Film Writing Nov. 2016 – April 2017

It’s been awhile. Work obligations, as well as personal projects and other responsibilities, have taken precedence over updating my blogs. Of course, you can always find me on my Tumblr as well as Twitter & Facebook. Before I let another month get away, I thought I’d finally share an update to the film writing I’ve done for the last 6 months.

I’ve broken topics up into 4 categories (Horror Cinema, British Cinema, Japanese Cinema and Other) since I tend to focus on 3 subjects more than any others. Hopefully, it will make it easier for readers to find what they’re looking for. As always, I write about film every week for FilmStruck’s Streamline blog and you can find my latest updates here: http://streamline.filmstruck.com/author/cinebeats/

ROSEMARY'S BABY (1968)

Rosemary’s Baby (1968)

Horror Cinema:
Devil’ Advocate: Rosemary’s Baby (1968)
Venomous Snakes & Poison Ants: Picnic at Hanging Rock (1975)
A Double Dose of Boris Karloff
The Devil Made me Do It: La Main Du Diablo (1943)
An Actor’s Revenge: Theatre of Blood (1973)

LONELINESS OF THE LONG DISTANCE RUNNER, THE (1962)

The Loneliness of the Long Distance Runner (1962)

British Cinema:
Angry Cinema: The British New Wave
Losey Let Loose: The Criminal (1960)
Margaret Lockwood is The Wicked Lady (1945)
Equal Shares For All: The League of Gentlemen (1960)

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Belladonna of Sadness (1973)

Japanese Cinema:
– Screen Sorcery: Belladonna of Sadness (1973)
Nippon Noir: Celebrate #noirvember with FilmStruck
Everyone’s Gone Crazy: Violent Cop (1989)
Tokyo Gone Gagaga: Otaku (1994) The film is actually an international production directed by French filmmaker Chris Marker but the focus is on Japan

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Red Desert (1964)

Other:
Surveying the Red Desert (1964)
My Melancholy Valentine: Dans Paris (2006)
There Are No Safe Spaces: An Arturo Ripstein Double Feature
Adventure in Istanbul: Topkapi (1964)
Joan Bennett: Fritz Lang’s Muse
Stranger Than Fiction: The Baron of Arizona (1949)
Creative Collaboration: Jane B. par Agnès V. (1988)
Adolescent Adventure: The World of Henry Orient (1964)
The Search for Common Ground: A Separation (2011)
Strokes of Genius: Moulin Rouge (1952)
The Future is Now: Remembrance of Things to Come (2001)

Now at FilmStruck – Streamline

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In case you haven’t noticed, the Turner Classic Movie’s Morlocks blog has been renamed Streamline and is currently part of the new TCM & Criterion film streaming service at FilmStruck.com

What is FilmStruck? Here’s an excerpt from a Time Warner press release:

“Developed and managed by Turner Classic Movies (TCM) in collaboration with the Criterion Collection, FilmStruck will feature the largest streaming library of contemporary and classic arthouse, indie, foreign and cult films as well as extensive bonus content, filmmaker interviews and rare footage, making it a must-have service for serious film lovers. Later this year, FilmStruck will also become the exclusive streaming home to the world-renowned Criterion Collection library, where die-hard film aficionados can gain access to the Criterion Collection’s entire streaming library through FilmStruck’s exclusive premium add-on tier, The Criterion Channel. FilmStruck will be available exclusively on Amazon Fire TV, web, iOS and Android devices at launch, and on Apple TV and other platforms and devices in the coming months.”

I am still writing for TCM regularly in association with FilmStruck and Criterion and my weekly contributions to the Streamline blog will continue to be posted every Thursday, but there will be some notable differences. You’ll notice a focus on FilmStruck programming as well as Criterion releases and I’m no longer responsible for posting my own images, which are selected by an editor.

This change is a bit problematic for me and will be difficult to get used to because if you’ve been following my film writing for the last 10 years, you would notice that images often play a big part in it. I enjoy curating my own content and some of my most popular posts for the Movie Morlocks were photo and poster galleries. I also enjoy sharing my own film stills, which I typically put as much care and thought into as my writing whenever possible. Simply put, film is a visual medium so I think the images associated with film writing can often be just as powerful as the writing itself. However, having an editor on board is something I’ve wanted for a long time and I hope they’ll be able to correct my occasional typos, misspellings, and grammar errors!

Despite working numerous jobs and other responsibilities, I’ve managed to write one blog post a week for The Movie Morlocks for the past 6 years. I’ve only missed posting twice and both times were due to serious illness. Having to pump out a post week after week can be daunting since that gives me very little time to research, thoughtfully consider and write about a particular topic but the challenge has been very rewarding and I hope the results have been worthwhile.

If you followed my work at the Movie Morlocks I hope you’ll continue to follow my work at the new Streamline blog. I don’t know what the future holds, but FilmStruck promises to be an interesting addition to TCM’s programming and I’m happy to be a part of it.

My first post for Streamline is a brief overview of one of my favorite film topics; The British New Wave. It’s a subject near and dear to my heart that I’ve discussed here before and at the Movie Morlocks. From my latest piece:

“The style and attitude of these aspiring filmmakers merged with the burgeoning writers of the period as Anderson, Richardson and Reisz began adapting the work of Osborne, Sillitoe, Delaney and their contemporaries for the screen. In the process, the two camps created a new type of British drama known as kitchen-sink realism that was often grittier and more unforgiving than much of the British cinema that had come before it. This New Wave of British films were typically shot in stark black and white, populated by characters that were not particularly likable or even conventionally attractive. A tangible sense of loss existed amid the urban squalor on display and the dialogue was surprisingly frank, refusing to shy away from unsavory topics such as an unwanted pregnancy or spousal abuse.”

The Loneliness of the Long Distance Runner (1962) Directed by Tony Richardson Shown: Tom Courtenay (as Colin Smith)

The Loneliness of the Long Distance Runner (1962)
Directed by Tony Richardson
Shown: Tom Courtenay (as Colin Smith)

…these films contain powerful central performances by bruised, edgy and unpredictable actors. The critically acclaimed roles they inhabited solidified the ‘angry young man’ persona for film audiences and gave voice to a generation forced to settle for less, but desperate for something more. They also bluntly and poetically challenged the social order, throwing aggressive and graceful punches at an established class system that expected them to know their place and remain there.” – Kimberly Lindbergs for Streamline

You can find my entire piece “Angry Cinema: The British New Wave” here.

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Jan. & Feb. 2016 at TCM’s Movie Morlocks

Links to some of the writing I did for TCM’s Movie Morlocks blog in Jan. & Feb.

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Jan. 7: William Cameron Menzies: Chandu the Magician (1932)

Excerpt: “In recent weeks, you might have heard about the upcoming Doctor Strange film currently scheduled for release in November of 2016. The news caught my attention because I’ve always liked the comic book character and the cast, which includes Benedict Cumberbatch, Mads Mikkelsen, Tilda Swinton and Chiwetel Ejiofor, is impressive. I mention all this because tonight TCM is launching their month-long spotlight on legendary production designer and director, William Cameron Menzies. Some classic film fans might balk at the idea of mentioning the upcoming Doctor Strange movie and William Cameron Menzies in the same paragraph but there are slender threads that connect the two thanks to Menzies’s creative contributions to Chandu the Magician (1932)”

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Jan. 14: 15 Favorite Films of 2015

Excerpt: “Many of the best performances I saw last year were given by actors who were 65-years old or older suggesting younger generations of performers could still learn a lot from actors like Charlotte Rampling, Tom Courtenay, Ian McKellen, Richard Jenkins and Kurt Russell (who will be turning 65 in March!). I hope it also encourages future filmmakers to create roles that allow these veteran actors to strut their stuff.”

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Jan. 21: ’60s Spy Stories: Gila Golan

Excerpt: “Femme fatales are as important to ‘60s spy films as they are to Film Noir but one of the most frequent criticisms of the genre is its questionable depiction of women. While it’s true that they’re often treated as mere sexual objects in these espionage romps and are regularly introduced into the paper-thin plots to give the male leads something to ogle, the particulars are a bit more complex than that. If you watch enough of these panache productions you begin to notice how subversive many of them are. Sure, the women might dress in sexually suggestive clothing and use their feminine wiles to lure men to their doom, but they are frequently put in positions of power. They’re also regularly portrayed as being smarter or at least as capable as the men they encounter and occasionally save the day. If and when they decide to fall into the hero’s arms they’re often the ones initiating the relationship and control much of the action.”

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Jan. 29: A Minor Picture Compendium of Classic Movie Nurses

Excerpt:”Movie nurses come in all stripes. They can be mean and cruel like Nurse Ratched or gentle as doves like Audrey Hepburn’s character in The Nun’s Story. They can also be sexy, smart, compassionate, laugh-out-loud funny and ruthless blood thirsty monsters. What follows is a picture gallery featuring some of my favorite movie nurses.”

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Feb. 4: Melvin Van Peebles: The Story of A Three-Day Pass (1967)

Excerpt: “Seemingly Influenced by both the French and British New Wave, including the early films of Godard and John Schlesinger, Melvin Van Peebles first full-length feature film subverts conventional narrative methods to delve deeper into its characters conflicted psyches. The Story of A Three-Day Pass bounces, pops and glides like a musical composition and the innovative freewheeling nature of the film mirrors its jazz inspired score. Van Peebles uses a number of experimental film techniques including dolly shots, freeze frames, jump cuts, jarring dissolves, split-screen and lengthy POV shots that impart the film with an intimacy and immediacy that immediately draws you in and demands your attention. We’re encouraged to see the world through Turner’s eyes and we experience the bigotry he faces in a very direct way. It was refreshingly straightforward and progressive stuff in 1967 that retains its power to shock and provoke audiences today.”

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Feb. 11: Jean-Claude Killy in Snow Job (1972)

Excerpt: “Snow Job was filmed on location in the Italian and Swiss Alps by American director George Englund (The Ugly American; 1963, Zachariah; 1971, etc.) and Hungarian cinematographer Gábor Pogány (Two Women; 1960, Bluebeard; 1972, Night Train Murders; 1975, etc.). According to interviews, they used helicopters extensively throughout the shoot, which allowed them to capture all the action on the slopes. The camerawork is occasionally breathtaking as we watch Jean-Claude Killy jump and drift across the alpine landscape like an agile bird while risking serious injury or even death. Killy insisted on doing all his own stunts and it’s remarkable that he got through filming unscathed. If you appreciate seventies heist films with dynamic action sequences or the kind of risky professional skiing typically reserved for Warren Miller documentaries, you should find Snow Job a particularly rewarding and enjoyable watch.”

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Feb. 18: Jack Palance: Horror Star

Excerpt: “I first saw the tall, broad featured and chiseled actor in Man in the Attic (1953) where he played Jack the Ripper in this fourth film adaptation of Marie Belloc Lowndes’s 1913 novel, The Lodger. I was only a kid at the time but Palance’s quietly seething performance impressed me due to the sympathy he was able to generate for his unlikable character. Jack the Ripper is typically portrayed as a cold-blooded maniac or sexually motivated monster but Palance, despite his menacing presence, was able to imbue his Ripper with a complex psychology that was thought provoking and surprisingly contemporary. As a seemingly harmless killer with an unmanageable Oedipus complex, Palance’s Ripper prefigures the often-cited character of Norman Bates in Hitchcock’s Psycho.”

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Feb. 25: Douglas Slocombe: A Tribute

Excerpt: “What follows is a gallery of some of my favorite screen shots from Douglas Slocombe’s distinguished oeuvre. They demonstrate that the accomplished cinematographer was much more than an artless journeyman or technician who simply took orders from a director. The images I’ve gathered are linked together by a unique creative vision that spans the length of his 50-year career in film.”

Regular visitors to Cinebeats over the years might recall my affection for many of the films Slocombe worked on, which I’ve written about here including The Third Secret, Boom! and The Servant. An image from The Servant even graces my “testimonials” page.

RIP Mr. Slocombe.

Sept. & Oct. at The Movie Morlocks

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It’s that time again. Time to collect & share links to the writing I’ve published on TCM’s Movie Morlocks blog in the past few months. In September I spent a lot of time obsessing over TCM Star of the Month Susan Hayward. I reference her in at least three of the pieces I wrote that month and I refer to her again in my first October post about the neglected Gothic thriller, THE LOST MOMENT (1947). As usual, I spent the rest of “Shocktober” focusing on darker fare including horror films and morbid mysteries. Follow the links to read more.

September:
Susan Hayward in Her Own Words
“I didn’t know much about TCM’s current Star of the Month so I decided to delve into her past recently and was somewhat surprised by the way Susan Hayward had been portrayed (and ignored) by the media since her death in 1975. Nicknamed the “Divine Bitch” following the release of a similarly titled biography, the four-time Academy Award nominated actress didn’t make a lot of friends in Hollywood and is rarely described in flattering terms by studio executives and costars so the general picture we have of her seems somewhat skewed. I’m a firm believer that there are usually two-sides to every story so I decided to explore newspaper and movie magazine archives in an effort to learn more about the redheaded screen siren in her own words without the opinions of her biographers and colleagues getting in the way. In the process I discovered a complex woman whose turbulent real life was often more sensational than the fictional lives of the characters she portrayed.”

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Alberto Vargas in Hollywood
“If you love vintage pin-up art as much as I do you’ll probably recognize Alberto Vargas’s name. Between 1920 and 1975 the Peruvian artist created some of the most celebrated and recognizable pin-up art in America while working for the Ziegfeld Follies as well as Esquire magazine and Playboy . . . What classic movie fans might not know is that Alberto Vargas also had a brief but lucrative career in Hollywood painting celebrity portraits, working for film industry magazines and creating movie posters. I enjoy playing detective so I decided to dig through various archives and books in search of Vargas’s film related work and what I found surprised me. The Latin artist made a much bigger impact on Hollywood than I’d previously been led to believe.”

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Every Dog Must Have His Day
“The film is weighted with biting social commentary as well as religious and political allegory but at its heart, WHITE GOD is a rather simple and profoundly sad story about a helpless dog that learns he must rely on himself and rebel against authority if he wants to survive in a dog-eat-dog world. It also doubles as a sensitive coming-of-age story about the young dog owner who learns a similar lesson although the perils and circumstances she faces are much more privileged and forgiving . . . While watching WHITE GOD I was reminded of a few other films I admire that center around dogs like Hagen who were forced to take similar journeys while suffering the consequences of man’s inhumanity to man and animal alike”

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The Power of the Pantsuit
“The entire scene, between the time Hayward enters the bathroom and leaves it, only lasts about 2 minutes but she and her paisley pantsuit completely own it. It’s a spectacular exit and although plenty of people like to point out the campy elements in VALLEY OF THE DOLLS, Hayward’s sincerity is undeniable in that moment. She was living in Helen Lawson’s skin and it’s evident that she deeply related to the character’s desperation and disappointments as well as her success. And that dazzling suit she wears represents her achievements.”

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October:
Nameless Fear: The Lost Moment (1947)
“The film is wrapped in a shimmery fog and lit mostly by candles that dance off dusty walls. And the house at the center of all the drama, with its spectacular canal-side setting, long twisting hallways, dark balconies, spiraling stairs and decomposing garden, evokes plenty of ghosts. It may not be a typical horror film but this Gothic romance about conflicted characters, doomed romance and ever-shifting identities will haunt you . . . It’s a terrible shame that The Lost Moment was neglected for so long. If critics had been kinder and audiences more receptive, there’s a high probability that director Martin Gabel would have continued making movies and he might have been remembered alongside some of the more interesting filmmakers who were working at Universal in the late forties and fifties. But when he died at age 73 in 1986 after suffering a massive heart attack the New York Times didn’t bother to mention his singular directing credit in their obituary.”

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Fatal Charm: Cast a Dark Shadow (1955)
“The picture opens with a striking scene shot inside a funhouse ride at a carnival. Dirk Bogarde’s character is sharing his seat with his wife and future murder victim (Mona Washbourne) when the camera focuses in on his face hidden by shadows while his pupils appear to light-up. It’s a startling effect that makes Bogarde look like a hungry demon with hellfire in his eyes. In this clever title sequence, director Lewis Gilbert and cinematographer Jack Asher signal to film audiences that their male protagonist is a monster before he ever opens his mouth.”

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10 Trailblazing Horror Films Directed by Women
“All month long TCM has been airing films made by women on Tuesday and Thursday night as part of their groundbreaking Trailblazing Women series hosted by Illeana Douglas. According to Charles Tabesh, senior vice president of programming for TCM, the goal of Trailblazing Women is to “Highlight the impact of female filmmakers throughout history and encourage future female filmmakers.” The response has been overwhelmingly positive and it’s heartening to see TCM’s resources used to educate, inform and inspire viewers . . . I’ve been enjoying a lot of the Trailblazing Women programming myself but since we’re in the middle of Schocktober, I thought I’d set aside some time to highlight some of my favorite horror films and thrillers directed by women who have left their macabre mark on a genre that many mistakenly assume is not very female friendly.”

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Double Your Pleasure with a Dracula Double Feature
“Tod Browning’s DRACULA is rightly hailed as a horror classic while the Spanish version directed by George Melford was assumed lost and went largely unseen by modern audiences following its initial release until it was restored and distributed on home video in 1992. Both films were shot at the same time using the same sets but with different casts, which was a typical practice by studios in the early 1930s. Their goal was to appeal to international audiences eager to see new-fangled sound films in their own language. The idea quickly went out of favor due to the high cost of producing multiple movies but the Spanish language version of DRACULA is one of best examples we have of this popular practice.”

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Wine & Wolves: The Curse of the Werewolf (1961)
“This unique Gothic horror from Hammer is part love story, part social allegory and part monster movie. John Elder aka Anthony Hinds’s script was loosely based on a book by Guy Endor (The Werewolf of Paris) and it takes a grim but very modern view of life by stressing that the werewolf is a product of his environment and circumstance instead of just a supernatural beast. The impressive sets, which were borrowed from previous Hammer productions, still look fresh and are accentuated by Terrence Fisher’s direction. This is somewhat of a staid film for Fisher and lacks the abundant style that the director brought to The Brides of Dracula (1961) made the same year. Instead, the film becomes a creative showcase for Oliver Reed’s performance and he’s spectacular as well as deeply moving as the cursed werewolf. The film also provides a nice backdrop for some of the studio’s best make-up effects designed by Roy Ashton. Reed’s transformation from a handsome young man (he was just 21-years-old at the time) into a ferocious wolf is particularly startling but it’s matched by the makeup used to age and disfigure the beggar and the Marquis. The two men are not typical monsters but as their souls seemingly wither and die; their decaying faces illustrate the ravages of time and the darkness that has suffocated their hearts.”

6 Months of Film Writing

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I’m afraid I’ve been neglecting Cinebeats again but I’ve been busy with various personal projects and obligations. I’ve also recently started writing for Publishers Weekly but I thought I’d finally update with some highlights from TCM’s Movie Morlocks. Here’s some of the more interesting (in my estimation) film related writing & entertaining babble I’ve produced in the last 6 months. You might notice that the topics I cover have gotten a little “lighter” in content and that’s by design. TCM’s blog readers generally prefer light reading about familiar topics so I’ve been trying to accommodate them more often.

March, 2015:
Superhero Saturdays on TCM: BATMAN (1943)
Bold! Noble! Daring! BATWOMAN (1968)
William Mortensen in Hollywood
Hammer Noir: A Poster Gallery
April, 2015:
“Robbery & Murder Were Their Code of Living!” – THE CATS (1968)
A Troy Donahue Top 10
Cooking with Sophia Loren
Orson Welles at One Hundred
May, 2015:
Think Pink: The Enduring Appeal of Lady Penelope
Two on the Run: DEADLY STRANGERS (1975)
The Hollywood Style
June, 2015:
Hollywood Comes to Hearst Castle: Memories & Musings
Men Among Monsters: Remembering Christopher Lee & Richard Johnson
Bugging Out! A Poster Gallery
Classic Hollywood Actors Discuss Women, Beauty & Femininity with Arlene Dahl
July, 2015:
Underrated ’65
Elisabeth Lutyens: Horror Queen of Film Composers
Midsummer Reading Suggestions
Q&A: Michael Kronenberg From the Film Noir Foundation
Birdwatching in Bodega Bay
August, 2015:
A Few Fun Facts About Michael Caine
The Kitten & The Cowboy: When Ann-Margret Met The Duke
Mae Clarke: Frankenstein’s First Bride
Closing Act: Shelley Winters

Celebrating Gay Pride

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As a film journalist I have often tried to focus my attention on underappreciated films, actors and directors. Unsurprisingly, this has led me to write about a number of gay/LGBT films as well as gay/LGBT filmmakers and actors. So in celebration of Gay Pride weekend and the Supreme Court decision that now makes gay-marriage a constitutional right (as it always should have been) I decided to collect some of the film writing I’ve done under the banner of “Gay Interest” to share in one post.

Enjoy!
James Fox – Subverting Sexual Identity & Social Class in British Cinema (2007)
At Home With Dirk Bogarde (2007)
Massimo Dallamano’s Dorian Gray (2007)
Kerwin Mathews (1926-2007) (2007)
Introducing Jason King (2007)
The decadent world of the Black Lizard (2008)
David Bowie is The Image (1967) (2008)
A few thoughts about Anthony Perkins (2008)
10 Questions with Shane Briant (2009)
Modern Mondays: Love Songs (2007) (2009)
Spend Your Day With Dirk Bogarde (2009)
The Fool Killer (1965) (2009)
Modern Mondays: Gus Van Sant’s “Death Trilogy” 2002-2005 (2009)
Old Rubber Lips (2010)
Seduced by Pierre Clementi (2011)
Unman, Wittering and Zigo (1971) (2011)
In Search of Sascha Brastoff (2011)
Velvet Goldmine: Celluloid Pictures of Living (2011)
Reinventing Lolita (2011)
Remember My Name (1976) (2011)
The House That Screamed… “Murder!” (2011)
Derek Jarman: An Appreciation (2011)
Girls Will Be Boys (2012)
“A film is a petrified fountain of thought.” – Jean Cocteau (2012)
Dirk Bogarde – The Reluctant International Man of Mystery (2012)
Summer Reading – including a brief look at Tab Hunter’s autobiography (2012)
Telefilm Time Machine: That Certain Summer (1972) (2013)
In the Trenches with James Whale (2013)
Oh Dear! What Can the Matter Be? (2013)
Telefilm Time Machine – Frankenstein: The True Story (1973) (2013)

December at the Movie Morlocks

cc38 Links to my December 2014 posts at the TCM’s Movie Morlocks:

Holiday Greetings from The Ghost of Christmas Yet To Come!
Excerpt: “Dickens’ novella was first conceived as a political pamphlet designed to arouse the public’s compassion for the plight of the poor but to his credit, the writer realized his strength was in storytelling so instead of hammering out a straightforward screed against social injustice he wrote a ghost story that would haunt sympathetic readers for more than a century. A Christmas Carol has been adapted for the screen many times beginning with a number of short silent films and most recently as a 3D animated feature produced by Walt Disney Pictures. The 1938 version tends to get overlooked in the glut of screening options available and it’s also burdened by the fact that the late great Lionel Barrymore was supposed to star as Scrooge but was eventually replaced by Reginald Owen due to serious health concerns that had left him wheelchair bound. Critics have cited its gentle nature and point out that many of the darker elements of Dickens’ original story were removed in order to make the film more family friendly but that dismissal overlooks the fact that the 1938 MGM production contains one of the most frightening and disturbing filmed encounters with the Ghost of Christmas Yet to Come. And for that reason, as well as others, it’s a movie well worth recommending.”

“Discover a savage world whose only law was lust!”
Excerpt: “Today TCM is airing a batch of great fantasy and adventure films produced by Hammer starring some of the studio’s most memorable leading ladies including the exotic brunette beauty Martine Beswick in PREHISTORIC WOMEN (1967), blond bombshell, Ursula Andress in SHE (1965) and the ravishing redhead, Raquel Welch in ONE MILLION YEARS B.C. (1966). ONE MILLION YEARS B.C. is undoubtedly the most popular and widely seen film of the bunch thanks to a lucrative distribution deal with 20th Century Fox and financing from Seven Arts Productions that allowed Hammer to hire the up-and-coming Welch and procure the services of special effects maestro Ray Harryhausen. The bigger budget for ONE MILLION YEARS B.C. also allowed Hammer to shoot the film on the exotic Canary Islands where the rocky volcanic landscape and lush beachfronts made for a surprisingly believable primordial setting. The plot was based on the similarly titled 1940 Hal Roach film starring Victor Mature, Lon Chaney Jr. and Carole Landis that was nominated for a number of Academy Awards. The Hammer remake didn’t receive any award nominations but it did become the studio’s most commercially successful film and it made Raquel Welch an international star.”

The Wonderful World of Disney Comes to TCM
Excerpt: “As a kid growing up in 1970s my Sunday nights revolved around The Wonderful World of Disney. It was my cherished respite before the much dreaded school week began and I savored every last minute spent in front of the family television set. At the time, residents in the San Francisco Bay Area where I was born and mostly raised, only had access to 10 or 12 available channels to choose from and many of those were locally run and operated. There were no video stores renting movies in those days and the idea of streaming films directly into your own home was merely a faraway fantasy. In these limited environs, The Wonderful World of Disney offered kids and adults of all ages a surprisingly diverse and family friendly smorgasbord of programming that included animated and live action films, nature documentaries, educational shorts and special broadcasts made especially for television. Much to my delight, Turner Classic Movies has recently teamed-up with The Walt Disney Studios for a new on-going program called Treasures from the Disney Vault hosted by Ben Mankiewicz and film critic Leonard Maltin that’s making its debut this coming Sunday night on December 21st. TCM’s impressive 8-hour block of television is a throwback to The Wonderful World of Disney of my childhood and I hope it will introduce a new generation to the wonderful treasures hidden deep within the vaults of the Disney Studios.”

Celebrate Like the Stars
“There are some universal truths in life that we can probably all agree on. The world is round. Cary Grant looks damn good in a suit. Washington, D.C. is the capitol of the United States. And classic Hollywood sure liked to drink. The bottled spirits flowed freely in movies made from the silent era, through the Prohibition and well into the 1970s. So freely in fact that you’d be hard-pressed to find an adult film that didn’t show a scene of someone drinking, refer to booze or offer a glimpse of something vaguely referencing the sauce that seemed to keep Hollywood running. It may have just been a bottle of empty scotch placed casually in the background of a scene or a six-pack of beer spotted in an open fridge. There’s just no denying that many of our favorite film performers regularly shared bottles of the bubbly (and not so bubbly) on screen but this love of liquor also continued off-screen.The recently published book, Of All the Gin Joints: Stumbling through Hollywood History by Mark Bailey, offers readers an interesting look into the drinking habits of some of Hollywood’s most beloved and recognizable stars including Charlie Chaplin and Errol Flynn. To celebrate the holidays I thought I’d share a few cocktail recipes from the book that you can make at home.”

October & November at the Movie Morlocks

SORCERORSLinks to my posts at the TCM’s Movie Morlocks October – November.

Ghost Stories: THE TIME OF THEIR LIVES (1946)
Excerpt: “THE TIME OF THEIR LIVES is often referred to as an “Abbott and Costello movie for people who don’t like Abbott and Costello” but as a fan of the comic duo I find that proclamation a bit off base. The film does distinguish itself from the popular formula pictures they made during this period that often contained well-honed routines and the two funny men don’t exchange much direct dialogue but it still contains the same kind of slapstick humor and fast-paced jokes that made them one of the most beloved comedy teams in Hollywood during the 1940s.”

Freak Shows: Come one, come all to the Scariest Show On Earth!
Excerpt: “The award-winning horror anthology’s latest incarnation is called FREAK SHOW and it’s set in Florida during the 1950s at a circus sideshow where strange goings-on take place in and outside of the Big Top. The show’s creators, Ryan Murphy and Brad Falchuck, have admitted in recent interviews that they found inspiration for the new season in two classic horror films, Tod Browning’s FREAKS (1932) and Herk Harvey’s CARNIVAL OF SOULS (1962) but circuses and carnivals have long been a staple of horror cinema and director Tod Browning used the sideshow as a setting for numerous uncanny films before he made FREAKS. With Shocktober upon us it seems as good a time as any to showcase some of my favorite horrific or just plain odd and unusual films with scary clowns and sideshow performers that paved the way for AMERICAN HORROR STORY: FREAK SHOW.”

Aaahoo! She-Wolf of London (1946)
Excerpt: “What I really appreciate about this short 61 minute movie is its unique female protagonists as well as its low-key shocks that only register after you’ve had time to digest the film’s streamlined plot. The four most interesting characters in SHE-WOLF OF LONDON, include Phyllis, her aunt Martha as well as her female cousin and the quietly lurking housekeeper Hannah (Eily Malyon). The men in the movie are merely romantic love interests, victims of the werewolf (the beast doesn’t kill any women) or hapless police investigators who do very little to move the plot along, which must have puzzled some viewers who were expecting the men to take control of the situation and save the day. In most Universal monster movies that’s exactly what they’d typically do but this isn’t a typical monster movie.”

Mummy Dearest
Excerpt: “Hammer Films produced four Mummy movies between 1959 and 1971 and this coming Saturday (Oct. 25th) TCM is airing one of my favorites, Seth Holt’s BLOOD FROM THE MUMMY’S TOMB (1971). This unabashedly sexy horror extravaganza was the last Mummy movie produced by the ‘Studio that Dripped Blood’ and thanks to a great cast and some creative directing choices it turned out to be one of their best. But before it reached the screen the production was plagued by some serious setbacks that seemed to resemble the effects of a ‘mummy’s curse’ that’s often associated with doomed adventure seekers and tomb raiders. Was it just circumstance and bad luck or did something supernatural interfere with the making of the film? Read on to find out!”

Halloween Viewing Recommendations with a Feminine Touch
Excerpt: “…I decided to ask some of my favorite female film journalists who also happen to be fellow horror devotees to join me in recommending one movie from TCM’s Halloween line-up for your viewing pleasure. I think you’ll enjoy our enthusiastic endorsements but you might want to approach them with caution. A few contain minor spoilers along with some surprising scares but I hope that won’t stop you from joining us in celebrating Halloween with TCM. Demonic monsters, scary chauffeurs and axe-wielding killers are just a few of the shocking thrills that await you!”

Mind Over Matter: THE SORCERERS (1967)
Excerpt: “Since Michael Reeves unfortunate death in 1969 at the age of 25, the British director’s life has become the stuff of cinematic legend. His reputation as a sort of Byronic hero who challenged the British film establishment was secured when he died much too young due to an accidental drug overdose leaving behind just a handful of low-budget horror films that attained cult status in subsequent years. His distinct talent and the ephemeral nature of his work have led many of Reeve’s colleagues and admirers to speculate on the direction his career might have taken if he had lived longer and it’s not uncommon to see his name mentioned along with better known British filmmakers who also dealt with controversial material including Michael Powell and Ken Russell. Reeves’ bone-chilling WITCHFINDER GENERAL (1969), which explored the brutality of the witch hunts in England during the 17th century, is often cited as one of the greatest and most gruesome horror films produced during the 1960s but his most intimate and introspective film might be THE SORCERERS (1967).”

Artist, Activist & Star-Maker: Photographer Eliot Elisofon
Excerpt: “When I first started writing about Hollywood glamor photography here at the Movie Morlocks, one of the photographers I was particularly keen on featuring was Eliot Elisofon. His captivating images of numerous Hollywood stars have mesmerized me for decades but back in 2010 there was very little information about the man available online. This year that changed significantly thanks to the Smithsonian museum, which launched the first retrospective of Elisofon’s photography at the National Museum of African Art.”

10 Things You Might Not Know About Rod Taylor
Excerpt: “I’ve always liked Rod Taylor. The broad shouldered, barrel-chested actor with a booming voice is intimidating on screen but there’s a warmth in his smile that’s undeniably inviting. He was universally good in every film genre he took part in and made the challenging transition from serious drama to action movies, thrillers and romantic comedies seem effortless. He was at home in military fatigues or a three piece suit and that breadth and depth of character makes him extremely fun to watch. Tonight TCM viewers can tune in and catch Taylor in a few of his best films including THE BIRDS (1963), THE TIME MACHINE (1960), DARK OF THE SUN (1968), SUNDAY IN NEW YORK (1963) and HOTEL (1967) so it seemed like a good time to share some of the interesting facts I recently discovered about him after reading Rod Taylor: An Aussie in Hollywood.”

August & September at the Movie Morlocks

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The last couple of months have been extremely difficult. In between doctor’s appointments while dealing with some eye problems I suffered a major shake up in the Napa earthquake, which did a lot of damage to my home & neighborhood. Naturally this impaired my writing but I still managed to compile a few articles for the TCM Movie Morlocks’ blog.

Carole Lombard’s Lasting Impact … on Napa!
Excerpt: “While pursuing my personal interest in local history here in Napa I was pleasantly surprised to discover how one of my favorite funny ladies, the brassy blonde bombshell Carole Lombard, had made a lasting impression on the area when she visited California’s Wine Country in 1939 to star in Garson Kanin’s THEY KNEW WHAT THEY WANTED (1940). This notable RKO production was based on a Pulitzer Prize winning play written by Sidney Howard that chronicled a complicated love triangle between an ambitious San Francisco waitress (Carole Lombard), a simple-minded Italian grape farmer (Charles Laughton) and his affable ranch hand (William Gargan). Much of the film was shot on location in the Napa Valley and during that time Lombard, along with her costars and husband Clark Gable, toured wineries, mingled with locals and befriended some well-heeled residents who still fondly recall family stories about encountering the lovely Lombard.”

Memories of Lauren Bacall 1924-2014
Excerpt: “Film fans have endured a rough summer. We’ve lost many talented people who have brought us immeasurable joy. Today I’d like to celebrate the late great Lauren ‘Betty’ Bacall who mesmerized audiences with her incredible beauty, quick wit, smoky voice and sultry style. She was a beloved stage and screen actress but she was also much more including an award-winning writer, a socially conscious political activist, an avid fashion enthusiast who designed her own maternity clothes and a survivor who out-lived two husbands (Humphrey Bogart and Jason Robards) and managed to raise three children on her own. What follows is a stunning gallery of portraits as well as a collection of personal observations about Bacall from friends, acquaintances and family members who knew her and loved her.”

Saying Good Night to Brian G. Hutton (1935-2014)
Excerpt: “I’m particularly fond of the two films Hutton crafted with Elizabeth Taylor in the 1970s during an intriguing period in her career that is often dismissed by critics as well as fickle fans. The first film Hutton and Taylor made together was a twisted love triangle with the cheeky American title X, Y & Z (1972). This blacker than black comedy pitted Taylor against Michael Caine in a sort of sexy update of WHO’S AFRAID OF VIRGINIA WOOLF set in swinging London. The film didn’t fare all that well with critics but audiences seemed to appreciate it and Taylor enjoyed working with the affable director who kept his two stars laughing during the shoot. Their second film was the Hitchcockian thriller NIGHT WATCH (1973), which reunited Taylor with Laurence Harvey, her longtime friend and costar from the Oscar winning BUTTERFIELD 8 (1960). Of the two films Hutton made with Taylor, NIGHT WATCH is my personal favorite for a number of reasons. First and foremost it’s a great little suspense filled feature with some surprising twists and turns that provided Elizabeth Taylor with one of her meatiest late career roles. Besides reuniting her with Harvey, the cast also includes horror film and television favorites Billie Whitelaw (TWISTED NERVE; 1968, FRENZY; 1972, THE OMEN; 1976, Etc.) and Linda Hayden (TASTE THE BLOOD OF DRACULA; 1970, THE BLOOD ON SATAN’S CLAW; 1971, MADHOUSE; 1974, Etc.) as well as Robert Lang (THE HOUSE THAT DRIPPED BLOOD; 1971, THE MEDUSA TOUCH; 1978, TALES OF THE UNEXPECTED; 1980, Etc.).”

EARTHQUAKE! – An Update From the Trenches
Excerpt:”Imagine if you will (spoken in my best Rod Serling voice), it’s 3:20am on a Sunday morning in the small city of Napa. You’d gone to bed a few hours earlier after enjoying a few glasses of home grown wine while catching up with the latest offering from Hammer Films (THE QUIET ONES; 2014) but just as the onset of deep REM sleep begins to take hold of your body and brain, you’re jolted awake by what sounds like a locomotive crashing into your house. This is followed by what feels like King Kong picking you up and tossing you in the air for 20 seconds.”

A Killer Stalks the Streets of San Francisco in Edward Dmytryk ‘s THE SNIPER (1952)
Excerpt: “There’s a palpable sense of profound paranoia, lawlessness run amok, rage against social injustice and flat out despair to be found in some of Dmytryk‘s best post 1950 films including THE SNIPER as well as THE CAINE MUTINY (1954), WARLOCK (1959) and MIRAGE (1965) that I really appreciate. The filmmakers most interesting work during this period also frequently featured complex and fascinatingly askew female characters trying to assert their power such as Elizabeth Taylor’s mad southern heiress in RAINTREE COUNTY (1957), Carol Baker’s boozy sexually aggressive widower in THE CARPETBAGGERS (1964) and the entire female cast of WALK ON THE WILD SIDE (1962). In this regard THE SNIPER could be seen and appreciated as a kind of warning shot to audiences signaling the direction that Dmytryk‘s career would take over the next few decades. It would make a particularly interesting double feature with the director’s stylish adaptation of BLUEBEARD (1972), featuring Richard Burton as the bearded mad man who possesses an unhealthy desire to murder his wives.”

Gordon Parks: Filmmaker, Photographer & Renaissance Man
Excerpt: “Tonight TCM is offering up a very special selection of films directed by Gordon Parks and his son, Gordon Parks Jr. for your viewing pleasure. The films include THE LEARNING TREE (1969), THOMASINE AND BUSHROD (1974), AARON LOVES ANGELA (1975) and SHAFT (1971) along with a making of documentary, SOUL IN CINEMA: FILMING SHAFT ON LOCATION (1971) . . . Parks Sr. is undoubtedly one of the most interesting and multitalented men who ever sat behind a camera and directed a film. He lived a fascinating life and dabbled in many arts but today he’s probably best remembered for the Oscar wining action-packed crime drama SHAFT. This Blaxploitation classic is one of my favorite films from the 70s and besides its entertainment value, SHAFT is a wonderful showcase for many of the themes, ideas and passions that motivated Parks throughout his career as an award-winning photographer…”

You’re Invited! Join the #TCMParty on Twitter
Excerpt: “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.”

June & July at the Movie Morlocks

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I haven’t been online much the last few months for a number of reasons. First and foremost, I’ve been having some medical problems with my left eye and spending lots of time on my computer reading, watching vids and writing can often be problematic. My eyes get easily irritated and I’m prone to headaches, etc. The other reason is simple net fatigue, particularly on social media sites such as Facebook & Twitter where petty bickering, herd-like behavior and one-upmanship among film fans, critics and journalists can become unbearably tiresome. With that out of the way, I want to apologize to anyone you visits Cinebeats often hoping for new updates (excuses I know… but I seem to be suffering from an extreme case of weltschmerz this year) but you can still find me regularly posting on TCM’s Movie Morlocks blog and I occasionally write articles for TCM’s website. Here are some links to things I’ve written in the last few months:

They Wore It Well: Actors & Mustaches: “Mustaches of all shapes, sizes, widths and weights have long been part our movie history so it’s easy to take them for granted. But a good mustache can have power and presence in the movies and many actors have made great use of their facial hair to seduce costars, entice laughter and menace their enemies.”

Hammer Noir: Terence Fisher’s STOLEN FACE (1952): “While a few of the Fisher’s earlier films, such as SO LONG AT THE FAIR (1950), hinted at his penchant for gothic fantasy and costume drama, STOLEN FACE gave the director the opportunity to begin exploring (and exploiting) his apparent fascination with science, philosophy, psychology and medicine that would later permeate his full-color horror films made for Hammer. Amid the noir elements and abundant melodrama that can be found in STOLEN FACE, Fisher spends a noticeable amount of time lingering on strange medical devices while focusing on the doctor’s interactions with patents and colleagues. The doctor also makes a noteworthy trip to a pub where he mingles with some inquisitive locals. This seemingly innocuous event became a staple in Fisher’s horror films…”

Summer Reading Suggestions: “Like many people, I tend to do a lot of reading when the weather warms up and with summer officially about to start on June 21st I thought it would be a good time to share some of the books I’ve been enjoying with my fellow film buffs. My own tastes tend to be somewhat eclectic but I hope readers of all types and stripes will find something that piques their interest when pursuing my list of Summer Reading Suggestions.”

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“I wonder if my brother remembers his brother?” – Remembering Eli Wallach 1915-2014: “Leone famously liked to shoot his actors in extreme close-up or in sweeping wide shots where they were barely visible. But Wallach instinctively knew how to make the most of his screen time and easily navigates between these two very different modes of filmmaking. His eyes speak volumes when Leone’s camera zooms in for a signature close-up but when the director’s camera is out of sight Wallach skillfully used his body language to define his character from a distance. Many actors would get lost in the vast deserts, dilapidated cemeteries and shabby old towns that make up Leone’s film but Wallach seamlessly becomes part of the landscape. We know he’s there even when we can’t see him.”

When Fact Mirrors Fiction: AGATHA (1979): “Redgrave and Hoffman make an unlikely pair and some critics apparently found their height difference distracting but I think the two actors have an incredible chemistry on screen. Redgrave seems to be channeling Garbo while Hoffman displays the kind of arrogant charm that made William Powell so likable. Both performers have rarely been as vulnerable, sympathetic, affable and flat out sexy as they are here, which is partially due to the way they interact and seem to identify with one another’s characters. Their unconventional but utterly convincing on-screen romance is one of the many reasons why I find AGATHA so compelling.”

The Malaise of the Ghetto: LA HAINE (1995): “The broad appeal of Kassovitz’s film can also be traced to another film that mesmerized young audiences in 1955, Nicholas Ray’s timeless classic REBEL WITHOUT A CAUSE. Both films focus on a troubled threesome who form a makeshift family during the span of 24 hours. The neighborhood fighting might be on a much smaller scale and the suburban hood of 1955 Los Angeles appears much more inviting than the suburban slums of 1995 Paris, but both movies use the threat of gun violence to their credit. Neither Plato (Sal Mineo) nor Vinz (Vincent Cassel) can fully comprehend the lethal power of the weapons they’re carrying and their shared desire for some kind of notoriety or control in the face of an indifferent world is something many young people can unfortunately sympathize with . Does LA HAINE have the staying power of REBEL WITHOUT A CAUSE? That remains to be seen.”

A Century of Scares: Happy Birthday Bava!: “This week marks the 100th birthday of Mario Bava who was born on July 30th (according to leading Bava researcher Tim Lucas and author of the essential Mario Bava: All the Colors of the Dark) or 31st (if you want to believe IMDB.com and Wikipedia). The brilliant Italian director, cinematographer, special effects artist and screenwriter died in 1980 but today he’s fondly remembered by horror film enthusiasts as the Maestro of the Macabre. Bava has long been one of my favorite filmmakers so I couldn’t let this important anniversary pass without acknowledging his artistry.”