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 David Kalat 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 Pablo Kjolseth 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 Pablo Kjolseth on December 5, 2010
To renew or not to renew? That is the $329.99 subscription question.
Posted by Kimberly Lindbergs on November 18, 2010
The cast of PASSAGE TO MARSEILLES (1943)
PASSAGE TO MARSEILLES isn’t the type of film that normally sparks my interest. I have an aversion to propaganda films and I’m not particularly fond of prison break movies but I love Humphrey Bogart and Peter Lorre so I’ll watch them in anything. I’ve seen all the films that the two actors made together but for one reason or another I’ve managed to overlook PASSAGE TO MARSEILLES until now. Maybe it was all the lackluster reviews I read? I finally caught up with the movie last weekend and I’m happy to report that PASSAGE TO MARSEILLES surpassed my low expectations. It wasn’t the overlooked masterpiece I wanted it to be but I think it’s well worth recommending.
Posted by R. Emmet Sweeney on August 24, 2010
My hopscotching education in Raoul Walsh skitters on this week, with five gut-punching thrillers. I’m jumping through his career haphazardly, watching whatever I can easily acquire. Last week led me from 1930 to 1955, but today I’m mired in the 1940s, thanks to the Warner Bros.-TCM box set, Errol Flynn Adventures (feel free to ignore this post if you think the TCM branding compromises my objectivity). Along with Lewis Milestone’s Edge of Darkness, it includes the Walsh-directed Desperate Journey (1942), Northern Pursuit (1943), Uncertain Glory (1944) and Objective, Burma! (1945). I supplemented these with the Warner Archive disc of Manpower (1941).
The images at the top present two communities of wisecracking men, and Marlene Dietrich, sending off one of their own. They are from Manpower and Desperate Journey, two mournful studies of male camaraderie. Manpower takes the love triangle (and Edward G. Robinson) from Howard Hawks’ Tiger Shark (1932) and moves it from a fishing village to the road crew for a power company. It’s there that Robinson and buddy George Raft tell tall tales about their amorous accomplishments with fellow boozers Alan Hale, Ward Bond and a group of other grinning mugs. Walsh packs the frame with group shots, of leering, laughing and impulsive men. They gather in semi-circles to trade quips, and end the film in the same group formations saying their final goodbyes.
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