from different eras, which seems like a shared experience for baby boomers. The down side of this informal education in film studies is that many of us struggle to accept the narrow, limited, and often dumbed-down contemporary fare that the studios now pump out for their beloved demographic of young male viewers. If it weren’t for indie films, or even pseudo-indie films, American filmmaking would be little more than CGI-driven eye candy. In recent months, discussions about the primacy of television over the movies have increased on the Internet, with claims that the small screen has easily out-matched the big screen for meaningful drama, intelligent genre work, and juicy roles for former film stars and character actors. I can’t disagree that television—especially cable—is experiencing a new “golden age,” especially considering the defection of film directors and actors to the small screen.
Posted by Kimberly Lindbergs on December 26, 2013
The holidays can be a very difficult time for some. I know from firsthand experience that when you don’t have any family to rely on or any kind of financial security to speak of Christmas can feel like a national nightmare inhabited by drunken revelers, crazed shoppers and merciless merchants. This is only compounded by what author Anthony Trollope once called “the perils of winter.” More folks tend to die during the winter months than any other time of the year so when you’re coping with the death of a loved one or a life threatening illness the pressure to remain “merry and bright” can become wearisome and demoralizing. I mention all of this because one of my favorite telefilms seems to perfectly capture the darker aspects of the holidays that are so often swept under the rug. Throughout 2013 I’ve spotlighted a few of my favorite made-for-TV movies so it seems appropriate to conclude this unofficial series with a look at HOME FOR THE HOLIDAYS (1972), a surprisingly grim and suspenseful Christmas themed thriller that also happens to star Eleanor Parker who recently passed away at the age of 91.
Posted by Kimberly Lindbergs on September 5, 2013
One of my favorite actresses is the beautiful and enigmatic Kim Novak and she happens to be TCM’s Star of the Month. Every Thursday night throughout the month of September you can catch Novak in a number of great films airing on TCM and in celebration of the event I thought I’d devote my latest installment of Telefilm Time Machine to SATAN’S TRIANGLE (1975), which happens to be one of the first made-for-TV movies she appeared in. SATAN’S TRIANGLE has developed somewhat of a cult following over the years thanks to its noteworthy cast and a skilled crew who managed to craft a surprisingly effective little thriller combining elements of classic horror films such as PHANTOM SHIP (1935) and GHOST SHIP (1955) as well as THE EXORCIST (1973) into a spine-tingling original tale set on the stormy seas of the Bermuda Triangle.
Posted by Kimberly Lindbergs on August 8, 2013
I recently sat through James Wan’s THE CONJURING (2013). I haven’t particularly liked anything else the director’s done but being a horror film aficionado myself, I assumed that all the critical praise and fanfare the movie was receiving meant that that it would probably deliver a few good thrills and chills. It is being hailed as one of the “scariest movies ever made” in some circles so it couldn’t be all that bad, right? Unfortunately I was very wrong. While THE CONJURING is obviously working some kind of magic on a large percentage of viewers I personally found this utterly predictable throwback to ‘70s horror cinema so clichéd, schmaltzy, devoid of compelling characters, lacking in atmosphere and flat out boring that I almost walked out of the theater midway through the movie. It seemed to be a poorly concocted smorgasbord of jump scares borrowed from much better films (THE AMITYVILLE HORROR, THE EXORCIST, THE HAUNTING, THE CHANGELING, THE BIRDS, HALLOWEEN, THE ORPHANAGE, EVIL DEAD, Etc.) that left me desperately hungry for something more tasty and fulfilling. Afterward I decided to cleanse my palate with a genuine ‘70s thriller about a family tormented by ghosts and combating demonic possession directed by Steven Spielberg called SOMETHING EVIL (1972). This low-budget telefilm rarely gets any attention by Spielberg fans or horror enthusiasts who seem to prefer DUEL (1971) or his later attempt at producing a supernatural thriller, POLTERGEIST (1982). But in some ways I think that SOMETHING EVIL is superior to them both. Why? Read on and I’ll tell you.
Posted by R. Emmet Sweeney on July 9, 2013
Richard Matheson was already an established writer in 1959, the year he started contributing to The Twilight Zone. But it took him a while. Over the course of the 1950s he rose from pitching sci-fi magazines on his off hours as a mailman, to adapting his own material to screens large and small. He sold his first story, “Born of Man and Woman”, to The Magazine of Fantasy and Science Fiction in 1950. After a couple of suspense novels fizzled, he garnered notice with his post-apocalyptic survival staple, I Am Legend (1954). It was his follow-up, The Shrinking Man (1956), that cemented his place in popular consciousness. He ingeniously sold himself as screenwriter as part of the film rights deal to Universal, and he would be a prolific writer for film and TV for decades to come (alongside his novels and short stories). As part of our week-long tribute to Matheson, following his death last month at the age of 87, I’ll be looking at the Twilight Zone episodes he declared to be his favorite, Steel and Night Call, both from Season 5. They present fantastical premises with procedural detail, as he also did with I Am Legend and The Shrinking Man, bringing the spectacular down to earth.
Posted by Kimberly Lindbergs on June 27, 2013
The acclaimed horror and science fiction author, Richard Matheson passed away earlier this week at age 87 and in appreciation of his work I decided to devote my latest installment of Telefilm Time Machine to THE STRANGER WITHIN (1974). This noteworthy ABC Movie of the Week was based on one of Matheson’s original short stories (Mother by Protest aka Trespass), which was first published in 1954. Matheson was also responsible for the script of THE STRANGER WITHIN and even though it might not have the strong cult following of some of his other popular telefilms such as THE NIGHT STALKER (1972) and TRILOGY OF TERROR (1975), it does have its own kind of eerie charm.
Posted by Kimberly Lindbergs on May 30, 2013
It’s time for another installment of Telefilm Time Machine and this month I decided to revisit DEATH AT LOVE HOUSE (1976). This macabre love letter to old Hollywood suffers from the same production problems that plague many made-for-TV movies in the ‘70s but it also has a lot to offer classic film fans. Most of the action takes place on Harold Lloyd’s luxurious Greenacres Estate and it features noteworthy cameos by John Carradine, Dorothy Lamour, Sylvia Sidney and Joan Blondell. Part mystery, part fantasy, part romance and part B-grade horror movie, DEATH AT LOVE HOUSE is a smorgasbord of unrefined delights if you’re willing to suspend your disbelief for 74 minutes and enjoy the brisk ride.
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