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.
Posted by Susan Doll on September 5, 2011
Each month, my film-discussion group meets for a lively brunch to discuss a topic agreed on in the previous meeting. At the end of September, we will meet to talk about the films and careers of selected female directors. One of the films on the suggested viewing list is the early indie film Wanda, which will make its TCM debut this evening at 7pm CST/8pmEST. An uncompromising portrait of a working class woman born and raised in a Pennsylvania coal town, Wanda is the only film written and directed by actress Barbara Loden, who died of breast cancer in 1980.
Loden also starred in the title role as Wanda Goronski, whose choices in life are limited by her lack of education and economic opportunity. In her world, a woman’s only hope for a better life rests on the shoulders of a miner willing to marry her. But, it’s too late for Wanda, who has failed at marriage, so she lives on the fringes of an already marginalized region. In court to finalize her divorce, Wanda willingly gives up her two children to their father noting that they are better off with him. “I’m just no good,” she tells the judge. With no personal ties or job responsibilities, Wanda drifts with the wind, becoming further alienated from mainstream society with each misadventure. She goes with any man willing to pick up the tab, matter of factly putting up with their callousness and cruelty as though it were expected. Eventually, she stumbles across a thief in the process of robbing a beer joint, though she doesn’t realize the trouble she’s stepped into. Wanda joins the thief, whose name is Mr. Dennis, on the road for no other reason than she has no place else to go.
Posted by medusamorlock on August 24, 2011
As we’ve seen this past week on our Blondell Blog-a-thon, Miss Joan Blondell was a survivor. Through her long movie career she always managed to come out on top, and her image as a plucky dame was one that audiences cherished and wouldn’t forget. As her motion picture career began to slow down and she entered middle age — never a wonderful time for an actress, then as now — she was fortunate to still have some great career choices available to her. Joan returned to the stage to much acclaim in the 1950s, and also began to appear on television during the same time, picking up roles on many of the prestigious dramatic (and often live) anthologies of the TV’s early years. In the first half of the decade she delighted audiences with roles on Schlitz Playhouse (as Calamity Jane), Suspense, Lux Video Theatre (with her A Tree Grows in Brooklyn co-star James Dunn), Fireside Theatre, Shower of Stars, G.E. True Theater, Shower of Stars, Playwrights ’56, Studio One, Playhouse 90, and The United States Steel Hour. The worst part about this fertile period in Joan’s career is that it’s pretty much impossible today to actually watch any of her performances in these very early TV series. Our loss, for sure.
Posted by David Kalat on August 20, 2011
Take a look at this poster and tell me what you think this movie is about:
Posted by medusamorlock on August 5, 2011
This coming Saturday — tomorrow, August 6th – marks the 100th anniversary of the birth of show business’ forever and always top funny lady Lucille Ball, and also a day of Lucille Ball on TCM’s Summer Under the Stars. It would be more than appropriate for anyone to celebrate this significant milestone, but I especially love Lucy. My mother used to say that when I was a kid everytime she would come into a room I’d be watching I Love Lucy on TV, and I used to talk about it all the time. Still do even today — watch and talk about it! [...MORE]
Posted by David Kalat on April 16, 2011
The year is 1933, and times are tough all over. What of the poor little rich boy, Henry Gibson (Ben Lyon), who can’t even inherit his millions unless he gets married by his 27th birthday? And yes, Keaton fans, that’s the same idea as SEVEN CHANCES—but where Buster turned that premise into a feature-length chase scene, the movie we have in front of us here has different plans in store. Luckily, Gibson’s got himself a wife—a beautiful young debutante whose icy good looks and haughty demeanor prove her high social standing. On their honeymoon, the girl goes missing (hence the title of this flick, GIRL MISSING), and our distraught hero offers up a reward for his wife’s safe return. This is all sensible enough, and fairly familiar thriller territory. But Gibson’s life is about to be turned upside down by the arrival of a pair of gold-digging “chorus girls,” whose complete lack of restraint or decorum may very well save the day. This is a movie that wouldn’t have been made even just a few years later, and pretty much doesn’t exist anymore even today. This is Pre-Code, ladies and gentlemen, and it’s a riot.
Posted by medusamorlock on March 17, 2011
I don’t know how many of you fell in love with the winsome and talented Jessica Harper back — well, back nearly 40 years ago, longer than many of you have probably been alive — but if you were among the legions of fans she garnered when she starred in 1974′s Phantom of the Paradise, you may not realize that she has metamorphized into something quite remarkable and wonderful. More wonderful than she was in Phantom of the Paradise? Probably not possible, but something maybe unexpected and totally delightful. [...MORE]
Posted by Kimberly Lindbergs on March 10, 2011
You might not be familiar with her name but you’re probably familiar with her work. Ruth Harriet Louise’s glamorous photos of classic movie stars have graced countless magazines and book covers. Her photos helped launch the careers of many beloved actors and they offered fans an intimate look at some of Hollywood’s most celebrated icons. Her impressive portfolio is still in circulation today and if you take a quick look around the TCM website you’re bound to come across one or two of Louise’s famous portraits starring back at you.
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