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 Kimberly Lindbergs on September 11, 2014
You can currently stream THE SNIPER online at Watch TCM
A few weeks ago I finally caught up with THE SNIPER (1952) on TCM, which tracks the brutal crimes of a gun-wielding maniac stalking women on the streets of San Francisco. The film boasts an impressive pedigree that includes director Edward Dmytryk, producer Stanley Kramer, screenwriters Harry Brown along with Edna and Edward Anhalt, cinematographer Burnett Guffey and composer George Antheil but outside of screenings on TCM, it has been somewhat hard to see until recently thanks to a Columbia DVD release in 2009.
Posted by gregferrara on September 10, 2014
Ever rooted for the bad guy? Of course you have, we all have. Many times the bad guy is more interesting, more exciting, and much more charismatic. To take two obvious examples, Batman is brooding and Superman is upstanding but neither is terribly interesting while their nemeses, the Joker and Lex Luthor, are a hoot and despite their clearly psychotic natures, fun to watch. The movies picked up on this long before comic books even came into existence and once the sound era began, making criminals the star of the show became even more apparent. In the course of a little over a year, moviegoers were treated to Little Caesar, Public Enemy, and Scarface, all putting the bad guys front and center as the stars of the movie. And all tried their damnedest to convince moviegoers that while they were the stars, their actions were wrong. As time went on, and the production code waned, the movies could be a little more honest about why they were making crime movies: Because they’re exciting and fun even if we know they present a romanticized view calibrated precisely for our enjoyment.
Posted by R. Emmet Sweeney on September 9, 2014
Night of the Crossroads was the first film adaptation of Georges Simenon’s phenomenally popular Inspector Maigret novels, and was lent a thick, hallucinatory atmosphere by director Jean Renoir. Yet, sandwiched as it is between Renoir’s classics with Michel Simon, La Chienne (1931) and Boudu Saved from Drowning (1932), it has escaped much serious critical attention. It does not even get an entry in Andre Bazin’s collected writings on Renoir. Anthology Film Archives arranged a very rare screening of the feature this past weekend, with Simenon’s son John in attendance to discuss the production beforehand. It’s a traditional whodunit, except all of the motivations are missing. Instead of attributing the crime to a single perpetrator, the whole town becomes culpable through their xenophobia and greed. As Renoir’s character Octave says in The Rules of the Game, “everyone has their reasons”. To that Night of the Crossroads would add, “for murder.”
Posted by Susan Doll on September 8, 2014
This month, TCM’s Friday Night Spotlight, titled Classic Pre-Code, boasts an impressive line-up of both familiar and little-known movies released prior to the enforcement of the Motion Picture Production Code. Despite the diverse selection, there is one film I wish could have been included. With its racism, prostitution, drug addiction, perversion, and torture, Kongo reveals just how far pre-Code films could push the limits of shock and taste.
How steve mcqueen blew it on a movie that almost had stampeding elephants, and other stories behind CALIFORNIA SPLIT
Posted by Pablo Kjolseth on September 7, 2014
I spent the Labor Day weekend at the 41st Telluride Film Festival. There were many highlights, but at the top of my list was a 35mm print screening of California Split (Robert Altman, 1974), which was presented by TCM. And, no, I’m not just sucking up to the folks who sign my paycheck on this one, because if you search “California Split” on the Morlock site you’ll see that I refer to it in a 12.30.12 post as a title I’ve been wanting to watch for quite a while. Since writing that post I did purchase an out-of-print DVD that then proceeded to collect dust along about 100 other “must-watch” titles that currently sit on a bookshelf near my entertainment system. In retrospect, I’m glad it got lost in the shuffle. Why? Because thanks to Kim Morgan and Guy Maddin (this year’s Guest Directors at Telluride), I got to see a nice, uncut, Panavision print of California Split that was followed by a very entertaining Q&A with actors George Segal and Joseph Walsh (who was also its producer and wrote the script based on many autobiographical elements). Frosting on the cake? The film print is three minutes longer than the DVD, due to legal issues involving musical clearances (strange how the ubiquitous “happy birthday” song can cause so many problems). I want to give an additional shout-out to both Morgan and Maddin for the excellent lineup of other selected films, which included A Man’s Castle (Frank Borzage, 1933), Il Grido (Michelangelo Antonioni, 1957), The Road to Glory (Howard Hawks, 1936), and Wicked Woman (Russell Rouse, 1953). The fact that all of these titles were screened on 35mm film and are each rare and off-the-beaten-path works worthy of a future lengthy post is testimony to both a great film festival and inspired curators. But, for now, let’s get back to California Split, and the story behind how it was almost appropriated by Steven Spielberg, Dean Martin, and a pack of rampaging elephants. [...MORE]
As we approach the anniversary of 9/11, I do at least have some good news to report. No, international terrorism is still a thing. Violence still reigns across Iraq, Afghanistan, the Gaza strip, and Ukraine. Injustice and racism still festers here at home, and the income gap widens. But… on this September 11, TCM is gonna run the 1938 Arense Lupin Returns, and if you’re too impatient to wait until then, you can go to Warner Archive and get a DVD double feature of that delightful treat and its even more fabulous predecessor, the Pre-Code gem Arsene Lupin. So, there are silver linings, if you know where to look.
Posted by Richard Harland Smith on September 5, 2014
I’ve been grooving to the soundtrack to Arnold Laven’s THE MONSTER THAT CHALLENGED THE WORLD (1957) for about 24 hours now (there was some sleep jumbled up in there, but not a whole lot), which was released by Monstrous Movie Music back in 2011. (It should come as no surprise at this juncture that it takes me a while to get to around to new things.) Heinz Roemheld’s full-bodied cues (orchestrated by Herschel Burke Gilbert) for this mollusk-on-the-loose classic are reliably immortal, full of blood and thunder (and slime), and making pioneering use of backmasking ten years before The Beatles got all the girls for doing the same thing. There’s lots of choice misterioso in the mix and moody string work, some of which might remind the older Monsterkids among us of Roemheld’s score for THE MOLE PEOPLE (1956). Anyway, Monstrous Movie Music has done an incredible job of assembling all of Romheld’s cues and providing context for each of them, deconstructing the composition and execution to give the curious a fuller appreciation of the work that went into this project, which I first saw as an impressionable lad of, oh, 10 or 11 or 12, when it was shown at my local drive-in on a triple bill with THE VAMPIRE (1957) and THE RETURN OF DRACULA (1957)– all projected in green, so that they could be sold to us rubes as color movies. I love the track titles that disc producers David Schecter and Kathleen Mayne have provided for our enjoyment, such as “Death by Fright,” and “Mollusk Mood Music” and “Slime.” But one track in particular caught my eye: “Scarf Found.” And it got me to thinking. (Cue flashback music.) [...MORE]
Posted by Kimberly Lindbergs on September 4, 2014
MovieMorlocks.com is the official blog for TCM. No topic is too obscure or niche to be excluded from our film discussions. And we welcome your comments on our blogs and bloggers.
See more: facebook.com/tcmtv
See more: twitter.com/tcm
3-D Action Films Actors Actors' Endorsements Actresses animal stars Animation Anime Anthology Films Art in Movies Australian CInema Autobiography Avant-Garde Aviation Awards B-movies Beer in Film Behind the Scenes Best of the Year lists Biography Biopics Black Film Blu-Ray Books on Film Boxing films British Cinema Canadian Cinema Character Actors Chicago Film History Cinematography Classic Films College Life on Film Comedy Comic Book Movies Crime Czech Film Dance on Film Digital Cinema Directors Disaster Films Documentary Drama DVD Early Talkies Editing Educational Films European Influence on American Cinema Experimental Exploitation Fairy Tales on Film Faith or Christian-based Films Family Films Film Composers Film Criticism film festivals Film History in Florida Film Noir Film Scholars Film titles Filmmaking Techniques Films About Gambling Films of the 1960s Films of the 1980s Food in Film Foreign Film French Film Gangster films Genre Genre spoofs HD & Blu-Ray Holiday Movies Hollywood history Hollywood lifestyles Horror Horror Movies Icons independent film Italian Film Japanese Film Korean Film Literary Adaptations Martial Arts Melodramas Method Acting Mexican Cinema Moguls Monster Movies Movie Books Movie Costumes movie flops Movie locations Movie lovers Movie Reviewers Movie settings Movie Stars Movie titles Movies about movies Music in Film Musicals Outdoor Cinema Paranoid Thrillers Parenting on film Pirate movies Polish film industry political thrillers Politics in Film Pornography Pre-Code Producers Race in American Film Remakes Revenge Road Movies Romance Romantic Comedies Satire Scandals Science Fiction Screenwriters Semi-documentaries Serials Short Films Silent Film silent films Social Problem Film Sports Sports on Film Stereotypes Straight-to-DVD Studio Politics Stunts and stuntmen Suspense thriller Swashbucklers TCM Classic Film Festival TCM Underground Television The British in Hollywood The Germans in Hollywood The Hungarians in Hollywood The Irish in Hollywood Theaters Thriller Trains in movies Underground Cinema VOD War film Westerns Women in the Film Industry Women's Weepies