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.
Posted by R. Emmet Sweeney on May 7, 2013
Approximately every English-language publication in existence has run an “Is Television Better than the Movies” piece over the past few years. I will bravely buck the whims of headline writers and declare I don’t know why we have to choose. For every Louie or The Wire, there are eight billion CSIs, and a similar ratio holds for the silver screen, as long as your definition of “movies” expands beyond Hollywood. Part of the made-up race to declare TV king involves the influx of big-screen talent to the small, including David Fincher (House of Cards), Kiyoshi Kurosawa (Penance) and Michael Mann (Luck). The most successful auteur-to-TV transition I’ve seen so far though, is Jane Campion’s in her BBC/Sundance Channel miniseries Top of the Lake, starring Mad Men‘s Elisabeth Moss. Now available to stream on Netflix, it’s yet another police procedural, but the mystery is incidental to its exploration of the toll paid by women’s bodies in the hyper-masculine backwoods of Queenstown, New Zealand, where a young girl would prefer to disappear than endure it.
Posted by Kimberly Lindbergs on April 25, 2013
Film buffs tend to have obsessions. We fuss and fawn over particular actors and directors while attempting to see everything they ever appeared in or produced. One of my own personal obsessions isn’t an actor or a director but it’s a tale I enjoy seeing reimagined over and over again in different languages and in various settings. That tale is Mary Shelley’s Frankenstein; or, The Modern Prometheus and I’ve seen it retold in many movies of varying quality but I never get tired of it. One of my favorite adaptations of Frankenstein happens to be the 1973 telefilm FRANKENSTEIN: THE TRUE STORY. This lush production runs more than 3 hours long and features a stellar cast of talented players including Michael Sarrazin, Leonard Whiting, James Mason, David McCallum, Jane Seymour, Nicola Pagett, Agnes Moorehead, Ralph Richardson, John Gielguld, and Margret Leighton. It was directed by Jack Smight (HARPER, KALEIDOSCOPE, THE ILLUSTRATED MAN, DAMNATION ALLEY, etc.) and based on a script written by the acclaimed British author Christopher Isherwood along with his partner Don Bachardy. Isherwood and Bachardy took creative liberties with the source material but their teleplay still managed to retain many of the timeless elements that have made Shelley’s story capable of capturing the imagination of readers like myself for nearly 200 years.
Posted by Kimberly Lindbergs on March 28, 2013
Just three short years after the Stonewall riots took place in New York ABC made television history when they aired THAT CERTAIN SUMMER (1972), the first gay-themed made-for-TV movie. This landmark telefilm is often left out of discussions about gay cinema but its significance shouldn’t be underestimated. This surprisingly smart and sensitive drama is well worth revisiting for the stand out performances, progressive script and Lamont Johnson’s understated and effective direction.
Posted by Kimberly Lindbergs on February 28, 2013
Ray Milland and Gene Tierney in DAUGHTER OF THE MIND (1969)
Ray Milland sees dead people. Or to be more precise, Ray Milland begins seeing the ghost of his dead daughter in the made-for-TV movie DAUGHTER OF THE MIND (1969). I thought I’d kick start my year-long look at telefilms with this compelling thriller based on a novel by author Paul Gallico (THE PRIDE OF THE YANKEES; 1942, BITTER VICTORY; 1957, THE SNOW GOOSE; 1971, THE POSEIDON ADVENTURE; 1972, etc.) and directed by Walter Grauman. DAUGHTER OF THE MIND was one of the first telefilms that premiered on ABC’s Movie of the Week and it’s one that I’m particularly fond of due to its supernatural premise and stellar cast.
Posted by Kimberly Lindbergs on January 24, 2013
One of the best gifts I received during the holidays was a set of books that I’ve been eager to get my hands on, Michael Karol’s ABC Movie of the Week Companion and David Deal’s Television Fright Films of the 1970’s. I grew up watching and enjoying telefilms and last year I spent a lot of time revisiting some of my favorites. Today telefilms, much like direct-to-video movies, are often looked at with disdain and are considered unworthy of critical evaluation. But they frequently featured talented actors from Hollywood’s Golden Age such as Bette Davis, Ray Milland, Myrna Loy, Fred MacMurray, Barbara Stanwyck, Melvin Douglas, Gene Tierney and Walter Brennan and were occasionally directed by noteworthy filmmakers including Joseph L. Mankiewicz, Don Siegel, John Badham, Steven Spielberg, John Carpenter and Curtis Harrington. These small screen films were usually made in just a few short days with very little money but the performances, writing and directing choices periodically elevated the material and many of the best telefilms are still surprisingly effective and entertaining.
Posted by Kimberly Lindbergs on January 3, 2013
Posted by David Kalat on December 15, 2012
This is a season of traditions: those comforting rituals that we reiterate on an annual basis because no matter how small some of them may be (like the making of home-baked ginger snaps), they have become imbued with powerful memories of home and loved ones, such that these little ceremonies carry a weight of meaning far in excess of their actual ability to signify.
There used to be a coterie of movies that belonged to these same holiday traditions—certain films like The Wizard of Oz or It’s a Wonderful Life that were consistently and regularly replayed on commercial television on certain holidays. You could almost set your watch to them.
Since its original broadcast in 1965, A Charlie Brown Christmas has been one of the most enduring and beloved holiday mainstays—and its history has a curious Mobius strip like effect. When you watch A Charlie Brown Christmas this year—in whatever media you do (broadcast, on-demand, iTunes download, DVD, Blu-Ray, hallucinatory memory)—you are participating in a metatextual reconfiguration of its core themes! Betcha didn’t even know that!
Posted by Kimberly Lindbergs on August 23, 2012
She was brash, she was bold and she was damn funny. Phyllis Diller took a road less traveled and in the process she helped pave the way for many female comedians who followed in her footsteps including Joan Rivers, Roseanne Barr and Tina Fey. Comedy is still considered somewhat of a “boy’s club” but Phyllis Diller’s self-deprecating sense of humor helped her crack that glass ceiling and today she’s often credited for making the world a better place for female comedians to practice their craft.
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