Posted by Kimberly Lindbergs on March 3, 2016
Throughout the Month of March TCM will be risking damnation by airing “condemned” films every Thursday night beginning this evening with The Story of Temple Drake (1933) followed by Black Narcissus (1947), Design For Living (1933), The Outlaw (1943), Baby Face (1933) and Wild Boys of the Road (1933). These movies all have one thing in common: they were condemned by the Catholic Legion of Decency. According to TCM’s monthly Now Playing guide, the CLOD was founded in 1933 and dedicated itself to “combating objectionable content in motion pictures (often of a sexual nature) from the viewpoint of the Catholic Church.” The program will be hosted by Sister Rose Pacatte, a member of the Daughters of Saint Paul and founding director of the Pauline Center for Media Studies. She is also the author of several books about film and has served as a juror at the Venice, Berlin, Locarno and Newport Beach film festivals.
It’s probably not surprising that TCM’s Condemned Film Festival has come under scrutiny from some sources and individuals who find the programming objectionable and Sister Rose Pacatte’s involvement unacceptable, particularly during Lent and the run-up to Easter Sunday. To provide more insight on this upcoming series I decided to contact TCM programmer Millie De Chirico, who kindly answered my questions and Director of Program Production Scott McGee, who allowed me to quote from an insightful interview he did with Sister Rose. I hope it might encourage viewers of all types and stripes to tune in, no matter what their religious affiliation may or may not be. [...MORE]
Posted by R. Emmet Sweeney on February 16, 2016
Robert Culp makes a quality killer. He wears finely tailored clothing and and can convey a level of self-satisfaction that would make Narcissus blush. It is no surprise then, that he was the guest star/guest murderer on Columbo three times, including the episode under study today, Double Exposure (Season 3/Episode 4). Culp plays Dr. Bart Keppel, a marketing guru who peddles the value of subliminal messaging to companies. He calls himself a “motivation research specialist” who writes bestselling books with titles like, Advertising and the Motivated Sale, Motivation Research and its Value in Advertising, Human Values Vs Human Motives, and, my favorite, The Mind String: And How to Pull It. He is a master of manipulating people to part with their money, a corporate con man. He sets up the murder of his largest client (who is ready to fire him) through subliminal film editing. And Columbo finally catches him through subliminal editing of his own. This is a cat-and-mouse game where the chase happens on an on flatbed Steenbeck editing table. Directed with panache by old pro Richard Quine, this deviously complex Columbo was made in an era when celluloid was not yet dead — and it could kill.
Posted by R. Emmet Sweeney on December 22, 2015
Late in the night on Christmas Eve from 1971 to 1978, the BBC would air an adaptation of a classic ghost story, dark tales of cursed crowns, spider babies, and heart-eaters preceding the broadcast of midnight mass. It is a tradition that goes back to the Victorian and Edwardian eras, when the dean of English ghost stories, M.R. James, would gather friends and colleagues to debut his latest chilling yarn after Christmas Eve revelries. The first five BBC productions adapt James’ work, and do justice to his clammy atmospheres. Director Lawrence Gordon Clark shot on location and on 16mm, able to conjure the fog-choked isolation of James’ doomed protagonists. All eight of BBC’s original Ghost Stories For Christmas, as well four from the series’ 2005 revival, are available in a haunting six-DVD set from the BFI (for those with Region 2 capable players).
Posted by Susan Doll on December 14, 2015
As part of Frank Sinatra’s 100th birthday celebration, TCM has included several television specials in their Wednesday Sinatra-centric programming. This Wednesday, December 16, the 1973 special Ol’ Blue Eyes Is Back airs at 8:00pm EST.
However, one TV special that was not included in the December programming is The Frank Sinatra Timex Special, which was broadcast in 1960. I like this special, not because it is particularly good, but because of the history behind it. It represents a key moment in the career of Elvis Presley as well as one of the few times that Sinatra back-pedaled a bit.
The Frank Sinatra Timex Special was part of a plan to re-tool Presley’s star image. Elvis’s tour of duty in the army from 1958 to 1960 had provided the perfect opportunity to break away from the Elvis the Pelvis image that had created controversy during the 1950s. His legendary manager, the notorious Colonel Tom Parker took a potentially disastrous situation for any performer’s career–being away from the public for two years–and turned it around to the singer’s advantage by releasing positive publicity about Elvis’s service to his country. After his discharge, Presley’s management team, which included Parker, film producer Hal Wallis, and William Morris agent Abe Lastfogel, planned to steer his career toward an image and musical style that would attract a more mainstream audience.
Posted by Susan Doll on September 21, 2015
Long ago, in a former life, I edited a coffee-table book on James Dean called James Dean: Tribute to a Rebel. My favorite part of Dean’s life story was the time he spent in New York during the early days of live television. I thoroughly enjoyed fact-checking and researching his television career, which was not only more extensive than his movie appearances but far more diverse. This Friday, September 25, TCM offers a rare look at some of Dean’s live TV performances.
New York City was the hub of the television industry when Dean moved there to study at the Actors Studio in the fall of 1951. Prime-time programming consisted of weekly anthology dramas, meaning each installment was a new story with a different cast. Anthology series provided substantial work to young writers and a new generation of serious young actors whose careers were jump-started by live TV, including Rod Steiger, Anne Bancroft, Paul Newman, Martin Landau, Steve McQueen, Eva Marie Saint, and James Dean. The writers socialized together, compared notes, and created a community among themselves, while the actors represented a kind of repertory of talent for television producers and their casting agents.
Posted by Susan Doll on April 20, 2015
Twice in one day I was reminded of one of the strangest lines from one of my favorite television series. It’s not like “You bet your sweet bippy”—which was muttered every week for four seasons on Rowan and Martin’s Laugh-In—is part of contemporary slang or TV-speak. After all, Laugh-In was cancelled in 1973. And, yet the word “bippy” crossed my path twice last week. While looking over the TCM schedule last Thursday, I noticed that The Maltese Bippy is airing tomorrow, Tuesday, April 21 at 6:15pm. Just a few minutes later, while watching General Hospital, one of the characters blurted, “You bet your sweet bippy.” You know you are a true TV-geek when a nonsense word like bippy makes you instantly nostalgic for a 40-year-old series.
The series’ full title was Rowan and Martin’s Laugh-In because it was hosted by the comedy team of Dan Rowan and Dick Martin. The two met in 1952, though both had been kicking around show biz for several years. The son of carnies, who were killed when he was a boy, the hard-luck Rowan had been a junior writer at Paramount before WWII, while the college-educated Martin wrote for radio comedy programs. After teaming up, they honed their act on television and in clubs. In 1958, they starred in a lackluster comedy western called Once Upon a Horse, which I actually saw on television decades ago, but they did not come close to the big time until Dean Martin tagged them as regulars for his summer show in 1966. Like all comedy teams, the two developed personas that formed the basis for their shtick. Rowan was the pipe-smoking straight man to Martin’s loony skirt-chaser.
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.
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