Posted by Susan Doll on April 14, 2014
One of my courses this semester includes a section on an auteur—that fancy French word for master director. I let my students choose which director to study from a list that included a variety of filmmakers from different eras. To my great surprise and delight, they selected John Huston over more recent and more famous directors.
I began the section on Huston with Key Largo, a crime drama released in 1948. The film stars Huston favorite Humphrey Bogart as WWII veteran Frank McCloud, who visits the Key Largo home of one of the men from his unit. The young man had been killed in combat, and McCloud feels compelled to call on the man’s father and widow, Nora. Nora is played by Lauren Bacall, and the father is portrayed by Lionel Barrymore, who, by this point in his career, was forced to play his roles in a wheelchair because of the crippling effects of arthritis and two hip fractures. Barrymore’s character owns the Hotel Largo, which has been taken over by gangster Johnny Rocco, played with great flair by Edward G. Robinson. While Rocco and his gang wait for an associate, a hurricane hits the Florida Keys and confines all of them inside the Hotel Largo.
Posted by gregferrara on April 13, 2014
There was a time in the seventies when Joseph Wambaugh was just about the top crime writer in the nation. In the years before John Grisham and James Patterson came to prominence, Wambaugh novels got multiple adaptations into film but, unlike Grisham and Patterson, they weren’t very successful at the box office although they were very good on the whole and one of them, The Onion Field, scored big both with audiences and critics and launched the career of James Woods. I hadn’t seen it since 1979 and was surprised upon a second viewing how much better it was than I remembered.
Last week I unleashed a rant about how much better the 21st century media environment is to any previous era, and I mentioned in passing the world of gray market bootleg VHS. I figured I’d circle back to that idea to flesh it out: partly a history lesson, partly a critique, and partly an explanation of how it influenced my own approach to DVD production.
Posted by Richard Harland Smith on April 11, 2014
The fifth TCM Classic Movie Festival got started last night with a gala opening party at Club TCM in the Roosevelt Hotel and screenings of such immortal cinematic works as Robert Aldrich’s “WHAT EVER HAPPENED TO BABY JANE?” (1962), Fred Zinnemann’s OKLAHOMA! (1953), Gregory LaCava’s 5th AVENUE GIRL (1965). Walter Lang’s CHEAPER BY THE DOZEN (1950), George Lucas’ AMERICAN GRAFFITI (1973), William Wyler’s THE HEIRESS (1947), Nicholas Ray’s JOHNNY GUITAR (1953), and Garson Kanin’s BACHELOR MOTHER (1939). Seats are full, excitement is high, and classic Hollywood movie-making is in its glory. I’ll be on duty all weekend, live blogging along with TCM’s able army of cinema scribes. You can follow the action on the official TCMFF blog, whether you’re here at the fest or watching from the wings. I’ll be back to my regular Morlock duties next week but for now… I’ll see you at the movies!
Posted by Kimberly Lindbergs on April 10, 2014
Springtime has arrived in California and do you know what that means? BUGS! During the past week I’ve battled a couple of spiders in my kitchen, wrangled with a beetle that invaded my bathroom and took up arms against a small army of moths determined to raid my closet. These creepy critters seem to be everywhere so it seemed like a good time to revisit one of my favorite bug invasion movies, Kazui Nihonmatsu’s GENOCIDE (aka WAR OF THE INSECTS; 1969). GENOCIDE chronicles an attack on a small island community by a large mass of aggressive flying insects. It’s been made the butt of bad jokes by the folks behind Cinematic Titanic and Mystery Science Theater 3000 but this creative low-budget film is no B-movie bomb. Along with its strong antiwar message, GENOCIDE boasts some impressive visual touches and packs an emotional wallop during its explosive final moments that compassionate viewers won’t soon forget.
Posted by gregferrara on April 9, 2014
As I was scrolling through TCM’s schedule this week, I noticed the 1946 Sherlock Holmes movie, Dressed to Kill, which aired yesterday morning. Years ago, when I first saw the Basil Rathbone series, I was dismayed by the later films in the series that updated the story to the present day. There was something about seeing modern vehicles and appliances in a Sherlock Holmes story. Now, of course, the story has been done in the time period it was written, in the present day of the 21st century and with both genders in the lead role. And it no longer bothers me one bit.
Posted by R. Emmet Sweeney on April 8, 2014
With each successive generation of home video, the Hollywood studios have paid less and less attention to their archival titles. The profits generated by new releases dwarf that of their classics, so they have become an afterthought. For the thinner profit margins of independent labels, however, these films, including The Quiet Man (Olive Films) and Bring Me the Head of Alfredo Garcia (Twilight Time), can provide a significant economic boost. So in the Blu-Ray era, it has fallen to these indie video labels to license and release studio restorations. The notable exception has been Warner Brothers, who still invest in Blu-Rays of silents like The Big Parade, while their invaluable Warner Archive line continues to churn out the hidden gems of their library. One of the foremost independent rescuers of film history has been Olive Films.
This month they will release ten new-to-Blu-Ray titles, including the daylight noir Cry Danger, the Douglas Sirk-does-Gaslight thriller Sleep My Love and Anthony Mann’s existential Korean War bummer Men in War. The rarest item this month however, might be Joseph Losey’s Stranger on the Prowl (1952), a neorealist moral fable about a drifter on the run from the cops (Paul Muni) who befriends a small boy in an Italian port city. Never released in any home video format (that I’m aware of), it was made while Losey was under investigation by the House Un-American Activities committee, so his name was removed from the credits and replaced with that of the Italian investors. It was made during the process of his blacklisting, and though hamstrung by budget shortfalls and technical limitations, it is a haunting, self-lacerating portrait of a persecuted exile.
Posted by Susan Doll on April 7, 2014
For the third and final post in my informal and unintended series on Elvis Presley, I was inspired by the documentary Elvis: That’s the Way It Is, which airs on TCM on Tuesday, April 15, at 5:00am (actually Wednesday, but it is listed as Tuesday night on the TCM schedule). Elvis: That’s the Way It Is chronicles Presley’s engagement at the International Hotel in the summer of 1970. The film airing on TCM is the 2001 special edition, a reworked version of the original. A producer named Rick Schmidlin discovered unmarked cans of unused footage for the film in MGM’s storage facilities in an old salt mine in Kansas along with the original 16-track recordings. The tracks were digitally remixed for the special edition, and unseen footage of Elvis in rehearsal and on stage replaced non-concert scenes from the original. For me, one of the most interesting parts of this documentary is the show of celebrities and stars who lined up to see Elvis at the International, including Juliet Prowse, Charo and her husband Xavier Cugat, Dale Robertson, Sammy Davis, Jr., and Cary Grant.
Elvis knew and admired a variety of stars and performers throughout his career. This makes sense considering his success in different arenas of show business (recording; films; live performance and his eclectic personal tastes in entertainment and music. The latter served him well in developing a unique musical style and sound not once but twice—in 1954 and in 1968-1969. Below are just a few photos of Elvis’s show-biz acquaintances, associates, and admirers. You are not likely to find a more diverse circle of celebrities associated with one entertainer.
Posted by Pablo Kjolseth on April 6, 2014
“Cry who will, laugh who can.” So begins Lola; with this Chinese proverb that makes clear its intentions.
How does Jacques Demy’s Lola, released over a half-century ago, in 1961, still work its magic on me? Normally any kind of conceit involving a love triangle that includes one character who serves as a veritable knight in shining armor simply would not stand any chance of seducing me. Yet, despite some minor distractions (like an American soldier who speaks both his English and French lines with a jarring accent that doesn’t seem to belong to either language), the film has buoyancy and charm that never flag. It’s a pure delight, one that serves to remind us of the power of innocence.
Recently, a number of classic film-oriented message boards and blogs have gotten bogged down in absurd arguments with some commenters, whose petulant sense of entitlement was somehow enraged when their favorite movie wasn’t scheduled for screening on TCM, or made available for free download, or somesuch. I’m not going to repeat the specifics of their complaints, because they’re too ridiculous to properly summarize, and I won’t link to the discussions either because they’ve already gotten more attention than they deserve. This isn’t meant as a specific rebuke to any one person’s argument–there’s no good that can come from getting into fights with anonymous posters on the Internet. Like boxing a shadow, you can’t win and will only end up looking foolish.
That being said, I do have some strongly held opinions on these underlying issues, so here’s my personal mission statement.
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 Autobiography Avant-Garde Aviation Awards B-movies Beer in Film Behind the Scenes Best of the Year lists Biography Biopics 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 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 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 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