Posted by Nathaniel Thompson on August 17, 2016
Posted by R. Emmet Sweeney on August 16, 2016
“In general I am not interested in the events themselves but in what happens afterwards. Not the departure, but the return.” – Jean Cayrol
In Muriel, or The Time of Return (1963), the repressed past infiltrates the present like a fungal growth slowly inching across the frame. A pre-World War II lover and a ghostly memory from Algiers fill the gaps in the lives of the Aughain family of Boulogne-sur-mer, a sleepy, emptied out seaside town just waiting to be possessed. Alain Resnais’ follow-up to Last Year at Marienbad (’61), Muriel has a materialist, tactile sense of place, established through rapid montages of everyday objects, whereas Marienbad’s amorphous no-place was shot with languorous long takes. The shift can be attributed to his collaborators, moving from nouveau roman author/filmmaker Alain Robbe-Grillet on Marienbad to Jean Cayrol on Muriel. Cayrol was a poet and concentration camp survivor who had provided the text for Resnais’ Night and Fog. He has these characters bear the physical weight of history, something that slows their steps and hunches their backs, and this lurch can now be seen on Blu-ray from the Criterion Collection.
Posted by Susan Doll on August 15, 2016
My favorite days of TCM’s Summer Under the Stars are those devoted to character actors, neglected stars, or actors whose careers were limited to one genre—sort of, the forgotten and forsaken of film history. It’s not that these actors were not famous, established, or major stars in their day, but to today’s audiences, they lack the iconic recognition of Golden Age favorites like Bogart, Tracy, Ball, or Davis. If it weren’t for TCM, the forgotten and forsaken would be lost to time.
Case in point: Ask most people to name a Ruby Keeler film, and the response would be, “Who?” Even movie lovers know her only from a handful of Warner Bros. musicals, specifically 42nd Street and Gold Diggers of 1933. I confess I knew very little about her: I have seen her Depression-era musicals, I remembered that she was married to Al Jolson, and I recalled that she had an amazing comeback in the early 1970s when she starred on Broadway in No, No Nanette.
Posted by Greg Ferrara on August 14, 2016
If there’s one thing I’ve learned from the movies, and it’s questionable on certain days if I even have, it’s that many stars famous for one thing are much more multifaceted than they appear. Case in point: Musical stars. Today, it’s Cyd Charisse’s day here at TCM and Charisse is known for her dancing prowess, as well she should be, but she did dramatic work as well. Today, TCM showcases some of her films that feature that work and it’s a great thing to do. Of course, her musical work will be on display also, and Charisse either appeared in or starred in some of the greatest musicals ever, including Singin’ in the Rain and The Band Wagon, both featured tonight. But it’s just as important to see her in movies like The Wild North and Two Weeks in Another Town, not because they’re her best work (they’re not) but because we get to see her outside her wheelhouse for a change (okay, she sings and dances in The Wild North but it’s still a western). And it’s not just musical stars but stars from all genres who have tried on different hats with varying results.
Posted by Greg Ferrara on August 12, 2016
The world of cinema is still new enough that we break it down by decades, much as we do television and popular music. That’s all well and good for now but eventually the cinema will be hundreds of years old and decades won’t do anymore. Not only that, I can’t imagine cinema in a hundred years will be recognizable to me now or anyone else. Go back in time and ask someone in the early one-reeler silent period, say, around 1905, what movies would be like in a little over a hundred years and no one would say, “Oh, I imagine they will invent devices known as computers that will be used to create graphics that are photo-realistic. This will enable them to create environments that cannot exist in the real world. And, of course, long before they do this, there will be sound, full natural color, multiple characters arcs and story lines, instantaneous transmission of world events viewable to anyone with a handheld device with which they can gather the information of history in an instant or communicate with anyone visually and audibly at any moment.” In other words, for all I know, the cinema of tomorrow will be something literally uploaded into your cerebral cortex and in an instant you will be inside the movie environment just as you are in your own space right now. It will be like walking around the Jurassic Park as it happens. There won’t be an audience with you and the characters won’t be aware of your existence, unless it’s an interactive movie and they’re supposed to be. What I’m saying is, The Great Train Robbery, Orphans of the Storm, The General, The Rules of the Game, Citizen Kane, Tokyo Story, 8 1/2, The Godfather, The Matrix, and The Avengers will, for all intents and purposes, belong to the same rough period of filmmaking, the flat screen period. Or something like that.
Posted by Kimberly Lindbergs on August 11, 2016
Roddy McDowall surrounded by some of the celebrity portraits he took
On Monday, Aug. 15, Roddy McDowall will be headlining TCM’s Summer Under the Stars line-up. McDowell spent most of his life in the spotlight after landing his first film role in the British children’s film Scruffy (1938) when he was only 10-years-old. In 1940 his family relocated to Los Angeles to escape the London Blitz following the outbreak of WW2 and soon afterward he appeared in the Oscar-winning drama How Green Was My Valley (1941) directed by John Ford. The film made McDowell a household name and the acclaimed child actor quickly landed parts in a number of family friendly films including My Friend Flicka (1943) and Lassie Come Home (1943). In the 1950s, McDowall took a break from Hollywood and practiced his craft on stage but he returned in 1960 and continued to act in movies and television until his death in 1998.
During his long career, McDowall developed a passion for photography and Hollywood history. He revered his fellow actors and began snapping candid pictures of his costars on and off set when he was just a teenager. As he got older, McDowall’s obsession developed into a serious artistic pursuit and he became a highly respected professional photographer. His photos appeared in many prestigious magazines including LIFE, Vogue, Harper’s Bazaar, Architectural Digest, Premiere and Playboy and his work was displayed in galleries. He also shot album covers and book jacket portraits for a number of famous friends.
Posted by Nathaniel Thompson on August 10, 2016
This Saturday you’ll have a great opportunity to take a little crash course in British comedy courtesy of a double feature of two period films (more or less): Time Bandits (1981) and The Wrong Box (1966). In addition to featuring once-in-a lifetime rosters of talent in front of and behind the camera, both are the result of some of England’s most enduring contributions to comedic pop culture in radio, TV, and film, showing how profoundly media could shape the approach to screen humor from one decade to the next. [...MORE]
Posted by R. Emmet Sweeney on August 9, 2016
Silk Stockings (1957) is remembered less for what it is than what it represents – the end of the Golden Age of MGM musicals. It was adapted from the last musical Cole Porter wrote for the stage, contains Fred Astaire’s final leading performance, and was director Rouben Mamoulian’s farewell feature film. Viewed outside of that melancholic context, the film is a peppy Cold War burlesque that turns the ideological battle of Communism and capitalism into a decision between cold logic and effortless entertainment (guess what wins). Astaire reunites with his Band Wagon co-star Cyd Charisse to solve East-West relations through dance and expensive undergarments. An enormous hit in its time, it was the highest grossing musical to ever play Radio City Music Hall, but its reputation has suffered since. Silk Stockings deserves a better fate than to be an answer to an end-of-career trivia question, and Warner Archive is helping by releasing it on Blu-ray. It will also screen on TCM this coming Sunday, August 14th, at 6PM.
Posted by Susan Doll on August 8, 2016
Get out those goggles and fins and join Esther Williams as she swims her way onto our TV screens today as part of TCM’s Summer Under the Stars. Williams has a special connection to my new home state of Florida because her aqua-musical Easy to Love, which airs at 12:30, was shot on location at Cypress Gardens, located near Winter Haven.
For over 30 years, Cypress Gardens rivaled Silver Springs as the premier Florida tourist attraction. Dick Pope opened Cypress Gardens in 1936, and he was quickly hailed as the Father of Florida Tourism for turning acres of swampland into a garden paradise. The Gardens featured over 8,000 exotic plants on carefully landscaped grounds that could be seen and photographed from small boats that floated on a network of waterways. But, the main attraction at the Gardens became the waterskiing shows. According to Florida tourist lore, the show began by accident during World War II when a group of visiting servicemen asked about the waterskiing. Apparently, they had read a newspaper article about the park, which included a photo of a skier, and they assumed there was a water show. Pope’s children and their friends threw together an impromptu waterskiing demonstration, and a new twist on aquatic entertainment was born. The show developed into a variety of aqua-batic tricks that included ramp jumps at 35 mph, precision skiing by the Aqua Maids, and daredevil skiers in four-tier human pyramids. The Cypress Gardens Water Ski Team broke over 50 world records, and the park became known as the Water Ski Capital of the World.
Posted by Greg Ferrara on August 5, 2016
… Classic Hollywood Style.
Fighting for justice on the movie screen is often portrayed in the courtroom as noble but flawed lawyers with names like Atticus Finch and Frank Galvin fight for the rights of the underdog. Or maybe it’s a senator like Jefferson Smith fighting in the halls of democracy for the people. Or maybe Ma and Tom Joad are fighting for their right to survive. Maybe a journalist battles antisemitism while a blind vet struggles with racism. For the most part we can be assured that victory, even if just a moral one, will emerge from the battle, though not always. But criminal justice is the kind of justice usually reserved for action and suspense movies. Think Hitchcock and the “wrongly accused man flees” movies to see what I mean. Fighting for criminal justice is either another courtroom movie, like Compulsion or Anatomy of a Murder, or a thriller, like The Fugitive. But not always. There are many movies in which someone fighting for criminal justice is dealt with in a very dark, down and gritty manner. One of those comes on tonight. Two others deal with wrongly accused but don’t go in the direction of the thriller, instead taking the road of grim drama to emphasize the injustice at hand. In only one of them can we honestly say the lead character is innocent.
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