Posted by Kimberly Lindbergs on October 2, 2014
October has arrived and as usual, TCM has scheduled a nice selection of films this month that will undoubtedly appeal to classic horror film obsessives like yours truly. Among the Hitchcock thrillers, silent scares, mummy movies and horror anthologies airing you’ll be able to tune in every Thursday and catch some spooktacular ghost movies. I love a good ghost story and if you happen to be one of the few who regularly keeps track of my blog posts you know that it’s a film genre I’m particularly fond of so I thought I’d take this opportunity to highlight one of my favorite ghostly movies that’s airing this evening; the fun, family friendly and still surprisingly fresh Abbott & Costello horror comedy, THE TIME OF THEIR LIVES (1946).
Posted by gregferrara on October 1, 2014
Sometime in early 1947, almost a full year before its Broadway debut, Tennessee Williams presented the final draft of his play, The Poker Game, to be read by his agent Audrey Wood. She thought it was great but when she said, “The Poker Game? You can do better than that,” Williams was panicked. He thought she meant the play was a failure. No, she exclaimed, the title was. He tried several different titles and eventually settled on the one we all know, A Streetcar Named Desire. What a difference. That title evokes something The Poker Game does not. Blanche DuBois, the self-destructive figure at the play’s center, is the one chained to that streetcar, her life ruined by her desires, desires for boyish men or simply boys, a desire that runs down a single track, unable to veer from its course even when disaster clearly looms ahead. The Poker Game evokes something else entirely and, it could be argued, just as important. It seems to direct our attention more towards Stanley Kowalski, Blanche’s main antagonist, and her brother-in-law. Stanley spends the entire play essentially calling Blanche’s bluff. She’s in a poker game with an expert and thinks she can bluff her way through it, not realizing he’s holding a straight flush from the outset: to wit, he’s a better manipulator than she is and he’s on his home turf. Both titles work but the final title, A Streetcar Named Desire, says more about the hopelessness of Blanche and less about the cunning of Stanley. The audience isn’t watching a poker game to be won or lost but a streetcar, headed down the tracks towards a brick wall with nothing to stop it. It’s not just a more memorable title, and it is that indeed, it’s a more meaningful title to the story. The play would have been the same no matter what the title but it might have felt a little different. That title, whether we consciously recognize it or not, is guiding us towards a more understanding and sympathetic view of Blanche. That’s what all titles do, good or bad. They guide us to one specific understanding or feeling about the story even if, in the end, the effect is minimal.
Posted by R. Emmet Sweeney on September 30, 2014
The New York Film Festival opened this past Friday night with the sadistic comedy of remarriage Gone Girl (which is released nationwide October 3rd). It trails success in its wake, adapted from Gillian Flynn’s blockbuster novel, which has occupied the majority of bedside end tables in the United States. It is the second straight bestseller that director David Fincher has adapted, following his glacial Girl With the Dragon Tattoo. Gone Girl is another story of female victimhood and bloody revenge, except this time the narrator is highly unreliable. If you are one of the zeitgeist-less few not to have read the story, it concerns the unraveling marriage of struggling writers Nick (Ben Affleck) and Amy Dunne (Rosamunde Pike). After Amy goes missing after an apparent home invasion, a massive investigation is launched to find her, with the evidence continuing to pile up against Nick. What follows is a thorough autopsy of their lives together, their union a sustained performance of mutual denial and dishonesty, an act that Amy internalizes to such a degree that she stages a much larger, more entertaining production in response. Fincher and Flynn jettison the balanced 50/50 POV split from the novel and filter the majority of the narrative through Nick’s perspective. This simplifies the story but also flattens Amy into a sociopathic cipher, one who can too easily be dismissed as a hysterical female. But Rosamunde Pike’s performance is ferociously controlled, betraying no loss of agency. If men want Amy to play a part to salve their fragile egos, she will oblige only until a better role comes along, whereupon she can trash their script and obliterate them.
Jean-Pierre and Luc Dardennes’ Two Days, One Night depicts a different kind of determined female. Sandra (Marion Cotillard) returns to work after a bout with depression, only to find her job at a solar panel factory will be eliminated. In an either/or vote, the union chose to receive a 1,000 EUR bonus over Sandra keeping her job. Sandra successfully lobbies for a re-vote after rumors of tampering, and has a weekend to convince each individual employee to forego the bonus and keep her on staff. The film is a kind of moral procedural, the question re-framed through each employees’ personal circumstances. Sandra troops through the Dardennes’ terrain of Seraing, Belgium on foot, bus and car, continually wilting and re-forming under the stress and humiliation of her position. The handheld camera sticks tight to Cotillard (who, with this and The Immigrant is in perpetual close-up this year), whose face is a Richter scale of emotional tremors.
Posted by Susan Doll on September 29, 2014
Next Monday, October 6, TCM presents an evening of early American animation, a must-see for cartoon fans of all ages. The line-up begins with the cartoons of Winsor McCay, followed by animation from two companies lost to the history books, the Bray Studio and the Van Beuren Studios. At 12:15 am, Lotte Reiniger’s unique Adventures of Prince Achmed airs, followed by the 1939 version of Gulliver’s Travels and the Japanese feature Magic Boy. Chuck Jones’s beloved Phantom Tollbooth concludes the evening’s entertainment, which has been dubbed “Back to the Drawing Board” by TCM. Of the vast array of styles and stories represented in this selection of pre-classic animation, I am most excited to see the work of the Bray Studios and Prince Achmed by Reiniger (above).
Posted by gregferrara on September 28, 2014
As I wrote up Gone with the Wind last week, it occurred to me, though I didn’t want to say it in the piece, that I only like half of the movie. The piece emphasized what a great “making of” story Gone with the Wind is so there was no room for me to casually say it but I really only like the first half. That’s not to say the second half isn’t good, only that I prefer the first half. In fact, there are plenty of movies that have distinctive first and second halves. Most movies have a flow to them where the story progresses gradually and seamlessly from beginning to end but for those movies that feel like two parts of a whole stuck together, I often like one part substantially more than the other. I should make clear, very clear, since I will be discussing highly regarded classics, that this does not mean I do not think the movie is good, rather, there’s a distinct preference for one half, even if I like the other half and the movie as a whole.
With all the hoopla and conversation here over the last week regarding Gone With the Wind, I thought it might be fun to take a glance at GWTW’s evil twin, Edgar G. Ulmer’s 1946 The Strange Woman.
It starts in 1945 when 20th Century Fox released a film called Leave Her to Heaven, based on Ben Ames Williams’ novel of the same name. A glorious Technicolor prestige picture with Gene Tierney, Cornell Wilde, and Vincent Price, it was a huge commercial success, nominated for several Oscars of which it won one. In Hollywood, imitation is the sincerest form of flattery. Bring on the clones!
Enter independent producer Hunt Stromberg, with a fistful of the rights to Williams’ other bestseller The Strange Woman. Both books dealt with conniving ice bitch women who destroy the people around them. You have to wonder what happened to poor old Williams that led him to become such a misogynistic writer, but in any case Hunt Stromberg had cleverly gotten a hold of not just any book by the same author as Leave Her to Heaven, but practically a remake of it—same story, different time period.
Posted by Richard Harland Smith on September 26, 2014
All right you mangy myriad of moldering monsters… October is only 5 days away and I need to whip this army of darkness into shape for the Halloween season. Fall in as I call your names! [...MORE]
Posted by Kimberly Lindbergs on September 25, 2014
If you watch a lot of television you’re probably familiar with hashtags or #hashtags that programs now regularly promote to reach audiences on social networking sites such as Twitter and Facebook. On PBS for example viewers are encouraged to use the hashtag #DowntonPBS, #DowntonAbbey or #Downton when watching their popular series DOWNTON ABBEY and during events such as the 2014 Winter Olympics many hashtags including #Sochi2014, #Olympics2014 and #TeamAmerica were regularly used online. Hashtags are a simple way to link conversations about a topic on social media sites so anyone can search for them easily and join in the discussion. And if a hashtag becomes popular on Twitter it can become a ‘trending topic’ that gains national or even international attention.
A couple of years ago I noticed that the hashtag #TCMParty was trending on Twitter while TCM was showing a marathon of Japanese giant monster movies from Toho Studios. Naturally this piqued my curiosity so I began following their activities at @TCM_Party. The Twitter group is made up of classic movie fans who regularly watch films shown on TCM and enjoy discussing them online. I’m not an active participant myself but I occasionally jump into conversations when they’re discussing a movie I love or happen to be watching. Recently @TCM_Party celebrated their third year anniversary on Twitter so I decided to reach out to them and ask a few questions about what they do and how TCM viewers can participate. @TCM_Party host, Paula Guthat (aka @Paula_Guthat) was kind enough to get back in touch with me and what follows is a brief Q&A about the group and their events.
Posted by gregferrara on September 24, 2014
Gone with the Wind is the favorite film of multitudes of classic movie lovers and even the favorite film of many for whom Gone with the Wind is the only classic movie they know. Coming out in 1939, the year still considered one of the greatest years of Hollywood’s Golden Era, and filmed in three-strip technicolor, this movie, at the time the longest and most expensive color film in existence, captured the hearts of millions and still has the record for the most tickets sold, which means, when adjusted for inflation, it’s still the all-time box office champion. And while there is much I enjoy in Gone with the Wind, it is not, alas, my favorite film of all time. In fact, it wouldn’t even make my top 100. That’s no slam against the movie, I just have a lot of favorites before it. More importantly, it is my favorite in another category: “Making of” Movies. There’s no movie that I’ve enjoyed reading about and watching the making of more than Gone with the Wind, the greatest “Making of” movie in history.
Posted by R. Emmet Sweeney on September 23, 2014
The fifty-second New York Film Festival begins this Friday night with the world premiere of Gone Girl, the David Fincher adaptation of Gillian Flynn’s ubiquitous spousal murder mystery. But the early highlight of the thirty-film main slate concerns another missing woman, although in a less-outwardly-thrilling scenario. Hong Sang-soo’s Hill of Freedom, which screens the evenings of 9/30 and 10/8, concerns an unemployed Japanese intellectual in Korea, searching for an absent woman he once loved. It’s another variation on Hong’s recent string of films about travellers and transitional spaces (Our Sunhi, In Another Country, The Day He Arrives) where drinking is the main form of communication. Hill of Freedom works hilariously well as a fish-out-of-water comedy, but also contains pockets of melancholy about time’s passage, professional failure, and the inadequacy of language. It is currently without a distributor, and unlikely to acquire one, considering how poorly his sparsely distributed output has done stateside.
There is another gone girl in Lisandro Alonso’s Jauja (screening 10/7 and 10/9), when the daughter of a colonial Danish military engineer (Viggo Mortensen) scampers off into the Patagonian wilderness. In his three features La Libertad, Los Muertos and Liverpool, Alonso has chosen landscapes first and built narratives around the spaces and the habits of its people. Jauja is his first period piece, and an imaginative leap from the patient everydayness of his previous films. With nods to The Searchers and Heart of Darkness, Jauja follows the engineer as he plunges deeper into a country he doesn’t understand, ending in hallucinations and a legacy of confusion.
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