Posted by R. Emmet Sweeney on May 14, 2013
Delmer Daves is having a moment. The Criterion Collection, the closest thing the U.S. has to a cultural gatekeeper, just released 3:10 To Yuma (1957) and Jubal (1956) on DVD and Blu-Ray, while the Anthology Film Archives in New York City is holding a mini-retrospective of rarely screened Daves titles, including Pride of the Marines (1945) and The Red House (1947). I had never delved into the director’s work because the ambivalent words of Andrew Sarris and Manny Farber were ringing in my head. Sarris thought his films had “stylistic conviction in an intellectual vacuum”, while Farber positioned Daves against the Spartan “Hawks-Wellman tradition” as “a Boys Life nature lover who intelligently half-prettifies adolescents and backwoods primitives.” While encapsulating their writing approaches, Sarris’ lucidity versus Farber’s contradictory collisions, they both convey images of shallow postcard beauty. Then I saw Daves’ extraordinary The Hanging Tree (1959, on DVD from the Warner Archive), which uses a cliffside cabin as a visual metaphor for Gary Cooper’s moral atrophy, and realized his use of landscape is far more complex than Boys Life kitsch. Eager for more, I watched five Daves films over the weekend, which revealed a sensitive director of actors drawn to tales of regeneration both spiritual and physical.
Posted by keelsetter on March 31, 2013
I know Harry Harrison for his collaborative work with Wally Wood on EC Comics (circa 1948), his work on the revived Flash Gordon scripts (’58 – ’68), the first of 12 Stainless Steel Rat novels (published 1961), his contributions to The Saint TV series (Harrison did ghost-work for Leslie Charteris on the 1964 novel Vendetta for the Saint, later adapted as episodes in ’69), and – of course – I’ve seen Soylent Green (1973), based on his ’66 novel Make Room! Make Room! All of which is tip of the iceberg stuff for a very prolific career which includes Bill, the Galactic Hero, a science-fiction satire novel he published in 1965 and which was later followed up with six sequels. I only recently became familiar with Bill thanks to the efforts by director Alex Cox to adapt this work for the big screen. Last week, Alex launched a Kickstarter campaign to fund the film – and, yes, I can say “film” because Alex plans on shooting part of the action on B&W 35mm. Below are some questions Alex was kind enough to answer regarding his planned film adaption for Bill, the Galactic Hero: READ MORE
Posted by R. Emmet Sweeney on February 19, 2013
The aviation films of Howard Hawks are comprised of tightly knight groups of men confronting death. The bleakest entry, The Dawn Patrol (1930), also happened to be the first , a tale of a British Air Force outpost that acts as a waypoint between consciousness and the void, escorting young fliers into the blood-flecked air across the German lines. A pivotol work in the scope of Hawks’ career, it was his first sound feature, and introduces themes of professional obligation and facing up to mortality that appear throughout his career, reiterated most directly in Only Angels Have Wings (1939). It has been difficult to see The Dawn Patrol in recent years until the Warner Archive released a fine looking edition on DVD last month.
Posted by R. Emmet Sweeney on December 18, 2012
For as long as there are aging matinee idols looking for a quick paycheck, there will be commando movies there to pay them. While the painfully self-conscious Expendables movies brought this prestigious genre back into box office glory, it’s a format that has been cranking along for decades. Before Stallone, the most successful old man revitalizer was Andrew V. McLaglen (son of actor Victor), who cranked out fogey action flicks from the 60s through the 80s, after a long career in TV Westerns. Cult home video outfit Severin has just released The Wild Geese (1978) on Blu-Ray, which stars the leathery trio of Richard Burton, Richard Harris and Roger Moore. McLaglen’s favorite among his films, it is a bloody imperialist fantasy in which a group of ex-Special Ops Brits parachute into Africa to rescue a deposed leader from a tyrannical despot. Fitfully released in the United States as its distributor was going through bankruptcy, it exudes more testosterone per film frame than Stallone’s pec-flexing opus.
Posted by Greg Ferrara on August 8, 2012
Apparently, there’s a Toshiro Mifune Blogathon going on here at The Morlocks (you may have noticed it’s the only thing anyone is writing about this week). Well, I’m here to run through the penultimate position of this esteemed relay before passing the baton to Kimberly as she crosses the finish line tomorrow. When we Morlocks first discussed this blogathon among ourselves some time back, I did the whole “oh gee, I don’t know what I’ll do” routine and played it off rather well because I knew damn well the whole time what I would do. How did I know? Here’s how: 1) I love old school action/adventure movies, where there’s some action, lots of adventure and a minimum of explosions, 2) I love John Boorman directing Lee Marvin (see Point Blank) 3) I love Toshiro Mifune because he’s one of the coolest action/adventure actors in history and 4) there’s only one movie that has all of that plus cinematography by Conrad Hall: Hell in the Pacific. Damn, what a movie.
Posted by R. Emmet Sweeney on February 14, 2012
On February 4th, the last living veteran of WW1 passed away in King’s Lynn, England. Florence Green was 110 years old, and had joined up with the Women’s Royal Air Force in September 1918, two months before the armistice. The last surviving combat veteran, Briton Claude Choles, died in Australia in 2011. The Great War is no longer part of the world’s living memory, and so drifts slowly from history and into myth (see: War Horse). This process will accelerate in 2014-2018, the 100th Anniversary of the conflict. But no images, not even Spielberg’s, have defined the war more than those in All Quiet On the Western Front, Universal’s grim gamble of 1930. Banned in Poland, reviled in Germany, and a tough sell to studios, this adaptation of Erich Maria Remarque’s landmark novel is one of the bleakest films ever made in Hollywood. Universal is releasing it on Blu-Ray today in a pristine restoration, in a nearly-complete 133 minute version, while also including the rare silent edition, which was made for theaters not yet equipped for sound (For background on all the edits inflicted on the film, please read Lou Lumenick’s article in the NY Post).
Posted by davidkalat on January 29, 2011
In this week’s post we will meet Buster Keaton the gangster, Buster Keaton the communist, and Buster Keaton the Nazi. I’ve got a treasure trove of rare clips you won’t see anywhere else—all you have to do is click that “more” button to expand this. C’mon, you know you want to. It’ll make your day…
Posted by keelsetter on January 16, 2011
In my last post I explained the reasoning behind my programming choices for the first half of my Spring arthouse film calendar, today I finish the job. I accept the fact that anyone looking at my program will inevitably point to one (or more, perhaps even many) titles here and, in essence, ask the following question: “What the heck is THAT doing there?!” What follows below will hopefully dispel all head-scratching.
Posted by R. Emmet Sweeney on December 7, 2010
In November, Netflix introduced a “streaming only” option to their membership plan, for $7.99 a month, another marker in the slow death of the DVD. Their “Instant” offerings are frequently presented on faded and cropped masters likely made during the VHS days, but the rarity of their hodgepodge collection makes it a near-essential outlet for those interested in American film history. Unless one lives in a cinephilic megacity like New York or L.A., VOD offerings like Netflix Instant and DVD-on-demand outfits like the Warner Archive are the only (legally) easy way to view older titles.
Posted by keelsetter on December 5, 2010
To renew or not to renew? That is the $329.99 subscription question.
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