Posted by Nathaniel Thompson on October 12, 2016
“Don’t big, empty houses scare you?”
That wry exchange is one of the many little asides that typifies The Cat and the Canary (1939), airing in prime time this Friday on TCM. This Paramount production (now part of the Universal library) is the earliest surviving sound version of the original old dark house chiller that started life as a stage play by John Willard, and it’s a savory bit of counter-programming to Universal’s ongoing parade of beloved movie monsters (which were being toned down in the early throes of World War II). The idea of Hope starring in a horror movie (especially so early in his career — he’d only been starring in features since 1938!) sounds bizarre on paper, but it works beautifully in practice. Part of the charm here is the smart pairing of Hope (more subdued and urbane than usual here) with the gorgeous and charming Paulette Goddard, who was married to Charlie Chaplin at the time and was best known for Modern Times (1936). The chemistry between Hope and Goddard was so good they were teamed up for another horror comedy in 1940, The Ghost Breakers, and in between she made her most familiar film for many TCM viewers, The Women (1939). And as you can see in that promotional shot above for The Cat and the Canary, she also knows how to rock a Halloween costume like nobody’s business. [...MORE]
Posted by Nathaniel Thompson on August 3, 2016
The passing of screenwriter and playwright Peter Shaffer this summer (June 6, to be precise) is another reminder of how most successful writers tend to be remembered for one or two signature works. In this case, all of his obituaries focused on two titles, both of which he translated from stage to screen himself: Equus, filmed in 1977 by Sidney Lumet with Richard Burton and Peter Firth, and Amadeus, turned into an Oscar-winning 1984 film directed by Milos Forman with F. Murray Abraham and Tom Hulce.
Less remarked upon but not entirely ignored was the fact that Peter was preceded into this world by five minutes in 1926 by a twin brother, Anthony Shaffer, who also turned a successful, Edgar Award-winning 1970 play into a hit film: Sleuth (1972), directed by Joseph L. Mankiewicz and starring Laurence Olivier and Michael Caine. (Harold Pinter later overhauled it considerably for a 2007 version directed by Kenneth Branagh, with Caine switching roles opposite Jude Law.) [...MORE]
Posted by Kimberly Lindbergs on April 14, 2016
This month Turner Classic Movies is spotlighting “The Best of the Barrymores.” The Barrymore family regularly appears on TCM but every Monday evening throughout April viewers can tune in and catch a selection of films featuring one or more of the Barrymore siblings in some of their best roles. Next Monday (April 18) the TCM spotlight will shine on Ethel Barrymore and one of the films scheduled to air is The Spiral Staircase (1946) at 10 PM EST/7 PM PST.
The Spiral Staircase is a longtime favorite of mine and the film has been hailed as a prototype for many of the best giallo; the Italian genre films that I touched on just last week in a piece titled Death Walk Twice: A Giallo Double Feature. With thoughts of murder and black-gloved killers still running through my mind, it seemed like a good time to revisit this classic thriller that features an Academy Award nominated performance by Ethel Barrymore as the bedridden matriarch of a wealthy family that is concealing some unsavory secrets.
Posted by Kimberly Lindbergs on April 7, 2016
The fine folks at Arrow deserve applause for their diligent efforts to release a number of exceptional giallo films on Blu-ray in recent years. Some of the giallo titles you can currently purchase from them include the suggestively titled Your Vice is a Locked Room and Only I Have the Key (1972) and What Have You Done to Solange? (1972) as well as cornerstones of the genre such as Mario Bava’s Blood and Black Lace (1964), The Girl Who Knew Too Much (1969) and Five Dolls for an August Moon (1970) along with Dario Argento’s The Bird with the Crystal Plumage (1970), The Bay of Blood (1971) and Deep Red (1975). Arrow discs typically boast beautiful packaging that rivals Criterion and they come loaded with extras including accompanying booklets, audio commentaries and video interviews with the film’s creators along with other industry professionals.
Their latest offering is a limited edition double disc Blu-ray box set titled Death Walks Twice that contains two outstanding examples of the genre, Death Walks in High Heels (1971) and Death Walks at Midnight (1972). Both films were directed by Luciano Ercoli and feature Ercoli’s wife, actress Susan Scott (a.k.a. Nieves Navarro). Like many of the best Italian thrillers, these two budget conscious productions look more luxurious than their American counterparts thanks to the creative direction, exotic European settings (Milan, Paris, London and Catalonia) and their innovative use of period specific aesthetics and attitudes including the music, architecture, fashions, and shifting sexual mores of the times. Comprised of labyrinth-like plots inspired by classic Alfred Hitchcock movies and the best Film Noir, Arrow’s new Death Walks Twice box set should appeal to genre novices as well as seasoned giallo fans.
Posted by Susan Doll on March 7, 2016
A few weeks ago, I solicited help from the Morlocks’ readers in deciding which early Hitchcock film to show in my advanced film history class. After weighing the suggestions and reading the comments, I chose The Lady Vanishes, the story of a British spy returning from a Balkan dictatorship with coded information important for England’s safety. Dame May Whitty stars as spry Miss Froy, who pretends to be a governess but is actually a capable secret agent. After she disappears while aboard the train bound for England, no one seems to remember her except for Iris, the young woman sharing her compartment. Was Miss Froy only a figment of her imagination?
Before asking for advice, I was leaning toward showing Sabotage because of the surprising scene in which tiny Sylvia Sidney wields a large carving knife. Also, I thought the creative use of the Disney cartoon Who Killed Cock Robin might be interesting to the animation majors. But I am glad that I changed my mind because it was clear that the class thoroughly enjoyed The Lady Vanishes. As one student noted, “This film is brilliant.”
In each of my classes, students fill out response sheets while watching the films. It’s a learning tool that forces them to be active viewers so they are better able to notice visual techniques, themes, or character types. With their permission, I thought I would share a few of their comments about The Lady Vanishes.
The limited setting received a lot of attention, particularly the idea that Hitchcock could squeeze so much action and suspense from what is essentially two main sets. The first third of The Lady Vanishes takes place in a small crowded hotel; one student remarked that the film seemed claustrophobic right from the beginning. She noted, “The environment seems just slightly too small for everything that is going on,” which intentionally enhances the claustrophobia. The characters fought over rooms, dined in tiny booths in a cramped restaurant, and hosted local dancers who clogged away in the confined space of the rooms. The train proved to be an even more limited setting, with the action intensifying into fights, chases, and kidnappings. Another student suggested that the train was like a microcosm of society, with all manner of characters interacting with each other. She felt that Iris entered this environ and experienced a life-altering adventure that was also a journey of self-discovery.
The suspense thriller is a genre that is no longer popular, so students are not always sure what constitutes suspense. I related Hitchcock’s adage about the bomb in the room. He always maintained that if he began a scene by showing the audience a bomb in the room and then clearly depicted where the bomb was in relationship to the characters, he would have the audience’s rapt attention for ten minutes. But, if he exploded the bomb as a surprise to the audience, they might be shocked out of their seats but he would have their attention for only ten seconds. Students rightly noticed examples of this technique in the scene in which we wait for Iris to notice the name “Froy” written on the window and during the scene in which Iris and Gilbert are about to ingest a spiked drink. The anticipation in both scenes created true suspense, and I think students came away with a better understanding of what that is.
The class seemed intrigued by the characters of Caldicott and Charters, the two cricket-obsessed friends who maintain their stiff upper lips no matter the situation. The students were surprised to learn that the pair proved to be so popular that they were featured in three later movies, Night Train to Munich, Crook’s Tour, and Millions Like Us. More than one wondered if the two were supposed to be gay, a logical assumption considering their depiction in the tiny hotel room. A perceptive student inquired if the two might be patterned after vaudeville archetypes of the day. Charters—or maybe it was Caldicott—got a big laugh from the class when he was shot in the hand but barely winced, keeping his stiff upper lip intact. We were charmed in the end when the two turn out to be courageous in the final gunfight with the pseudo-Nazis.
Several students found Iris’s ambivalence toward marriage amusing and fascinating. Iris leaves her friends to return to England to get married. She laments, “I’ve no regrets. I’ve been everywhere and done everything. I’ve eaten caviar at Cannes, sausage rolls at the dogs. I’ve played baccarat at Biarritz and darts with the rural dean. What is there left for me but marriage?” Later in the conversation, she complains about being an offering sacrificed on the altar of the church where she will be married. Some students suggested that the narrative had more to do with Iris’s internal conflict over marriage than it did with the spies’ goals; others noted a subtle condemnation of marriage as an institution that will clip the wings of those who say, “I do.”
A few students remarked about Hitchcock in general. Many were intrigued that deeper themes and meanings could be found beneath the entertaining surfaces of his films. Others revealed an appreciation for the director’s craftsmanship. For example: “It’s interesting that most films today have the shaky camera but Hitchcock’s methods work better.”
I had mentioned that Hitchcock was not considered an artist for most of his career; likewise, his films were not taken seriously until the members of the French New Wave sang his praises. This prompted one of my favorite observations: “It’s interesting that Hitchcock was underappreciated and that people didn’t get the meaning of his work. Usually that means that their work isn’t successful in its message, just like a painting or drawing. I think here it means that he was too good for his time and the people in that time.”
I find that those of us who love classic movies see their artistry and understand their cultural significance, but more importantly we realize that they carry an emotional impact that films from other eras simply can’t duplicate. We want younger generations to share in that experience, to understand the heart that these films can display. More often than not, conversations among film teachers do not focus on rare bits of history or esoteric discussions of subtext. Most of the time, we want to know: What did you show in class? How did it go over? There is an excitement when classic films are well received—like a victory for our common cause. I am gratified that The Lady Vanishes achieved such a victory and ever proud of my talented, perceptive students.
Posted by Susan Doll on June 15, 2015
“TCM Presents: Jaws 40th Anniversary” swims its way to select theaters on Sunday, June 21, and Wednesday, June 24. The program, which is presented in conjunction with Fathom Events and Universal Pictures Home Entertainment, includes the movie plus a filmed introduction by Ben Mankiewicz.
Jaws has long-since been a staple of the home-viewing industry—cable-TV, video, DVD, and expanded anniversary editions. The film has also been the subject of many books, articles, TV specials, and documentaries, mostly focusing on its troubled production. Over and over, director Steven Spielberg has recounted the problems with the mechanical shark, which was nicknamed Bruce, and the delays in production, which angered the studio. The behind-the-scenes stories and jokes about the shark are now part of movie folklore.
Jaws has been seen by most of the movie-going public; it’s a film that has become a part of the collective cultural consciousness. So, why watch it again? Because the best film experiences are often the ones in which a familiar movie is re-viewed under different circumstances.
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.
Posted by Susan Doll on March 16, 2015
Last fall, businessman Russell Edwards announced that he had finally uncovered the truth behind history’s most famous serial killer, Jack the Ripper. Edwards claimed that DNA left behind on a victim’s shawl was used to identify the Ripper as Aaron Kosminski, long considered a primary suspect. As soon as the news was announced, DNA experts and Ripperologists came forward to denounce the findings based on doubts about the shawl’s provenance and the likely contamination of the evidence. And, so it goes with our fascination with the Ripper mythology: We want so badly to find out his true identity, but then again, we don’t.
The mystery behind Jack the Ripper’s identity allows filmmakers and writers to use him as a symbol or representative force. The Ripper has been part of cinema history since 1924, when he appeared in a nightmare sequence in the German Expressionist film Waxworks. Since then, a variety of directors have interpreted the mystery, adding to the rich folklore surrounding the historical figure. I recently caught a film version of the Ripper story released in 1953 called Man in the Attic, starring Jack Palance, Constance Smith, and Frances Bavier, and I was reminded of how potent a character he could be.
Posted by Susan Doll on February 23, 2015
Ever since reading Good Night, Sweet Prince, a biography of John Barrymore by his comrade in revelry, Gene Fowler, I have been fascinated with the Barrymore family. Handsome, tragic John has become my favorite Barrymore, because he was so flawed and yet so talented. Equally talented but not flawed was his older sister Ethel Barrymore. Next Saturday, February 28, at 9:15am, Ethel stars in Kind Lady, part of TCM’s 31 Days of Oscar programming.
Before noting Barrymore’s contribution, I would be remiss if I did not mention Kind Lady’s narrative pedigree. Originally a short story by Hugh Walpole titled “The Silver Casket,” it was turned into a beloved stage play by Edward Chodorov in 1935. The first film version was released in 1936 and starred Basil Rathbone as Elcott and Aline MacMahon as Mrs. Herries. The screenplay for the 1951 version, which was credited to Chodorov, Jerry Davis, and former Hitchcock collaborator Charles Bennett, made changes to the original material. Characters were eliminated to streamline the story, a key murder was moved toward the end of the film, and an exciting climactic sequence was added (a Hitchcockian approach). The film was aided enormously by the direction of John Sturges, who has earned a place in the history books for his widescreen, Technicolor films that exploited spectacular outdoor settings (Bad Day at Black Rock, Gunfight at the O.K. Corral, The Magnificent Seven, The Great Escape). Released in 1951, Kind Lady is a black-and-white thriller with a claustrophobic set, but Sturges seemed equally adept within these perimeters. He milked the limited setting to its full advantage to create tension while adding visual interest through camera movement.
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