Posted by Jill Blake on April 8, 2017
In 1961, legendary author and screenwriter Elmore Leonard released his critically-acclaimed modern Western novel Hombre, a story about a white man, John Russell, raised by Apaches and his eventual return to civilization, with its complex politics and rampant prejudice. Russell struggles with deep moral conflict and reluctance to live as a white man after witnessing the horrific treatment of the people who raised him as one of their own. Five years later, director Martin Ritt (The Sound and the Fury , Hud , The Spy Who Came in from the Cold ), with an adapted screenplay by Irving Ravetch and Harriet Frank Jr., brought a faithful adaptation of Leonard’s story to the big screen in one of the greatest, underrated revisionist Westerns of all time.
Posted by Greg Ferrara on April 7, 2017
To view The American Friend click here.
Tom Ripley only ever wore a cowboy hat once. In Hamburg. And Wim Wenders loved it. Playing Tom Ripley, Dennis Hopper dons the hat as he roams about, confused and paranoid, running an art forgery scheme to make money off of ignorant investors. At one of those art auctions he’s introduced to a framer, Jonathan Zimmerman, played by Bruno Ganz, and gets the cold shoulder. Anyone who knows Tom Ripley knows that’s a mistake. Ripley is many things, from con man to sociopath, but he is, above all else, unstable. Tom Ripley never forgets a slight. That initiates a series of events that sets in motion Wenders’ 1977 thriller, The American Friend, based on Patricia Highsmith’s Ripley’s Game.
Posted by Kimberly Lindbergs on April 6, 2017
To view Remembrance of Things to Come click here.
“Gone and never to return
Remembrance of Things to Come aka Le Souvenir d’un avenir (2001) opens at the 1938 International Surrealist Exhibition at the Galerie des Beaux-Arts in Paris, which has been described as “the culminating avant-garde celebration in Europe before the devastating events leading to World War II” (Ubu Gallery). The exhibit outraged critics at the time and featured works of art by Salvador Dalí, Pablo Picasso, Man Ray, René Magritte, Lenora Carrington, Marcel Duchamp, Joseph Cornell, Hans Bellmer and Max Ernst among many others. We tour the dense galleries through the embracing and investigative eyes of Denise Bellon, a pioneering photojournalist who became one of the surrealists most ardent supporters and collaborators. Bellon is the subject of this fascinating documentary made by Chris Maker in association with Bellon’s daughter (filmmaker Yannick Bellon) and the film is now streaming on FilmStruck until July 28th. As is the case with many women who created work within the surrealist movement, Denise Bellon’s name is not as recognizable as her male counterparts but she was arguably one of the most innovative, daring and accomplished photographers of the period. Remembrance of Things to Come moves Bellon out of the shadows and into the spotlight where she belongs.
Posted by Nathaniel Thompson on April 5, 2017
To view The Brontë Sisters click here.
The love affair between European cinema and the literary works of the Brontë sisters has been a fascinating one for decades, though it’s often overlooked in favor of Hollywood’s more publicized adaptations like Wuthering Heights (1939) and Jane Eyre (1943). Over the years we’ve seen versions of their novels come from such disparate filmmakers as Luis Buñuel, Jacques Rivette, Franco Zeffirelli, Andrea Arnold and Robert Fuest, all of whom offered their own unique takes on the windswept, tormented romanticism that fueled their classic novels. The fascination with the Brontës continues to this day, as seen by the buzz over the BBC One television film, To Walk Invisible, a biography of the Brontës that debuted this month in the United States on PBS’ Masterpiece.
Posted by R. Emmet Sweeney on April 4, 2017
To view The Silent Partner click here.
In The Silent Partner, the devil is in the details. Elliott Gould’s mild-mannered bank teller Miles is transformed into a criminal strategist because he notices a scrawl of handwriting on a deposit slip. This causes his analytical mind to pivot its attentions from customer accounts to an elaborately unfolding heist. The script by Curtis Hanson is relentlessly logical as it pits the chess-playing, game theory wielding Gould against the brute force of a sociopathic thief named Harry, played with dark charisma by Christopher Plummer. Their pas de deux takes place all over Toronto (this was one of the early Canadian Tax Shelter films – 100% of costs were tax deductible), and what began as a teasing game becomes something elemental. The Silent Partner won six Canadian Film Awards, including Best Picture, but had trouble finding screens in the United States – but now The Silent Partner is streaming on FilmStruck as part of its six-film “How to Rob a Bank” collection.
Posted by Susan Doll on April 3, 2017
Currently available on FilmStruck for your streaming pleasure is “The Brontë Sisters,” a modest selection of titles related to the works of England’s beloved novelists of the Romantic era. Included in the series are the classic-film versions of Emily Brontë’s Wuthering Heights (1939) and Charlotte Brontë’s Jane Eyre (1944). While both feature Golden Age stars that mesmerize with magnetism and captivate with charisma, does one film have the edge in capturing the ill-fated relationships and melancholy atmosphere of Gothic Romance?
Posted by Greg Ferrara on April 2, 2017
To view Robinson Crusoe click here.
Luis Buñuel, the controversial and much banned filmmaking genius, has become so associated with the surreal cinema that the idea of him directing a straightforward adventure seems, well, surreal. But in 1952, gaining funding for a joint Spanish and English language production of Robinson Crusoe (it wouldn’t be released until 1954), based on the 18th century novel by Daniel Defoe, Buñuel did just that, although Buñuel the iconoclast was never far out of sight. Starring Dan O’Herlihy in the title role, the movie invents just about every deserted island trope you’ve probably ever heard of (from the novel of course), but along the way, touches on some very controversial subject matter, both reflecting the time the novel was written, the time the movie was made and bigoted notions of the white man’s dominion over the earth.
Posted by Jill Blake on April 1, 2017
As I prepare for this year’s TCM Classic Film Festival in Hollywood, I am revisiting the films of some of the actors and actresses whose work is being featured at the annual event. With a wide variety of events available at each time slot, it’s impossible to attend all the screenings, special presentations and interviews that I’d like to see. I don’t have any complaints, though, as there’s rarely a bad choice to be made. Like in years past, there will be a silent film presentation with live accompaniment. In previous years, I’ve seen Girl Shy (1924), The General (1925) and City Lights (1931). This year, the TCM Classic Film Festival is featuring Harold Lloyd’s 1928 comedy Speedy with live accompaniment by the extraordinary Alloy Orchestra. Any event featuring the Alloy is not to be missed, so I will be enthusiastically lining up for this screening on the closing night of the festival. Since I don’t want to watch Speedy this close to seeing it in a theatre with an appreciative audience, I decided to revisit some of Lloyd’s other work in preparation. Although I much prefer Lloyd’s feature-length films such as Safety Last (1923), Why Worry? (1923), Girl Shy (1924) and The Freshman (1925), I’ve selected three of my favorite short films featuring Lloyd that are currently available on The Criterion Channel of FilmStruck.
Posted by Greg Ferrara on March 31, 2017
To view Le Silence de la Mer, click here.
Jean-Pierre Melville directed Bob le flambeur (1956), Le Samouraï (1967), L’ Arme des ombres (1969) and Le Cercle rouge (1970), all acclaimed works by an acclaimed director but his first effort from 1949, Le Silence de la Mer (The Silence of the Sea), stands as one of the great directing debuts in movie history. It also stands as a controversial work, along with its source material, the novel of the same name written by Jean Brullers in occupied France under the pseudonym Vercors. The controversy has to do with the idea of the “good German,” or, more specifically, the “good Nazi officer,” an idea that rankled many at the time and still causes problems today, depending on how you look at it.
Posted by Kimberly Lindbergs on March 30, 2017
To view The Wicked Lady click here.
“I’ve got brains and looks and personality. I want to use them!”
During WWII, many British citizens were desperate for movies that allowed them to forget about the destruction and mayhem engulfing the world. Against the backdrop of war, it’s not surprising that female film viewers began flocking to historic melodramas offering a momentary escape. The horrors of modern combat were left at the ticket counter while audiences immersed themselves in another time and place. Gainsborough Pictures was at the forefront of this trend buoyed by a stable of attractive and talented actors that included James Mason, Stewart Granger, Patricia Roc, Michael Rennie and Margret Lockwood. Lockwood (The Lady Vanishes , Night Train to Munich , Cast a Dark Shadow ) was Gainsborough’s most popular female performer and although she never had much success in Hollywood, the actress became a household name in Britain during the 1940s. Her voluptuous beauty attracted both sexes but women were particularly drawn to the strong-willed characters she portrayed and her most successful film was The Wicked Lady (1945), which is currently streaming on The Criterion Channel at FilmStruck.
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