There were a lot of Hollywood talents from the studio era whose names were associated with the “factory” aspects of that time:  making one film after another of varying quality, jumping from genre to genre, producing “good Hollywood fare.”  The output of these industry creatives tended to be lumped together, the good with the bad, [...]

I have a single, personal mathematical equation that applies to the entire History of Film:  Cecil B. DeMille = Butt-Aches. Moribund and overblown movies such as THE TEN COMMANDMENTS and THE GREATEST SHOW ON EARTH set me fidgeting after the first quarter-hour.  A movie-loving friend summed up the director’s tastes by pointing out DeMille’s movies [...]

Most Film Noir has some sort of philosophical / existential aspect woven into it:  the private dick’s jaundiced look at love and morals, an old drunk’s musings on life slipping through his hands, etc.  But REPEAT PERFORMANCE is entirely built on a fatalist / defeatist foundation, and although it has elements of fantasy, it’s also [...]

Under the leadership of Edward Muhl, the 1950s witnessed Universal Studios’ ascendancy from A-Notch-Above-Poverty Row grindhouse to Top Dawg moneymaker in the movie industry.  While other studios had a restrictive agenda to their films [M-G-M had its family values; Warner Brothers its social conscience; Paramount provided sophistication to the masses], Universal cut and pasted whatever [...]

I was an adolescent — and the day was cold and sunny — when I went to a Saturday matinee of Richard Brooks’ THE HAPPY ENDING. That day and that movie came back to me as I read that Jean Simmons died. I haven’t seen it since (the film might not have aged well) but [...]

I don’t do Top Ten lists. I think they’re ridiculous.  As a frequent film festival juror, I’ve seen films that never got a commercial release (or sometimes even a festival screening timeslot) that were much better than anything distributed during the year.  A similar scenario:  about a decade ago, J. Hoberman listed Lawrence Brose’s DE [...]

Star vehicles can be a twonky trip when you know zip about the star it’s carrying.  Worshipful costuming, dramatic entrances and exits, and deifying lighting plans can help you interpret what kind of characters this actor generally plays, what fantasy audiences project upon him.  Indeed, few things illuminate Marshall McLuhan’s axiom that “the medium is [...]

I was making myself comfortable at a friend’s house, channel surfing while he was getting ready to go out, when I came across the opening credits for a 1968 British film, DUFFY.  The credits were trippy-kaleidescopic, the kind that 2006′s CASINO ROYALE wittily riffed on, so I kept watching.  When the credits were near the [...]

I once went on record as saying that Frank Borzage’s Deanna Durbin vehicle HIS BUTLER’S SISTER can give you a headache.  During this Borzage-rich year (the release of the Borzage/Murnau boxed DVD set, good Borzage programming on TCM, and even finding a legitimate copy of I’VE ALWAYS LOVED YOU on VHS), I’ve decided to re-evaluate [...]

This post is part of the Robert Wise Blog-a-Thon that Josh at the Octopus Cinema blogsite is hosting during the first week of September. I’ve had a long time to think about how to articulate my admiration for Robert Wise:  I worked in the same building as Wise when I got my first temp job [...]

On a British site, I read that the mid-sixties surf film RIDE THE WILD SURF had a Gay following. That was news to me, so I gave it a look. The film is more naturalistic (if you can call a movie that is 50% rear-projection ‘realistic’) than the cartoony Frankie-and-Annette beach party films cranked out [...]

Milos and the gang at FACETS have scored big-time by unearthing this film, cleaning it up, and releasing it on DVD. ANOTHER SKY is the only film directed by screenwriter / novelist / Hollywood-biographer Gavin Lambert, made in Morocco on a budget of £25,000.  The movie was made during Lambert’s days as editor of the [...]

This Sunday, Turner Classic Movies will be screening George Cukor’s MY FAIR LADY. To enhance the experience, you might want to take a look at a think-piece I published on the movie at this blog’s parent site, PostModern Joan. The piece can be found here.

Here’s another example of studio roulette: Warner Home Video has released DANCE, GIRL, DANCE, a neglected and challenging RKO movie from 1940 which was the penultimate feature film directed by Dorothy Arzner. As an A-List female director in classic-era Hollywood, Arzner was virtually the only one in town (Lois Weber directed silents; Ida Lupino directed [...]

I recently viewed a mid-century curiosity called MANFISH starring gorgeously sculpted B-Movie leading man John Bromfield, featuring a haggard Lon Chaney Jr., and “introducing Barbara Nichols.” Miss Nichols had previously had experience in early TV and a non-speaking role in the Otto Preminger / Robert Mitchum / Marilyn Monroe movie RIVER OF NO RETURN, but [...]

I’ve been on a Brain Food Diet that has kept my thinking processes in overdrive this week. Even when my body would scream “No more!!” my brain would keep barreling down the highway with a cinder block on the accelerator. In order to chill, I spent Columbus Day morning sipping red wine and watching CIMARRON [...]

My friend Mark in Illinois wrote to tell me he saw Lee Van Cleef on a Twilight Zone episode last week. I was happy for him, just the way he is happy for me whenever I see a movie with Richard Carlson. Richard Carlson is the ultimate dreamboat. For most people, Creature From the Black [...]