jpg00038
September 13, 2014
David Kalat
Posted by:

Jean and Clara, Bombshell and It

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.

[...MORE]


KEYWORDS: Bombshell (1933), CLara Bow, It, Jean Harlow
COMMENTS: 5
SUBMIT

For shame

Madeleine LeBeau Casablanca [...MORE]

A Killer Stalks the Streets of San Francisco in Edward Dmytryk ‘s THE SNIPER (1952)

sniperposter

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.

[...MORE]

Navigating the Moral Waters of the Crime Film

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.

CrimeMovies00

[...MORE]

Renoir Noir: Night at the Crossroads (1932)

LA NUIT DU CARREFOUR (1932)

 

“Every detail, every second of each shot makes La Nuit du carrefour [Night of the Crossroads] the only great French thriller, or rather, the greatest French adventure film of all.” -Jean-Luc Godard, Cahiers du Cinema (December 1957)

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.”

[...MORE]

A Forgotten Pre-Code to Remember: Kongo

kongposter

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.

[...MORE]

How steve mcqueen blew it on a movie that almost had stampeding elephants, and other stories behind CALIFORNIA SPLIT

CALIFORNIA SPLIT poster

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]

arsene_lupin
September 6, 2014
David Kalat
Posted by:

The Arsenio Lupin Show

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.

[...MORE]


KEYWORDS: Arsene Lupin
COMMENTS: 5
SUBMIT

I’m not finished with you, MONSTER THAT CHALLENGED THE WORLD… not by a long shot!

monsterchallengedI’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]

Until Needed or Sold

Get-Out-of-Blogging-Free
I’m afraid I’m going to have to finally play my “Get Out of Blogging Free” card today. Still dealing with the damage caused by the recent earthquake in Napa, which made a mess of my computer. Also wrestling with some kind of stomach flu bug, which is making my life miserable at the moment but I will be back next week. You can count on it!

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