Posted by gregferrara on October 15, 2014
I recently wrote up Safari for TCM (it can be found here on the main site) and it airs later tonight, much later, so here’s my chance to elaborate on a few things I put in the article but couldn’t flesh out. First off, I liked Safari a good deal when I saw it but it has a couple of very disturbing moments when footage of actual animal kills are shown. In one, a large bull elephant is brought down by rifle and there is no doubt from the footage that it’s real. The bullet penetration in the elephant’s head can be quite clearly seen and the elephant immediately drops to the ground in a heap. That was no staging, it was an actual death, and the kind of thing that can make me never revisit a movie again. In fact, I may never revisit Safari again for just that reason even though the rest of the movie is a solid action adventure with good performances from the leads and some damn fine photography. Second, the movie provides a good example of a young director doing a kind of test run for the movies he will later be known for. The director is Terrence Young and those later movies have something to do with a gent named Bond, James Bond.
Posted by R. Emmet Sweeney on October 14, 2014
The Lusty Men is haunted by the Great Depression. It’s about economic displacement, wandering the countryside to make a buck at podunk rodeos, and where the dream of owning a home seems forever out of reach. As with most Hollywood studio projects, The Lusty Men was built out of compromise and circumstance, starting as a Life magazine article on the rodeo by Claude Stanush, and turning into a largely improvised character study by director Nicholas Ray and star Robert Mitchum. In between were a series of scripts, the first by David Dortort, and the second by Horace McCoy, who had made his name writing about Depression desperation, most famously in his novel They Shoot Horses, Don’t They? None of them satisfied Ray or producers Jerry Wald and Norman Krasna, so they often worked without a screenplay. It is a vulnerably acted film, as Ray teases out the fragility in Mitchum and co-stars Arthur Kennedy and Susan Hayward. It is a love triangle of sorts, but one enacted with complete honesty and forthrightness. The question is between the stability of Arthur Kennedy or the soulfulness of Mitchum, and while aesthetically it’s an easy decision (Mitchum has never been so beautiful), for characters raised dirt poor it’s a heart-wrenching choice. The Lusty Men, recently restored on 35mm by Warner Brothers, The Film Foundation and the Nicholas Ray Foundation, has finally been released on DVD by the Warner Archive (it also airs 11/4 at 1:30PM on TCM). Ever since the restored print screened at the New York Film Festival last year, I was patiently awaiting a Blu-ray release, but this will have to do. Luckily the DVD is in fine shape, aside from the beat-up archival rodeo footage which sets the stage for the drama to come.
Posted by Susan Doll on October 13, 2014
Our Modern Maidens (left, 1929), best known as an early flapper vehicle for Joan Crawford, airs on TCM this Wednesday at 9:45am. In addition to its role in Crawford’s burgeoning stardom, the film was renowned for its Art Deco set design by Cedric Gibbons, who had launched his signature Deco style a year earlier with Our Dancing Daughters (1928).
Art Deco and Hollywood fit together like hand in glove. Originally known as Modernism, Deco emerged in the 1920s, depicting and capturing the fast pace and modern lifestyle associated with the Jazz Age. This unique linear style began in the mid-1920s with ornate zig-zags and geometric shapes then quickly evolved into the stripped-down curvilinear forms of Streamline Moderne in the 1930s. Other styles of the time included Bauhaus and the International Style. The catch-all phrase Art Deco was not coined until the 1960s to refer to most of the styles of this era.
Posted by gregferrara on October 12, 2014
Today TCM airs Bob Fosse’s 1969 musical, Sweet Charity, starring Shirley MacLaine and Sammy Davis, Jr. It’s a loose – very loose – musical adaptation of Federico Fellini’s 1957 masterpiece, Nights of Cabiria, starring Giulietta Masina in what is, to my mind, one of the greatest performances ever captured by a motion picture camera. Now here’s the thing: I like Sweet Charity on its own, or I should say, I like it well enough. I’m not crazy about it but I think MacLaine is, as usual, terrific and I can watch Davis’ Rhythm of Life number over and over and over. Like I said, on its own, I like it. As a remake of Nights of Cabiria, I am, shall we say, unimpressed. When a team of artists decide to remake a non-musical as a musical, they take a huge risk, as they would with even a straight ahead remake, but sometimes the risk pays off. And sometimes it doesn’t.
Once upon a time I was very tired. More to the point, I was very tired in Montreal.
Julie and I were in Montreal for a child-free vacation, and we were so happy to have some time to ourselves we hadn’t done much planning. On arriving in the city we just looked around at what was going on, and saw that the Art Museum was going to be showing Marcel L’Herbier’s Fantastic Night (1942). I’ve been fascinated by the history of French horror and sci-fi films, and at the time I was considering fleshing out my chapter from Fear Without Frontiers into a book of its own—catching an actual 35mm print of this treasure was clearly must-see territory.
But how to spend the day leading up to it? Why, the Montreal Beer Festival, of course! And after a full day of sampling Canadian microbrews and eating sausages, we decided to burn off some of the woozy haze by walking to the Art Museum—some 4 miles away. We got there to find the Museum screening room’s AC was on the fritz, making the theater toasty. And so, warm and boozy and tired, we settled in to watch a B&W subtitled movie about a man who can’t stay awake. Hoo boy.
Posted by Richard Harland Smith on October 10, 2014
A number of years ago, for reasons that seem a bit hazy to me now, I began a pseudonymous film blog called Arbogast on Film. (I’m often asked why I chose the name Arbogast, an obvious allusion to Alfred Hitchcock’s PSYCHO. I have always just loved that name and back in the 80s I thought of throwing down a ‘zine with that name as a sort of catchall for the obscure and weird. Never got around to doing that and yet the name popped back into my mind when I was dicking around on Blogger and thinking to myself “I don’t have a personal blog, but if I were to have one it might look something like this…”) I already had the Movie Morlocks working for me and back then I was blogging twice a week rather than once, so it’s not as though I was itching for more work. No, as I recall, I wanted to do some writing apart from my established community, well away from the blognoscenti, where I could please myself and throw down some chancy stuff. I didn’t expect anyone to follow me and yet the site turned out to be popular. I kept it going for four or five years before pulling the plug. I was just too busy and couldn’t really afford to indulge myself in a spate of free writing… especially not when I had already dedicated several Octobers to a series I called “31 Screams.” I was bored with all the horror blogs that pulled out the same old titles year after year for the requisite Halloween Top Ten lists and so I thought it might be unusual and fun to review, not movies themselves, but some of the greatest screams in genre history. And so I did that, 31 of them every October, year after year, with the final tally being somewhere in the low triple digits. I think some of that work is among my best and it always kind of killed me that, as I’d sworn myself to pseudonymity, no one would ever know it was my hand moving the pen. So now, with your indulgence, I offer a look back at some of the great screams of all time, along with my eggheaded observations, inane asides and occasional bad language… [...MORE]
Posted by Kimberly Lindbergs on
Lon Chaney in HE WHO GETS SLAPPED (1924)
Last night FX premiered the new season of AMERICAN HORROR STORY. The award-winning horror anthology’s latest incarnation is called FREAK SHOW and it’s set in Florida during the 1950s at a circus sideshow where strange goings-on take place in and outside of the Big Top. The show’s creators, Ryan Murphy and Brad Falchuck, have admitted in recent interviews that they found inspiration for the new season in two classic horror films, Tod Browning’s FREAKS (1932) and Herk Harvey’s CARNIVAL OF SOULS (1962) but circuses and carnivals have long been a staple of horror cinema and director Tod Browning used the sideshow as a setting for numerous uncanny films before he made FREAKS. With Shocktober upon us it seems as good a time as any to showcase some of my favorite horrific or just plain odd and unusual films with scary clowns and sideshow performers that paved the way for AMERICAN HORROR STORY: FREAK SHOW. So step right up ladies and gents! Tickets are free for today’s main attraction! Thrills, chills and rare delights await all who dare to enter!
Posted by gregferrara on October 8, 2014
Janet Leigh is TCM’s Star of the Month and that is, to say the least, kind of fitting. After all, Janet Leigh is the most famous cinematic slasher victim of all time in one of the most famous and influential horror films of all time, Psycho, and this is October, the month most movie writers celebrate the horror film. Psycho is also the only film for which Leigh was nominated for an Oscar (Best Supporting Actress, by the way, but she lost to Shirley Jones for Elmer Gantry) and practically the only film in which she was ever asked about in interviews. Boy, I bet she got sick of talking about Psycho. Frankly, I’m kind of sick of talking about it, too.
Posted by R. Emmet Sweeney on October 7, 2014
For director Michael Powell, The Red Shoes was “mostly a sketch for The Tales of Hoffmann“. So far the sketch has eclipsed the full painting, with The Red Shoes a repertory film staple that plays regularly around the country (you can catch it in my cinema-starved hometown of Buffalo on November 17th!), while The Tales of Hoffmann has endured decades of neglect and chopped up film prints. Its relative obscurity should begin to lift, now that a new 4K scan of the original camera negative has been performed by the BFI, with support from The Film Foundation and StudioCanal. The stateside premiere of the restoration occurred at the New York Film Festival, introduced by superfan Martin Scorsese and his long-time editor Thelma Schoonmaker (who was married to Powell until his passing in 1990).
Posted by Susan Doll on October 6, 2014
Last week, the Cinematheque Francaise announced that it had uncovered a copy of Sherlock Holmes, which was ranked “among the Holy Grails of lost films,” according to restoration expert Robert Byrne, who is also on the board of the San Francisco Silent Film Festival.
Essanay Studios released Sherlock Holmes in 1916. In their soon-to-be-published Flickering Empire: How Chicago Invented the U.S. Film Industry, Michael Smith and Adam Selzer noted that the seven-reel film was the first feature-length version of Holmes’s exploits. It was also one of the last significant productions of Essanay’s Chicago-based studio before it closed its doors. But, the film’s real importance is its star, William Gillette, a prominent actor and playwright who was renowned on two continents during the first decades of the 20th century.
I have always been fascinated by forgotten stars—actors and entertainers who were beloved back in their day but who are now completely unknown. Sometimes, their careers lasted for decades; often they counted kings, queens, and presidents among their admirers. Yet, their talents go unsung to today’s audiences; their influences unrecognized. William Gillette was not only an acclaimed actor but also a playwright and stage manager whose fame rested on his interpretation of Sherlock Holmes on the stage. [...MORE]
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