Posted by Kimberly Lindbergs on September 8, 2016
Last October TCM in association with WIF (Women in Film) launched their Trailblazing Women film initiative by airing a month of movies made by women. Many of the films and filmmakers highlighted during the month-long programming event were often overlooked, underseen and deserving of a wider audience. Trailblazing Women was groundbreaking television that introduced the work of many women filmmakers to a much wider audience.
As part of the year-long Trailblazing Women initiative, WIF asked visitors to their website to join them in watching 52 Films By Women aka #52FilmsByWomen. The objective was to get people talking about women filmmakers by urging them to watch one film directed or co-directed by a woman every week between October 2015 and October 2016. Viewers were also encouraged to promote their viewing experiences by using the hashtag #52FilmsByWomen on social media. I joined the pledge last year and for the past 11 months I’ve been enjoying revisiting some of my favorite women made films and discovering new favorites. Next month #52FilmsByWomen comes to an end so I thought I’d share a few highlights from my viewing experience and hopefully inspire others to continue to seek out and watch films made by talented women.
Posted by Kimberly Lindbergs on October 15, 2015
All month long TCM has been airing films made by women on Tuesday and Thursday night as part of their groundbreaking Trailblazing Women series hosted by Illeana Douglas. According to Charles Tabesh, senior vice president of programming for TCM, the goal of Trailblazing Women is to “Highlight the impact of female filmmakers throughout history and encourage future female filmmakers.” The response has been overwhelmingly positive and it’s heartening to see TCM’s resources used to educate, inform and inspire viewers.
I’ve been enjoying a lot of the Trailblazing Women programming myself but since we’re in the middle of Schocktober, I thought I’d set aside some time to highlight some of my favorite horror films and thrillers directed by women who have left their macabre mark on a genre that many mistakenly assume is not very female friendly. The truth is that horror cinema is one of the few genres where women filmmakers are making impressive inroads and their groundbreaking work is well worth seeking out this month or any month.
In case you missed the listings, TCM is screening Fritz Lang’s Metropolis this week—and users of the splendid TCM smartphone app can stream it at their leisure. I have a very fond spot for this film, beyond its significance as a masterwork of world cinema. I was a student at the University of Michigan’s Film and Video Studies program in the early 1990s when a previous restorations effort was unveiled at the Michigan Theater. In 2010 I was asked by Eureka’s Masters of Cinema to contribute to the UK Blu-Ray edition of the newest restoration, and got the special privilege of being one of the first people to see it.
Earlier this summer, the Chicago Symphony’s CSO at the Movies program screened the film with live accompaniment by the symphony, and I had the pleasure of taking my daughter Ann to see it with me. She had not seen the film before, and came out of the screening full of energy and enthusiasm for what she’d just experienced. It occurred to me that given that she’s blogged here before in my place, I should once again hand the keyboard to her to let her share her perspective. Click the fold below and I’ll let Ann take over from there—
Coming up on Friday on TCM is a delightful pre-Code screwball comedy called Bombshell. If you haven’t seen it before, you owe it to yourself to catch up with it this time around since it is at once a zippy, aggressively paced comedy with one of early film’s most glamorous comediennes, while also being a sharp-edged and angry satire about Hollywood power dynamics and women’s sexuality. It is also an M.C. Escher-like knot of in-jokes and life-imitating-art-imitating life self-referential whorls. It is a bubbly, bitter comedy emerging from the intersection of two great comediennes, whose earthy sexuality was both their ticket to stardom and their downfall; two women whose careers were tragically destroyed before they reached the age of 30 but who managed in that short window of time to permanently etch their names and memories into pop culture posterity. You’ll be hard-pressed to identify 90 minutes of celluloid that accomplishes more than this.
Posted by medusamorlock on February 16, 2013
Those of us who can’t resist a good MGM musical are no doubt now and again thinking about the great screen dancer Vera-Ellen, a sparkling screen presence in an number of films yet someone whose memory is overwhelmed by the passage of time and a peculiar lack of the proper respect paid to her accomplishments. On the occasion today of the 92nd anniversary of her birth on February 16, 1921, and although I wrote about her once already (way back in 2007, check out the post by clicking here), and though she’s been gone for over thirty years — she passed away from cancer on August 30, 1981 at only 60 years old – it’s a perfect time to remember again this most charming and talented actress.
Posted by Susan Doll on October 15, 2012
From Baby Face to The Lady Eve to Double Indemnity, Barbara Stanwyck thrived during the 1930s and 1940s as the hardscrabble, working class dame who was accustomed to staying one step ahead of men. Her throaty voice and no-nonsense delivery suited her tough-talking screen persona. During the 1950s, Stanwyck appeared in a number of westerns that exploited the aggression and independence associated with her star image. The unofficial series included Cattle Queen of Montana, The Violent Men, The Maverick Queen, Trooper Hook, and Forty Guns. Oddly, this period in Stanwyck’s career is either brushed off as a time when the aging star was trying to re-establish her position in Hollywood, or simply presented as a decline in her career. After Forty Guns was released in 1957, she did not make another film until the colorfully flamboyant Walk on the Wild Side, released in 1962. Biographies then note the resurrection of her stardom on the small screen, first as the host of The Barbara Stanwyck Show, which won her an Emmy, and then in The Big Valley. Later, she costarred in the mini-series The Thorn Birds and lent her considerable star presence to Dynasty and its spinoff, The Colbys.
Posted by Susan Doll on August 13, 2012
As an unabashed fan of movie stars from all eras, I am enjoying TCM’s marvelous lineup for this year’s Summer Under the Stars. And, no screen actor could be more deserving of a day than Lillian Gish, who is spotlighted on Wednesday, August 15. Gish , whose screen career began with An Unseen Enemy in 1912 and ended with The Whales of August in 1987, helped develop the art of screen acting while under the guidance of D.W. Griffith. It is a testament to her talent that she acted steadily throughout the silent era, survived the coming of sound to become a character actress during the Golden Age, costarred in one the 1950s most revered films, The Night of the Hunter, and then continued to work after the upheavals of the Film School Generation. Her career ended in what is generally considered to be the early modern era—quite a run for someone known as the “First Lady of the Silent Screen.”
Three of the films scheduled for Wednesday—Intolerance, Broken Blossoms, and Orphans of the Storm—were directed by D.W. Griffith, who was Gish’s mentor, colleague, and close friend. During their years together, Gish learned a great deal about filmmaking, and in 1919, he urged her to try her hand at directing. Griffith had just purchased the huge Henry Flagler mansion in Mamaroneck, New York, and was in the process of converting it into a movie studio. He wanted to keep his stock company of faithful actors and crew members happily occupied while developing new talent. Gish opted to direct sister Dorothy in a lighthearted romance titled Remodeling Her Husband. Gish’s little comedy became the first feature shot at Mamaroneck, because Griffith was busy shooting The Idol Dancer and The Love Flower on location in Florida. In addition to directing, Gish was also put in charge of the final renovations for the studio.
Posted by Pablo Kjolseth on August 12, 2012
The art house film calendar that I program goes to press in two days and, although I’m still waiting for some confirmations, I’m sharing the rough-draft with TCM readers, along with some brief thoughts regarding the choices made.
Posted by Susan Doll on July 16, 2012
Before the deaths of Andy Griffith and Ernest Borgnine dealt a double blow to Baby Boomers who have fond memories of both actors, Nora Ephron passed away from leukemia. Boomers grew up on the television series of Griffith and Borgnine, and the latter costarred in a number of landmark films of the 1950s and 1960s, which accounts for the outpouring of genuine sentiment at their passing. As a screenwriter and director, Ephron was not in a position to inspire that level of collective grief. But, her career deserves an evaluation or assessment, because she was one of the few women directors in Hollywood.
Prior to poking around a bit for this article, I did not know a lot about Ephron. I have never used one of her films in any of my classes, and, truth be told, I did not find her to be a dynamic director. Her scripts may be rich in humorous observations and witty exchanges between characters, but her directorial efforts were uneven to say the least. The best of them were adequately directed and enhanced by star turns (Sleepless in Seattle; Julie & Julia); the worst (Mixed Nuts; Bewitched) suffered from static blocking, sluggish pacing, and poor staging of the physical comedy. However, as I looked into Ephron’s career, I realized that I was wrong to short-change her. After all, her scripts and characters represent a style of film humor that is far more sophisticated and universal than today’s clunky, crude comedies targeted to males or the flat, offensive chick flicks aimed at girls. Ephron’s perspective as a mature, contemporary woman represents a voice or point of view that adult women can recognize and relate to; yet, it does not alienate other factions of the audience. Ephron did not make chick flicks—instead, she wrote and directed comedies with female protagonists that had something to say. Her films offer universal observations, perspectives, and themes about relationships that are relevant to both genders and most age groups—much like the intended audience for movies during previous eras of Hollywood.
Posted by Kimberly Lindbergs on April 26, 2012
Woody Allen introduced me to Charlotte Rampling. It was during the early autumn of 1980 or possibly the early winter of 1981. I was a moody adolescent and family friends took me to see STARDUST MEMORIES (1980). At the time I was only remotely familiar with Allen’s work, having seen a few of his “early, funny pictures” but nothing had really prepared for me for the film I was about to see. And the indelible image of a broken, cheerless Charlotte Rampling quietly weeping into the camera while Allen zooms in on her remarkable face was seared into my brain. I sympathized with the hopelessness Rampling seemed to be conveying during those few moments but I’d never seen it illustrated in quite the same way. STARDUST MEMORIES quickly became a sort of touchstone film for me and the beguiling and beautiful Charlotte Rampling instantly became one of my favorite actresses.
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