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    • Southern Comfort on Blu-ray

    • A motley crew of Louisiana National Guardsman wade out into the swamps for weekend maneuvers. It's 1973, as the war in Vietnam is grinding away the soul of America and the heart of the military, and this platoon of weekend warriors--a volatile collection of rednecks, hotheads, jokers, and guys who probably signed up to steer clear of the draft--are like fresh recruits going into battle for the first time. They've got the fatigues and the cocky attitude but dubious discipline and training and their machine guns are loaded with blanks as they head into the bayou. To the Cajun swamp folk, the trappers and hunters living on the fringes of society, these men are invaders who trample their camps and steal their boats. And when one of the soldiers lets loose a burst from his weapon, laughing like the class bully after humiliating the new kid, these shadowy swamp dwellers defend themselves, becoming a guerilla strike force waging a war of terror on the utterly unprepared toy soldiers. They don't know that it's just blanks in those guns but it likely wouldn't matter if they did. They've been attacked and they will respond. These city dwellers are out their element and after their commanding officer (Peter Coyote) is gone, the first casualty in the war of attrition, they are out of their depth, flailing around with a panic that dumps their radio, compass, map, and pretty much everything else that was supposed to keep them alive.

      Southern Comfort will never be mistaken for a Nation Guard recruitment tool. Call it an anti-platoon movie. Hill gives the squad the outward accoutrements of a real fighting force, down to the uniforms and weapons, but this is a military unit in name only. Beyond the swaggering banter of the soldiers and self-deprecating comments of Spencer (Keith Carradine), the self-appointed company joker, they have no real training, no experience under fire, and no commitment to one another. These guys are more like barroom buddies playing soldier than a disciplined force.

      There are two voices of restraint in the wilderness, Spencer and new guy Hardin (Powers Booth), a transfer from Texas who doesn't know anyone in the company but sizes up their weaknesses quickly and realizes that they haven't much a chance as long as wild cards like Reece (Fred Ward) and Stuckey (Lewis Smith) go charging through the swamps looking for payback. Casper (Les Lannom) takes command by virtue of an essentially meaningless detail of rank and bumbles around quoting regulations and making speeches, doggedly following the book because he hasn't a clue what to do next. The filmmakers don't make him a figure of ridicule, mind you, just a guy falling back on the only thing he knows. In fact, none of them are necessarily "bad guys," though like any Hill ensemble, it has its share of jerks, bullies, racists, and anger management candidates and the pressure brings out their worst instincts.

      So yes, it's a story of American soldiers in an alien land, lost in an unfamiliar landscape and outmaneuvered by a guerrilla army at home in the jungle. Director / screenwriter Walter Hill and producer / co-screenwriter David Giler insist to this day that Southern Comfort was never intended to be an allegory for Vietnam, simply a survival tale in an overwhelming and unfamiliar environment. It's hard to take them at face value but it is easy to forget the allegory in the heat of the drama. It also shares DNA with Deliverance, another film about city boys with guns who take their sense of ownership and entitlement into the wilderness, threaten the locals, and end up hunted by them. But where John Boorman's primal thriller turns his Appalachian backwoods men into brutal outlaws who take pleasure in stalking the city invaders, Hill and Giler keep their Cajun soldiers hidden, seen as figures in the distance or blurs running behind the trees, ghosts on the fringes of sight. They treat the would-be soldier like wild game, silently shadowing their progress and whipping them into a state of panic to steer them into their traps. And whatever the short-fused guys in the platoon think, this is no cultural conspiracy to wipe out the invaders. Their enemy consists of a handful of isolated hunters who didn't start the war but by God are determined to finish it. The rest of the Cajun folks they meet don't seem to be a part of it, though after a couple of days in the swamps, the paranoia is powerful enough to make every sidelong glance look ominous. Ry Cooder's eerie and haunting score only intensifies the paranoia.

      What ultimately differentiates them from the soldiers of a classical platoon drama is that they haven't bonded under fire and have never had to put their trust in one another. This group unravels and tears itself apart from fear and panic and unfocused rage. And in classic Hill manner, there are no philosophical musings or existential conversations. The closest the film comes to putting its theme into words is from the mantra of a terrified Simms (Franklyn Seales), who finds himself cut off from the group and suddenly aware of just how vulnerable he is. "I'm not supposed to be here," he repeats, as if begging the universe to correct some cosmic planning error. And then he's no longer there.

      While this band of infighting brothers wades blindly through the swamp without a clue as to their bearings or direction, Hill's direction never falters. He has always had a sure hand as a storyteller, keeping his plots uncluttered and letting the details of character, conflict, and the world around them define the story. Southern Comfort limits the world to the middle of the swamp, where we (like the soldiers) are unable to find any point of reference, and observes how the discomfort of the environment and the constant disorientation takes its toll on what little good sense the characters bring with them to the mission. It exacerbates the already dysfunctional dynamics of this platoon of battle virgins and is as deadly on its own as the native hunters who use the environment as a weapon in their arsenal. It's not necessarily skill or even luck that saves the guardsmen who survive the ordeal. In classic Hill fashion, it is a matter of intelligence, awareness, teamwork, and the commitment to do what is necessary to survive. There's no sense of victory in survival, merely relief.

      Blu-ray / DVD Combo Pack. Both discs feature the new HD master but the Blu-ray of course features superior clarity and richness of color. Both are clean, strong images while the Blu-ray shows off excellent detail. The Dolby Digital Mono soundtrack puts the mix right up front. A couple of scenes of chaos and confusion overwhelm the dialogue with background sound, which is surely intentional but still seems a little out of balance to my ears.

      New to this release in an original 27-minute featurette with new interviews with actors Keith Carradine, Powers Boothe, Lewis Smith, and Peter Coyote and, on low-resolution video via Skype, director Walter Hill and producer David Giler, who collaborated on the script with Hill. The actors share stories of shooting in the Louisiana swamps in February with wet suits under their uniforms, six weeks of working in the cold and damp, and they remind us that they were all in it together. The crew endured the same conditions so no one had the right to complain. More interesting is the discussion around the themes of the film. Hill and Giler maintain that while they did not intentionally set out to make a Vietnam allegory they were aware that audiences would make that connection, while the actors admit that they knew it was an allegory from the moment they read the script. Keith Carradine's reading is particularly detailed and interesting. Curiously, none of the six participants mention Deliverance.

      Carried over from the old DVD release is a brief collection of outtakes and the original trailer. All of the supplements are featured in both the Blu-ray and DVD discs of the Combo Pack.

      By Sean Axmaker

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    • Tess on Blu-ray

    • Tess (1979), Roman Polanski's film adaptation of Thomas Hardy's 1890 novel Tess of the D'Urbervilles, has in 2014 received a sublime Blu-Ray and DVD release from Criterion. Restored by Pathe under the direct supervision of Polanski himself, the movie looks and sounds magnificent. At first glance, the lushly beautiful Tess is a seemingly unusual work for Polanski, whose films we tend to associate with horror and sex, but this was actually a highly personal project for the master filmmaker. It was his first picture after fleeing the United States in 1977, and also a project that his wife, Sharon Tate, had suggested he make as a vehicle for herself -- just before she was murdered by the Manson gang in 1969. Polanski read the novel after her death and realized it was indeed right up his alley, and he dedicated the eventual film to her with an on-screen inscription.

      Hardy's tale, to which the film is very faithful, is about a poor English girl, Tess, whose father learns he is a distant descendant of a once prominent, rich family, the D'Urbervilles. He sends Tess to the home of a remaining D'Urberville to find employment (or at least a handout), but Tess winds up being seduced by the ne'er-do-well Alec D'Urberville (Leigh Lawson), who becomes obsessed with her. Fleeing Alec, she eventually finds work at a dairy farm and starts a passionate relationship with a young farmer named Angel Clare (Peter Firth). But in this society, the revelation of the sins of her past, even if they were not her fault, could doom Tess to shame, ostracism and worse. Ultimately, Tess is about a woman struggling to make her way in the world, looking for happiness, or at least survival, but finding that a judgmental society, timing and even luck are all working against her.

      Polanski explores this theme vividly, sympathetically and cinematically. Costumes, speech and physical mannerisms of the actors all convince the audience of the time period and of the distinctions among the social classes, and the film's pictorial beauty does much to stress the contrasting cruelty of some of the characters. The movie is not "pretty" for prettiness' sake. Most important, one really feels the isolation of Tess throughout the film, which is at once sprawling and intimate. The plot itself, while important, feels less vital here than the depiction of Tess' emotional experience of the world she is forced to inhabit, and as a result, the long running time feels entirely appropriate and never tedious.

      Tess was shot entirely in France, mostly on locations in Normandy and Brittany, because Polanski worried that if he traveled to England he would be extradited to the United States. Polanski later wrote, "To tell the story at all, it was essential to find the proper setting, a twentieth-century equivalent of Hardy's nineteenth-century Dorset. The only way to convey the rhythm of his epic was to use that setting as an integral part of the film, signaling the passage of time and the change in Tess herself by means of a visible, almost palpable change in seasons. Once our rural locations were chosen, we would have to film throughout the year from early spring, through high summer, to the depths of winter." With such a shooting strategy, filming wound up lasting nine months over 80 separate locations, and Tess became, at $12 million, the most expensive film ever made in France to that point. Freak weather and labor strikes only added to the overall time and expense.

      If Tess is atypical of Polanski, it's in the way that The Age of Innocence (1993) is atypical of director Martin Scorsese. But in fact, both films are completely emblematic of their directors' concerns and are indeed suffused with violence. It's just that the violence is emotional, an undercurrent beneath a pristine surface -- exactly like the societies the films depict.

      That being said, it's hard to shake some of Tess's most exquisitely beautiful imagery, such as the lovely natural light of an outdoor dance, or the riders and dogs on a fox hunt who appear out of a sublime mist, or the face of Nastassia Kinski, who is heart-stoppingly gorgeous (a quality, incidentally, that is vital to the story). Cinematographer Geoffrey Unsworth, who had shot such films as Becket (1964) and Cabaret (1972), died a few weeks into production and was replaced by Ghislain Cloquet, who sadly would himself pass away two years later. They shared the Oscar for Best Cinematography. The film also won for Best Art Direction and Best Costume Design and was nominated for Best Picture, Best Director and Best Original Score.

      Criterion's dual-format release contains one Blu-ray disc and two DVDs, with both formats containing the film and identical extras. And there are plenty, starting with three short documentaries about the film's making (originally included in Columbia's 2004 DVD release), directed by Laurent Bouzereau and totaling 73 minutes in length. Bouzereau expertly interviews key players like Polanski, producers Claude Berri and Timothy Burrill, co-writer John Brownjohn, actors Nastassia Kinski and Leigh Lawson, set decorator Pierre Guffroy, costume designer Anthony Powell, hair and makeup artists, the crew electrician, the assistant editor and others. The artists discuss fascinating details of production, like the challenge of getting the "strawberry seduction" scene between Kinski and Lawson just right (which astonishingly was shot on a rainy day despite looking on-screen like the height of warm summer), the creation of the Stonehenge set outside of Paris, and the design of the costumes to be authentic and truly expressive of character -- beautiful without being decorative. Powell is fascinating as he discusses his approach, and also about the little splotch of blood he put on the hem of Tess' dress at a key point in the story, which Polanski shot for maximum impact.

      Burrill recalls that on location the filmmakers were only able to see the rushes days after shooting, rather than the next day, and not always under the best conditions. But gradually, he says, "we started to see what was happening, the magic that was coming off the screen, and the extraordinary professionalism of Nastassia.... I don't think there was ever one day when she fluffed a line. She was word-perfect, always."

      Second is a 52-minute documentary from 2006 by Daniel Ablin and Serge July entitled Once Upon a Time... Tess. This is also interesting, but it covers much of the same material as the Bouzereau pieces, with many of the same interviewees telling the same stories. It's also not as smoothly edited. But unlike the Bouzereau film, it includes composer Philippe Sarde, and delves more into Polanski's pre-Tess life and career. It also recounts the difficulties in Tess's post-production, particularly concerning the running time. Francis Coppola was brought in by producer Claude Berri to trim the film, which was deemed overlong, but Polanski hated the result, leading to a falling-out between Berri and Polanski and between Polanski and Sarde. Polanski himself eventually trimmed the film by about 20 minutes, resulting in the current running time of 171 minutes.

      Third, there's a 1979 episode of the French TV program Cine Regards, running 48 minutes, that looks at the making of Tess and interviews Polanski during the film's production. The interviews with Polanski are revealing, but the real strengths of the piece are the long, uninterrupted slices of life on the set as Polanski directs and thinks through scenes, conducting his orchestra of crewmembers. These sequences go on long enough to make us feel as if we are there.

      Fourth is a 1979 episode of the British TV program The South Bank Show, 50 minutes in length, in which host Melvyn Bragg interviews Polanski. And Criterion rounds things out with the film's trailer as well as a handsome printed booklet containing a fine essay by Colin MacCabe and crisp, colorful photos from the film, almost all of which feature the entrancing Nastassia Kinski. It's a beautiful package and motion picture, all very highly recommended.

      By Jeremy Arnold

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    • Used Cars on Blu-ray

    • The opening of Used Cars (1980) has the ominous, wind-scoured character of a modern crime film in a desperate southwest town where a Sergio Leone western wouldn't be out of place. The camera cranes down from a high shot over a struggling used car dealership, where a few pathetic beaters line the lot, and slowly glides over to one car with someone is crammed under the dashboard. The only sound is the lonely wind--the kind of strangled, desolate howl you get in dustbowl dramas and desert survival thrillers--and the grunts of the man struggling with the mechanics under the dash. And then we see the odometer turn back, shaving some 40,000 or so miles from the record. The title hits the screen, a brass band jumps in with "Stars and Stripes Forever," and the unidentified mechanic wriggles out to reveal Kurt Russell in a cheap, loud suit making his rounds to mask the sorry condition of the cars on the lot. It turns out that this is a crime movie after all, or at least a film of multiple misdemeanors and bald-faced misrepresentation, and the perpetrators are the good guys.

      The second feature from director Robert Zemeckis and co-writer and producer Bob Gale, Used Cars comes right out of the screen comedy culture of the late 1970s and early 1980s, when the underdogs snubbed their collective noses at authority, propriety, property and privacy laws and anything else that crossed their paths in slobs vs. snobs comedies like Animal House (1978), Caddyshack (1980) and Ghostbusters (1984). Used Cars is raucous and reckless and far more gleefully corrupt than any of its brothers in rebellion, embracing the confidence games and illegal stunts pulled by the skeleton crew that works for Luke Fuchs (Jack Warden), who is the closest thing that the film has to an honest man. The devotion of salesmen Rudy (Russell) and Jeff (Gerrit Graham) and mechanic Jim (Frank McRae) to Luke is really all that separates them from Luke's rapacious brother and across-the-street rival Roy L. Fuchs (Warden again) and his slick sales force. That and the fun they have ripping off the rubes who wander on to their lot.

      The premise of film - two used car outfits at war with one another - was hatched by John Milius, who was one of the executive producers (along with Steven Spielberg), but the script is pure Zemeckis and Gale. The rivals are twin brothers, the Cain and Abel of used car dealers. When impending freeway construction threatens to destroy bad brother Roy's dealership and make the good brother Luke rich, Roy finds a way to speed the demise of Luke's bad heart and Rudy makes good on his promise to keep Roy from taking over the lot. Rudy has his own, more immediate motivation, of course--he's trying to buy his way into the local political machine and he's still a little short on the down payment--but it's also personal. Luke is something of a father figure to the crew, which makes them the mischievous sons who break the rules whenever dad's back is turned. After Luke dies, their antics more outrageous, from secretly burying Luke on the lot (his beloved convertible fittingly serves as his casket) to jamming satellite signals with wild pirate commercials replete with gratuitous nudity and senseless destruction of private property. The plot seems to careen from one comic collision to another but there's a nicely-constructed plan under it all, simple but ingenious enough that you don't actually see how the pieces are laid in place until it all comes together in the ragged spectacle of final act.

      It's not really a satire of American business so much as a wicked lampoon: lie, cheat and steal as the American way, as long as you do it with a sense of fun. Kurt Russell was just breaking out of his clean-cut post-Disney persona when he took on the role and he sinks his teeth into Rudy, turning the brash characters into the epitome of the smiling mercenary selling lemons to suckers with dirty tricks and phony promises. Gerrit Graham is his partner in commercial piracy, unfazed by anything but harbingers of bad luck, notably red. Deborah Harmon is both romantic interest and plot complication as Luke's long lost daughter, who shows up just after dad's death. Jack Warden has a field day playing twin brothers and Frank McRae is hilarious as the giant adrenaline-pumped mechanic. The crotch-grabbing Mexican junk car wholesaler is ubiquitous character actor and future director Alfonso Arau in his first great comic role in an American film (Romancing the Stone and Three Amigos soon followed). But the entire cast is in danger of being upstaged by the adorable dog Toby, who has his own role to play in the sale stunts. This pooch's hilarious performance makes him one of the greatest movie dogs.

      Zemeckis matured into a polished filmmaker and an ambitious storyteller and went on to make more sophisticated, more provocative, and certainly more subtle films, but he never made anything as savagely funny as Used Cars. Its banged-up ingenuity and rough-and-tumble energy and warped mirror reflection of the American Dream as a snatch and grab free-for-all is wickedly funny. Everyone is a crook here and the epilogue even enshrines mendacity as a virtue, at least when it comes to stepping into the used car game.

      Used Cars has a remarkably tidy visual aesthetic for a film about a seedy, shabby culture, with a screen that is uncluttered and flooded with desert sunlight in day scenes and blasted with floodlights as bold as a football stadium night game for the after-dark stunts. The new HD transfer shows a well-preserved print and is sharp and clear. Simply put, it looks superb.

      The commentary track with Zemeckis, Gale, and Russell, carried over from the 2002 DVD reelease, is almost as fun as the movie. "We wanted Jimmy Stewart in It's A Wonderful Life, except he's totally corrupt," is how Zemeckis explains the genesis of Rudy. Kurt Russell laughs back: "So you cast me!" These guys are having a blast laughing their way through their remembrances, but they manage to stay on track and keep the production stories coming. Few commentaries manage to balance the information and entertainment so well.

      There's a four-minute reel of outtakes (apparently taken from surviving video dub; it's all quite hazy), a radio interview with Russell, a car commercial featuring Russell, galleries of art and stills, and not one but two isolated score tracks: along with Patrick Williams' musical score heard in the film is an alternate, unused score by Ernest Gold. We don't quite get it in the context of the film (at least not with dialogue and sound effects) but it's a more conventional, less satirical approach. The accompanying 8-page booklet features another fine essay by Julie Kirgo.

      By Sean Axmaker

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    • Caught on Blu-ray

    • The American films of German-born filmmaker Max Ophuls have never been as celebrated as his more overtly stylized and seductively romantic French films. That attitude is fed by a sense of ill-treatment by the studios. He dropped the "h" to become Max Opuls in the credits of his Hollywood movies, which can either be seen as an insult to his heritage or simply part of the American assimilation that his fellow immigrants also went through. More defining is Ophuls' miserable experience on his first American project, Vendetta (1947), a production micromanaged by Howard Hughes, who ultimately fired Ophuls. That experience colored Ophuls' entire American period to the point that he himself dismissed the films he made as compromised. I disagree with that assessment. His films haunt the space between the idealism of unconditional love and the reality of social barriers and fickle lovers. Yet his greatest films are anything but cynical; ironic certainly, but also melancholy, sad and wistful, and always respectful of the dignity of those who love well if not too wisely. There is a great dignity in his best American movies, but where his European films present obstacles in the form of social "rules" versus emotion and desire, his American films frame the same issues in terms of economics, opportunity, and the lack of social and legal power to break out of circumstances.

      Olive previously gave us the Blu-ray and DVD debut of Letter From an Unknown Woman (1948), the most continental of his American movies, a romantic tragedy set in an idealized past with a decadent, self-absorbed high society man and a dreamy poor girl briefly swept into his world. Caught shares the same elegant camerawork, evocative production design, and the meeting of high culture and working class society but imports it into contemporary (circa 1940s) United States. It's the first truly "American" film of his American era and, for all the film's over-enunciated social commentary, it is a powerful drama rooted in the dreams and anxieties and realities of American filmgoers.

      Barbara Bel Geddes is the dreamily naïve and innocent girl from Denver who comes to Los Angeles to marry her way to success. "A charm school is like a college and finishing school combined," promises her roommate, a department store model who still can't afford anything better than their tiny shared bungalow. Rebranding herself with the name Leonora, she is reluctantly talked in to attending a yacht party thrown by millionaire industrialist Smith Ohlrig (Robert Ryan) and, through sheer luck (whether it's good or bad luck is your call) ends up spending the evening with him: the nervous, naïve good girl playing at being available and the hard, controlling businessman who looks for the profit in every social transaction. He marries her for the same reason he does anything and makes her a prisoner to his whims, a social prop and hostess expected to jump at every command.

      In this jaundiced look at the American dream, money is power for the sake of money and power. Smith Ohlrig is a cruel, angry Charles Foster Kane, born to wealth but determined to prove to the world that he's as self-made as they come by building it into a fortune and a legacy. The character of Ohlrig was supposedly based on Howard Hughes in the original novel. No fan of Hughes himself, Ophuls pushed the portrait into satire, encouraging Ryan to take on Hughes' mannerisms and play up the controlling nature and emotional coldness of the character whose defining motivations are competitiveness and vengeance. It's all about winning, whether it's a business deal or a marriage. Bel Geddes comes off weak-willed and meek next to the stony, confident Ryan, unsure and tentative and thus easily overwhelmed by him, but what looks to be an unsure actress is actually a perfectly evocation of the character.

      James Mason, who gets top billing, doesn't appear until the second act. He's Dr. Larry Quinada, an overworked pediatrician in New York's East Side, and Leonora gets a job as his receptionist when she finally screws up the courage to leave Smith. The rest of the film is a struggle between the two men over Leonora (Smith, of course, doesn't like to lose) and Leonora's struggle over what is most important: the aspiration to wealth and social position that she has grown up adoring, thanks to the fashion magazines and gossip columns that she devours, or the personal growth and satisfaction of doing good and doing a good job, both of which Larry encourages. Mason delivers all the explanations, the psychological analyses of Leonora (the psychiatrist, played by the great, underappreciated Art Smith, delivers Smith's diagnosis), and the social commentary. The script by Arthur Laurents puts it all in dialogue form, unnecessarily so given the script's structure and Ophuls' imagery. It's a weakness in the film but a forgivable one given the film's strengths.

      A dark Cinderella melodrama, Caught belongs as much to the murky world of American film noir as to the polished European dramas of high society social appearances and power games, and it takes on class in America head on. Like many a European in Hollywood, Ophuls takes up the issue with a slightly different perspective, one that you don't see in his European films. While Leonora is the center of the story, she doesn't even have a real identity as far as society is concerned. The headlines of the marriage proclaim a Cinderella story of a car-hop who marries into wealth and stature, as if this was the definition of the American success story, and never gives her an identity outside of her marriage. She is referred to not by her own name, as an autonomous individual, but as an accessory--"Smith Ohlrig's car-hop wife"--in gossip column pieces. Never mentioned but far too present to be healthy are the bottles of pills that Leonora reaches for when she's under stress or unhappy, bottles that are nowhere to be seen when she's outside of Smith's control. These touches are far more resonant than the psychological commentary of the dialogue.

      Though distributed by MGM, Caught was an independent production without the standing resources of a major studio. Ophuls, with the help of the cinematographer Lee Garmes (who helped Josef von Sternberg create his gorgeously gauzy imagery) and art director Frank Paul Sylos (who created wonders on low budgets on many an indie feature), makes the most of his resources. This world is created entirely in the studio, even the first meeting between Leonora and Smith on a foggy dock (you can see the seams in the cyclorama backdrop serving as the night sky obscured by mist on the Blu-ray). That artificiality works well in the high society world, where everything is about appearances, and Garmes delivers a deep focus depth less showy but just as striking as Orson Welles' work in Citizen Kane. Ophuls contrasts the cavernous, tastefully austere empty spaces of the Ohlrig manors (reminiscent of Citizen Kane's Xanadu), where Leonora and Smith are separated by a vast gulf with Smith invariably dominating the foreground in close-up dwarfing Leonora in the background, with Leonora's tiny, cluttered apartments and the cramped, bustling doctor's office. That visual contrast continues throughout, becoming knowingly comical in a scene when Leonora and Larry go dancing in a crowded East Side bar, practically fighting their way through the dancers packed into the tiny space. Ophuls' camera is remarkably mobile in this scene, elegantly yet unobtrusively tracking them through the entire sequence in an unbroken shot. This isn't the intricate choreography of The Earrings of Madame de... but its simplicity is perfectly matched to the subject.

      Along the way Bel Geddes' Leonora transforms from callow, naïve kid to woman of strength and moral fortitude while Mason tempers the saintliness of Larry with moments of doubt and Ryan reveals Smith a chillingly cruel manipulator whose only goal is to "win" at all costs. Ophuls beautifully twists the American dream into a nightmare, where even the happy ending feels just a bit tarnished.

      The film debuts on Blu-ray and DVD in a very good edition. Like most of the films released on Olive from the Paramount vaults, it is a well-mastered edition of archival elements. It has not been restored and minor abrasions, scuffs, and speckles are visible through the film, but the clarity is good and the image is strong, with vivid contrasts and deep, inky blacks. The mono soundtrack is perfectly fine and there are no supplements.

      By Sean Axmaker

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    • The Big Red One on Blu-ray

    • Director, writer, pulp fiction author, raconteur and all-around maverick character Samuel Fuller was as proud of his military service as any of his artistic accomplishments. Like hundreds of thousands of other Americans, he enlisted in the armed services after Pearl Harbor was bombed by the Japanese. He joined the infantry and, as a rifleman in the First United States Infantry Division (aka "the Big Red One"), he participated in the Allied assault on North Africa in 1942, fought his way through Sicily, landed in the first wave on Omaha Beach during the D-Day invasion of Normandy, took part in the liberation of France and Belgium, and marched into Germany, where his squad helped liberate the Falkenau Concentration Camp. "I began a journal in North Africa," he shared in his autobiography, A Third Face. "If I survived, I was going to write about my war experiences." His experiences informed The Steel Helmet and numerous other war films but it was forty years before he put his own story down, first in the novel The Big Red One, published in 1980, and then in the film that came out the same year, in a compromised form that was partially restored in 2004.

      The Big Red One is Fuller's most autobiographical film, at once an old-fashioned war thriller and a portrait of the insanity and senseless destruction of combat, and the most expensive and ambitious production of his career. It charts the journey of his own real life unit (1st Infantry, 1st Platoon) through the experiences of four riflemen. Robert Carradine, Mark Hamill, Bobby Di Cicco, and Kelly Ward play the "four horsemen," as their tough, taciturn Sergeant (Lee Marvin) names them, the eternal figures in a rifle squad filled out by a couple of hundred replacements whose names they finally give up trying to learn over the four years of combat. The rest are simply "dead men with temporary use of their arms and legs," explains one of the riflemen, and in Fuller's clear-eyed portrait of combat, the only glory in war is survival.

      We never learn the platoon leader's his name--he's just The Sergeant or Sarge--but this retread (the film opens on him during the final day of World War I) guides them from green volunteers to hardened survivors. A World War II vet himself, Marvin's face is a road map of the war, the worn, battered, yet unusually calm and warm face of a survivor. His heart is hidden under a helmet and three-day stubble, but the weary serenity behind his eyes turn warm and protective when the children of liberated villages follow Sarge around like puppies and he wordlessly adopts them for a few heartbreaking moments.

      Carradine's cigar-chomping, pulp-fiction-writing Zab stands-in for Fuller--his journal entries provide the narration and commentary and at one point in the film he finds out that his novel, "The Dark Deadline" (a twist on Fuller's "The Dark Page") has been published and sent to the front in a military edition--but there's a little of Fuller in all of the young men. Hamill's Griff is a marksman who doesn't think he can murder another human ("We don't murder, we kill," explains Sarge); Di Cicco's Vinci the smart aleck Brooklyn kid; and Ward's Johnson the artist who sketches his impressions along the way.

      Fuller gives us North Africa, Italy, even D-Day on Omaha Beach, all recreated on a fraction of the budget and a sliver of the cast that Steven Spielberg had at his disposal for Saving Private Ryan. He shoots with a spare, suggestive visual style, largely in close-up, in part to keep the focus on the immediate experience, but also to make the most of his limited resources. Isolated, deserted locales dominate their odyssey. Death is abrupt and brutal, ready to strike at any moment. It verges on the unreal, and these boys learn to respond instinctively to the unreality of it all. For such a sprawling portrait, it is all about the details: condoms used for everything except sex, a wooden crucifix with the crucified dead-eyed Jesus in the desert presiding over scenes of death and destruction, the indescribable, cold fury that hits Griff when he discovers the horrors that the Nazis perpetrated at the concentration camp they liberate.

      Fuller's original rough cut reportedly ran over four hours. That cut is lost to time and commerce (its ownership bounced around as studios sold off libraries) but in 2004, film critic, historian, and documentary filmmaker Richard Schickel oversaw a reconstruction using a trove of unearthed footage and Fuller's original script as a guide. It doesn't come close to the lost cut but The Big Red One: The Reconstruction fills out the film with over 45 minutes of new and expanded scenes that restore characters lost in the cutting, fill out experiences, and give the film a shape missing in the original cut. Schickel also gives the film the perfect opening Fuller quote: "This is a fictional life based on factual death." The most defining addition (apart from the sense of heft that the accumulation of details gives the experience) is a structural element: a Nazi Sergeant (Siegfried Rauch) whose journey mirrors the Sarge's. In the theatrical cut he appear at the end of the film in a collision with Sarge that bookends the opening scene. In the expanded version he's a ruthless Nazi (he kills his own soldier in one scene) and a brutal officer who winds through the film in parallel to Sarge, a warped mirror double. It gives the climactic echo of the opening scene a much more complicated resonance that reflects Fuller's distinctive approach to the war film. At the end this Nazi is, like Sarge, just a soldier and soldiers don't judge. They kill and when the war is over they stop killing.

      The Blu-ray debut of The Big Red One only upgrades the theatrical cut to high definition. It looks superb, with noticeable improvement in clarity, detail, and color. The expanded 2004 Reconstruction is included in standard definition only, making it more like a supplement than what it should be: the featured attraction. Given that, it looks very good, just not 1080p good.

      The Blu-ray imports all of the supplements from the two-disc DVD special edition. Film historian and reconstruction producer Richard Schickel provides commentary on the reconstructed version, discussing the changes in terms of story and theme. The Real Glory: The Reconstruction of the Big Red One is a 48-minute documentary from 2005 that opens with the young stars (now 24 years older) doing their impressions of Fuller growling and barking orders with a gruff energy ("That was what it was like to be directed by Sam Fuller in The Big Red One") and concludes with a journey through the legend of Fuller's long lost original cut, the inspiration for the reconstruction, the process of searching for and restoring missing scenes, and the technical tools used in the reconstruction.

      There are over 30 minutes of further deleted scenes, including an eight-minute "French Vichy" scene that was an entire subplot originally shot for the opening sequence but unused in the reconstruction (for editorial as much as technical reasons). Two scenes are shown in their rough form (Sam Fuller's voice is heard in one) and there are comparisons of the Amphitheatre Cavalry Battle and the "Tank Baby" scenes from before and after the reconstruction. All are presented with commentary by reconstruction editor Bryan McKenzie and post-production supervisor Brian Hamblin (which is, frustratingly, not an optional track--you can't view the scenes without their commentary). They explain why some scenes were not incorporated and point out the differences in extended reconstruction scenes.

      It also features the complete Fuller-produced 30 minute promo reel which tantalized film historians with footage cut out of the original release and inspired the reconstruction project when it was discovered in 1999, Richard Schickel's 1973 documentary The Men Who Made the Movies: Samuel Fuller, the archival War Department documentary The Fighting First, a still gallery, original TV and radio spots and trailer and the 2004 reconstruction trailer.

      The disc is available as a stand-alone single-disc Blu-ray release and as part of the four-disc set World War II Collections: Invasion Europe, along with the feature films The Dirty Dozen, which also stars Lee Marvin, and Where Eagles Dare with Richard Burton and young Clint Eastwood, both on Blu-ray, and the documentary George Stevens: D-Day to Berlin, which is included as a "bonus DVD."

      By Sean Axmaker

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  1. New Books

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    • The Lost Notebook: Herman Schultheis and the Secrets of Walt Disney's Movie Magic

    • By John Canemaker

      In this handsomely illustrated book, author John Canemaker brings to life the covert scrapbook of special effects wizardry compiled by Disney artist Herman Shultheis, who used it to detail how many animated effects were created over seventy years ago.

      Schlutheis not only worked on effects photography but also documented, sometimes painstakingly, how famous sequences in Disney animated classics were conceived and achieved--from the elaborate opening shot of Pinnochio to the snowflakes in Fantasia. Schultheis was in the perfect position to create such a chronicle: his work at the Disney studios was focused on effects photography, but he also shot the reference photographs that animators would often use when creating their drawings.

      Schulteis' story reads a bit like a Hollywood tale: he was a German immigrant and a part-time nudist, a suspected German sympathizer, and a technical whiz with a camera who worked at the Disney studios from 1938 to 1941. After World War II, he worked at Twentieth Century-Fox and Telefilms before going to Guatamela, camera in hand, in 1955. He never came back--disappearing while on a trip into the jungle.

      Thirty-five years later, after his widow's death in 1990, his notebooks were discovered in a cabinet drawer. The originals are on display at The Walt Disney Family Museum in San Francisco and are reproduced for this book. A forward by Pixar's Pete Docter, the Academy Award-winning animation director, puts the importance of the notebooks into context, helping us to understand what they represent in terms of the history of animation and why they are so valued by technicians and film buffs today.

      John Canemaker is an Academy Award-, Emmy Award-, and Peabody Award-winning animation director and designer. His twenty-eight minute film, The Moon and the Son: An Imagined Conversation, won the 2005 Academy Award for Best Animated Short, and his more than twenty films (and their original art) are in the permanent collection of the Museum of Modern Art in New York. He is also a tenured professor and director of the animation program at New York University's Tisch School of the Arts.

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    • Cosby: His Life and Times

    • By Mark Whitaker

      Bill Cosby has been a part of our cultural history for over fifty years--from his early comedy records to his groundbreaking work in television, movies and stage. Yet this is the first major biography of this talented man.

      Author Mark Whitaker spoke with Cosby himself, in a series of in-depth interviews, as well as over sixty of the actor's associates and close friends to help bring the man and artist into sharper focus .

      Cosby grew up in a Philadelphia housing project, the son of an alcoholic, largely absent father and a loving but overworked mother. He turned his life around when he joined the Navy, talked his way into college and seized his first breaks as a stand-up comic.

      Published on the 30th anniversary of The Cosby Show, the book reveals the behind-the-scenes story of that groundbreaking sitcom, as well as Cosby's bestselling albums, breakout role on I Spy, and pioneering place in children's TV. It also deals with professional setbacks and personal dramas, from an affair that sparked public scandal to the murder of his only son. Mark Whitaker is the former Managing Editor of CNN, Washington bureau chief for NBC News and reporter and editor at Newsweek magazine, where he became the first African-American to lead a national newsweekly. His critically acclaimed family memoir, My Long Trip Home, tells the story of his parents--a star-crossed interracial couple who married in the 1950s--and his grandparents, black undertakers from Pittsburgh and French Protestants who helped hide thousands of Jews from the Nazis during World War II. Whitaker lives in New York City with his family.

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    • The Making of Gone With the Wind

    • By Steve Wilson

      Seventy-five years ago, moviegoers watched a young heroine stand on a hillside in the early morning hours and swear she would never go hungry again. By that point in the movie, Scarlett O'Hara had already encountered love, loss and an invading army. Audiences were swept up in the epic story and the film has become an enduring classic.

      To commemorate the milestone anniversary of this beloved film, author Steve Wilson scoured the archives of the David O. Selznick collection at the Harry Ransom Center at the University of Texas at Austin for this new book chronicling the making of the film.

      This rarely-seen material offers fans and film historians a fascinating behind-the-scenes view of the challenges, trials, and successes related to the production of this timeless classic.

      Before a single frame of film was shot, Gone With The Wind was embroiled in controversy. There were serious concerns about how the film would depict race and violence in the Old South during the Civil War and Reconstruction. And while Clark Gable was almost everyone's choice to play Rhett Butler, there was no clear favorite for Scarlett O'Hara which, stymied the legendary producer Selznick for some time.

      There was also the huge challenge of turning Margaret Mitchell's Pulitzer Prize-winning epic into a manageable screenplay and producing it at a reasonable cost. Various screenwriters tried to tame the story and Selznick himself kept the pressure up with his own notoriously detailed memos. George Cukor was hired and then fired before Selznick finally settled on Victor Fleming as the man most able to handle the scale of both the story and the production.

      With a foreword by film historian and TCM Host Robert Osborne, the book includes on-set photographs, storyboards, correspondence, fan mail, production records, costumes and, of course, Selznick's own lengthy memos. The author writes effectively about how creative choices helped produce one of the most loved films of all time and why it remains so influential all these years later.

      Steve Wilson is the curator of the film collection at the Harry Ransom Center at the University of Texas at Austin. He has curated several exhibitions at the Ransom Center, including Shooting Stars, a display of Hollywood glamour photography, and Making Movies, a major exhibition on film production.

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    • The World of Raymond Chandler: In His Own Words

    • Edited by Barry Day

      The fog shrouded streets, the double-dealing hustlers and the hardboiled dames who could break your heart or just as easily plug you with a bullet--the world of Raymond Chandler was not for the faint of heart.

      Chandler never wrote an autobiography or a memoir, but Day, making use of Chandler's novels, short stories and letters, tells the story of the man "with no home"--a man precariously balanced between his classical English education and the fast-evolving American culture between and after the two World Wars.

      Chandler reveals what it was like to be a writer, and in particular what it was to be a writer of "hard-boiled" fiction in what was for him "another language"--a fast-changing American vernacular that didn't make things easy. He also discusses the work of his contemporaries: Dashiell Hammett, James M. Cain, Hemingway, Fitzgerald, Agatha Christie, Erle Stanley Gardner and Somerset Maugham, among others.

      But Chandler's reflections on place and character--the most often discussed and memorable aspects of his fiction--are among the highlights of Day's selections for this book. Day includes Chandler's reflections on Los Angeles, his adopted city, and the locales he used in his writings, as well as on his time in Hollywood working with Billy Wilder, Howard Hawks, Alfred Hitchcock and other towering figures of the studio era. Day also includes a section on Philip Marlowe, Chandler's alter ego, the incorruptible knight with little armor who walks the "mean streets" of a city not made for chivalry. Barry Day is an author and playwright. In addition to his books on Noël Coward, Day has written about Dorothy Parker, Oscar Wilde, Johnny Mercer, and Rodgers and Hart. He has written and produced plays and musical revues showcasing the work of Coward, the Lunts, Oscar Wilde, and others. He lives in New York, London, and Palm Beach.

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  1. DVD Reviews

    • Updated: January 3, 2011, 10:42 AM ET
    • The Unknown Known on DVD and Blu-ray

    • The title of Errol Morris' The Unknown Known, a profile of the life and career of former Secretary of Defense and Secretary of State Donald Rumsfeld, is a direct reference to Rumsfeld's most famous TV appearance. Discussing the evidence (or rather, the glaring lack of evidence) linking Iraq with weapons of mass destruction provided to terrorist groups, which was the stated reason for invading Iraq, Rumsfeld told reporters: "there are known knowns; there are things that we know that we know. We also know there are known unknowns; that is to say we know there are some things we do not know. But there are also unknown unknowns, the ones we don't know we don't know." It was a cagey piece of analysis, both a true assessment of the nature of intelligence and an obfuscation of the administration's intelligence failure, in line with another sophisticated excuse offered up to the press: "the absence of evidence is not the evidence of absence." A decade later, the evidence is still absent and Rumsfeld is still refusing to admit that the United States invaded Iraq without provocation or justification, merely suspicions ungrounded in any firm evidence.

      It is not exactly a companion piece to The Fog of War, Morris' documentary on former U.S. Secretary of Defense Robert MacNamara who oversaw the escalation of American involvement in Vietnam. Like that 2003 documentary, Morris engages with a former Secretary of Defense, discussing a foreign war that was launched and (mis)managed under his watch and the indefensible misconduct and scandals involving American soldiers and officer. Where is differs is the response of the subject: MacNamara, with the --- of hindsight and history and the thoughtfulness of a statesman more interested in truth than a personal agenda, admitted not just to his mistakes but to the damage the war wrought on American lives (and, of course, Vietnamese lives, though the focus is one the American legacy). A longtime politician who entered politics as a congressman elected in 1962 and served in the administrations of Richard Nixon, Gerald Ford, and George W. Bush (George H. W. Bush did not trust him), Rumsfeld is a storyteller who makes his case with a gentle matter-of-factness backed by an unforced authority and genial ease, whether talking to reporters during the war or talking to camera in the interviews conducted for the film. The smile, with those half-moon eyes suggesting a grandfatherly affection backed by experience and cocksure authority, is a defining image in the film.

      Errol Morris is one of the most inventive and engaging non-fiction filmmakers in the world today. He brings a strong visual presentation to pull audiences in to his films while building his case on excellent research and choice archival materials. While The Unknown Known features video clips and archival images to fill in Rumsfeld's past, however, it is his talent as an interviewer and interrogator, honed over decades of filmmaking, that gives the film its dramatic center. The film is built on hours of one-on-one interviews between filmmaker and subject, with Rumsfeld speaking directly to the camera. It's a signature of Morris' films thanks to his own invention, the Interrotron. Basically, it uses mirrors in front of the camera a way that allows interviewer and subject to engage each other directly while the subject is in looking directly into the lens. It provides an intimacy with the interview during shooting and during viewing.

      Morris himself was surprised that Rumsfeld agreed to sit down for a series of interviews for this production, given his politics and his history. Watching Rumsfeld respond to Morris' questioning, you can make your own guess as to why he did. Morris is no crusading journalist hammering his subject in a debate and his approach as an interviewer is not confrontational. He engages Rumsfeld on the issues, pressing him but not challenging him. Rumsfeld responds with smiling assurance that never wavers as he repeats the same justifications and excuses he made a decade ago, despite the evidence that has come to light in the years since. And as Morris uses silence as a way to give Rumsfeld the opportunity to continue, to elaborate, to reconsider, Rumsfeld treats it as a game of chicken, simply smiling silently back at the camera until Morris continues. The kind of revelations that MacNamara offered are nowhere to be seen in Rumsfeld, whose purpose seems to be solely to explain and sustain his legacy as he sees it. It's a contest for him, a struggle over who will define his story, like a one-on-one version of the press conferences that made Rumsfeld a media star of sorts in the early 2000s.

      With Rumsfeld constantly obfuscating and sidestepping issues (he calls the abuses at Abu Ghraib exaggerated and denies waterboarding was ever sanctioned), the most interesting parts of the film involve Rumsfeld reading from the hundreds of thousands of memos he wrote during his government service. He called them "snowflakes" and takes pride in them, and true to form, when confronted with a memo that contradicts his own stated position, he sets about reinterpreting it for the camera. With Morris unable to get Rumsfeld to reconsider anything in his legacy, these contradictions are the closest we have to challenging his record. You don't get the dramatic jolt or profound sense of struggle between truth and power that define previous Morris documentaries, from The Thin Blue Line (1988) to Standard Operating Procedure (2008). Rather, you get a glimpse at power protecting itself, at discredited talking points continually presented as fact, at politics as a game of shaping and controlling the message in face of any evidence to the contrary. Discussing Tariq Aziz, the Foreign Minister and Deputy Prime Minister of Iraq under Saddam Hussein, Rumsfeld calls him "A perfectly rational individual. You wonder what goes on in a mind like that." I have that same reaction at the end of The Unknown Known. There is no doubt that Rumsfeld is both a smart, savvy political players and a polished media creature. But for all the easy-going pose of humility, he isn't the least bit humble, and he is not about to let any self-reflection complicate or contradict the legacy he has so carefully built and maintained.

      On Blu-ray and DVD, with a strong picture, thanks to Morris' austere style (a single subject set against a dark background) and digital photography. The archival footage shows its age, of course, but the interview scenes and graphics are vivid and bold and look superb on the discs. Both feature commentary by filmmaker Errol Morris and a short interview with Morris discussing the genesis and the production of the documentary. Also features the 57-minute archival presentation "Third Annual Report of the Secretaries of Defense," an hour-long recording of a conference from 1989 featuring Rumsfeld, Robert McNamara and Caspar Weinberger, and the text of Morris' four-part New York Times op-ed piece "The Certainty of Donald Rumsfeld."

      By Sean Axmaker

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    • Updated: January 3, 2011, 10:42 AM ET
    • Countess Dracula on Blu-ray

    • Hammer Studios struggled to remain relevant in the seventies as their lurid Gothic style was upstaged by the transgressive horrors in films like Night of Living Dead, Rosemary's Baby, and The Witchfinder General, which pushed the boundaries of movie conventions, screen violence, and subject matter. Their answer was to simply push their natural tendencies in R-rated territory. In other words, more explicit blood and boobs. Their most notorious examples were a series of erotic vampire films with female predators who use their bodies and their wiles to seduce their prey.

      Title aside, Countess Dracula is not a vampire at all. The screenplay is inspired by the legend of Elizabeth Bathory, the Hungarian countess who murdered hundreds of girls in the late 16th century, ostensibly to bathe in the blood of virgins to keep her youth, or so the legend goes. This isn't a faithful retelling, however, but an original take on the legend with a Dr. Jekyll and Mr. Hyde dimension to it. Polish-born actress Ingrid Pitt, fresh from playing the bloodsucker Carmilla in The Vampire Lovers (1970), made her second Hammer appearance as the Countess Elisabeth Nádasdy, though you wouldn't recognize her when she enters the film under ridges of prosthetic wrinkles and old age make-up. She's an aging widow burying her husband (how many Hammer films have so set the atmosphere by opening with a funeral?) and bitter over how he has split the inheritance between her and their daughter Ilona (a very young and innocent-looking Lesley-Anne Down), who had been sent to Vienna years before. There is no mention of why she was sent away--it was ostensibly for her education in the cultural center of Europe--but Elisabeth's disdain for human life (she doesn't flinch when her carriage cripples a peasant in a horse-drawn hit-and-run) and the controlled fury of greed and envy she shows at the reading of the will suggests it may have been for the girl's own protection, just one of the unspoken suggestions woven through the film.

      Pitt's reputation has more to do with her voluptuous appearance and frequent nudity than her acting chops but she's really rather effective as Countess Elisabeth, blithely cruel and vindictive as the wrinkled dowager ferocious and renewed with a lusty passion after the blood of serving girl restores the bloom of youth to her shriveled cheek. The serving girl disappears that night, after a visit to the chambers of the Countess, and the next morning a young beauty "arrives" at the castle. Elisabeth has taken over the identity of her daughter Ilona and has arranged for the real Ilona to be kidnapped and held hostage by a mute henchman in a forest cottage. The youth effects are short-lived, of course, so a steady parade of victims is necessary to maintain the transformation, and she's abetted by her loyal nurse (Patience Collier) and Captain Dobi (Nigel Green), the Castle Steward and her longtime lover. It's not just her own youth she desires, however. She's obsessed with handsome young Lt. Imre Toth (Sandor Elès), who served with her husband and was rewarded in his will with horses and the manor stables. So he sticks around, much to the resentment of Dobi (Nigel Green). With the Count's death he expected no challenge to her affections.

      The explanation for this crimson fountain of youth is tossed off with some rather unconvincing ancient text discovered by Master Fabio (Maurice Denham), the castle historian. Though little more than a plot device in the script, Denham makes Fabio a delightful character and a respite from the scheming around him. Even better is Green, a grand old character actor whose wounded dignity and bruised sense of honor makes Dobi almost as dangerous as Elisabeth, as well as just a little sympathetic.

      Countess Dracula belongs to Hammer's erotic horrors of the seventies that began with The Vampire Lovers (1970) and continued through Lust for a Vampire (1971) and Twins of Evil (1971), among others. And sure enough, there are plenty of moments of topless spectacle. But where those films follow a familiar plotline of bloodlust and erotic awakenings, Countess Dracula weaves a fascinating pattern of complicity, jealousy, and blackmail among the central quartet that gives the routine plotting a fascinating subtext.

      Dobi resents the competition of Imre but serves the Countess faithfully nonetheless, securing her supply of young virgins while plotting to undermine the affair. Julie, Elisabeth's personal maid, is even more faithful to her mistress, little realizing that Elisabeth has imprisoned the real Ilona. And when Imre finally learns the truth about the Countess, he's neatly blackmailed into remaining her sexual slave. The four of them keep up the façade of normalcy as bodies are uncovered and the conspiracy is on the verge of collapsing under the Countess' obsessive escalation of killings and increasingly feral bloodlust.

      Hungarian-born director Peter Sasdy, the most interesting of Hammer Studio's directors in this era of transition, brings a perverse psychological weirdness to the film, twisting and intertwining conflicting motivations and overwhelming emotional drives into a spiral of self-destructive acts that are far more fascinating than the usual battles of good and evil. He suggests the depraved atmosphere in the opening scenes, as the peasants hiss "devil woman" and "witch" when Elisabeth rides by. And he luxuriates in the Hammer style, with castle sets filled with period detail and color, village locations populated by hearty characters, great costumes, and of course streams and splashes of blood jumping out of the image.

      Countess Dracula was previously available on DVD on an Ingrid Pitt double-feature with The Vampire Lovers from MGM. The film was originally cut for the U.S. market and received a PG rating, but it received an X certificate in the UK for the nudity and blood, and that version was restored for the non-anamorphic letterboxed DVD and for the new remastered Blu-ray. (Pitt was dubbed for the film by a British actress, but it's so well engineered that you'll only notice if you compare the voice with Pitt's other film appearances.) The color is strong and vivid and the image clean and sharp, a fine edition that should satisfy Hammer fans.

      The disc includes the brief new featurette "Immortal Countess: The Cinematic Life of Ingrid Pitt," a routine but informative survey of her career with the usual suspects showing up as commentators (Ms. Pitt passed away in 2010), and an audio archival interview with Pitt that runs about nine minutes (but doesn't discuss this film). Carried over from the DVD is commentary with director Peter Sasdy, co-writer Jeremy Paul, and star Ingrid Pitt, moderated by Jonathan Southcott, and there is an animated still gallery.

      By Sean Axmaker

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    • Updated: January 3, 2011, 10:42 AM ET
    • Video Nasties: The Definitive Guide on DVD

    • The term "video nasty" isn't exactly a common phrase in the U.S. but in Britain it defines an era of nanny state censorship. The British Board of Film Censorship, or BBFC, determined what could be shown in British theaters and often forced cuts to content or outright banned films, but home video did not exist when the law was written. When the video rental business took off in the 1980s, films that were either banned or censored in theaters were available uncut on tape. The fears of kids being emotionally scarred or corrupted by these tapes were fanned from an ember to a conflagration of controversy thanks to a campaign led by social conservative reactionary activist and self-appointed moral watchdog Mary Whitehead. Members of Parliament, riding the wave of public hysteria, passed the Video Recordings Act of 1984, which forced all videotape releases to be passed by the BBFC before they could be rented or sold in the UK. It imposed an even stricter content code on commercial videotapes than on theatrical releases and, though standards have eased in the decades since implementation, the act is still in effect.

      Video Nasties: The Definitive Guide is a three disc set anchored by the Jake West's 2010 documentary Video Nasties: Moral Panic, Censorship and Videotape, a comprehensive history of the social hysteria and media coverage surrounding the call for censorship, the Parliamentary response, and the reverberations of the act. It opens with a quick montage of clips from the 72 films that were banned under the Video Recordings Act of 1984, with rapid-fire glimpses of gruesome, explicit, and just plain bizarre scenes from the movies. This films on this hit list range from the disreputable (Faces of Death, I Spit On Your Grave) to the notorious (Snuff, Cannibal Holocaust) to classics of the genre (The Evil Dead, Last House on the Left, Possession). Being a British production of a British phenomenon, some of the films cited feature a different title than their stateside release (Zombie Flesh Easter, for instance, is Lucio Fulci's notorious Italian horror originally titled Zombi 2 in Italy and retitled simply Zombie for the U.S.). The affection for these movies is apparent in from the opening minutes, as film historian and horror experts describe the forbidden attractions of films that were mostly, by their own assessments, "rubbish." It's not a matter of defending the films as great art. It's all about acknowledging them as cultural artefacts like any other: they entertain, in some cases inspire, and in a very few instances rise to the level of art.

      Jake West is clearly an aficionado whose sympathies are with the horror fans and anti-censorship activists. He comes from a background of directing featurettes for DVD releases of horror films and has directed a couple of his own horror shorts. Video Nasties: Moral Panic, Censorship and Videotape plays like a high-quality, feature-length disc supplement with a significant budget, dominated by talking head interviews, interspersed with archival news clips and movie clips, and spiced up with cute video effects to parody the look of VHS tape wear and damage. It is also highly informative, packed with expert interviews, from horror historians to news reporters to officials and politicians from the era, and features essential archival footage of Mary Whitehead, former BBFC director James Ferman and other pro-censorship activists on TV talk shows and news reports. Fans of the genre may recognize some of more authoritative participants, like horror film historians Kim Newman and Alan Jones, British film and media historian Julian Petley, and genre film directors Neil Marshall and Christopher Smith. Other important voices include human rights lawyer Geoffrey Robertson and social scientist and academic Martin Barker, and on the pro-censorship side is Graham Bright, the conservative MP who introduced the bill and still proudly stands by his work.

      The hysteria mirrors the American comic books scare in the fifties, when horror comics were accused of causing juvenile delinquency, a proposition backed up by flimsy research and non-existent studies that were never scrutinized by lawmakers. It became a media circus, with Whitehead proclaiming on TV "I have never seen a video nasty" and "Oh please, I actually don't have to see visually what I know is in that movie" and reporters refusing to challenge her. More appalling is the willful misrepresentation and wholesale fabrication of research that was presented in Parliament and picked up by the media without any due diligence. When the fraud was revealed, no one seemed to care. Who needs facts when you know you are right?

      Tapes were confiscated from stores by police without warrant, based solely on directives from the BBFC, and some movies were initially banned by title alone, without ever actually being screened by the censors (among the confiscated titles: Sam Fuller's World War II drama The Big Red One and the musical The Best Little Whorehouse in Texas). Confiscated tapes were destroyed in a modern-day answer to a book burning. The BBFC gave explicit instructions to keep their ever-expanding lists of titles secret, not wanting to create further interest in them, but also creating a Kafkaesque environment of secrecy and control. Writer and director Andy Nyman explains that "the people that put through the act were convinced that what they were seeing in the films were real," and sure enough Graham Bright, the MP who introduced the original law, insists decades later that notorious films like Snuff and Faces of Death include real violence, still repeating the rumors as fact long after they had been dispelled.

      72 films in all were banned for their violent content, but it's more than just about banning a few movies. This was a struggle over free speech. In the name of protecting children from unproven effects, the government made these works unavailable to adults as well. People went to jail for selling or renting these tapes. And when the act was proven to be invalid due to a legal misstep, it was simply reintroduced and passed without revisiting the disproven studies and hysterical claims rolled out when the initial law was passed.

      39 films are still banned for their violent content. 33 other film were initially banned but subsequently acquitted and removed from the Director of Public Prosecution's list. Trailers for all 72 of those films are collected on the bonus discs of this three-disc set, "The Final 39" banned movies on Disc 2 and "The Dropped 33" on Disc 3. You can view them back to back as a running trailer show or with newly-filmed introductions by many of the historians, academics and genre journalists featured in the documentary. Or you can explore each title separately via the menu. It's over seven hours of trailers and introductions altogether, a substantial supplement with a sincere appreciation for the subject.

      The trailers are actually a pretty good introduction to the films and why they were banned--some flaunt the money shots, at least in slivers, and all at least tease audiences with the promise of their most grotesque scenes of violence--and you can decide for yourself which of these warrant further investigation. These were once holy grails for hungry young horror fans in Britain (and even some in the U.S.), a kind badge of honor in some quarters, but today most of them are more interesting for their notoriety than their quality.

      The final supplement is the "Video Ident-a-thon," a montage of logos from the VHS labels, runs almost an hour. It makes for some strange video wallpaper, a jolt of nostalgia for anyone who came of age in Britain in the eighties and a curiosity for the rest of us. It is located on the first disc with the documentary.

      As for the video quality itself, the new interviews were shot on HD video and look just fine. The archival clips show their limitations and the film clips and trailers are standard definition and appropriately rough and ragged in places. It works just fine in the context of this production and it fact adds to the context of the grungy VHS era of video nasties.

      By Sean Axmaker

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    • Updated: January 3, 2011, 10:42 AM ET
    • The Train on Blu-ray

    • Is art worth fighting for? Dying for? These are questions posed in The Train (1964), a thrilling WWII action picture, both to the characters in the story and to us, the audience. When the art in question is a treasure trove of French impressionist art ("the heritage of France"), at risk of being hauled out of the country by Nazis to an uncertain fate, the questions become all the more difficult to answer.

      How refreshing it is for a movie filled with eye-popping, visceral, kinetic action to also center around such a thoughtful dilemma. The Train is not only gripping but timeless, because the issues at its core are timeless.

      It's also timeless in the way director John Frankenheimer, working from an Oscar-nominated script by Franklin Coen and Frank Davis (along with three uncredited writers), crafts an efficient, no-nonsense style that grabs audience attention right off the bat. Nazi Colonel Von Waldheim (Paul Scofield) quietly enters a building to look admiringly at scores of great impressionist paintings hanging on the walls. "Degenerate art," he tells a French curator. "I should detest it." But it's clear he doesn't, even as he then oversees the crating up of all this art in preparation for shipment to Germany. These are the last days of the German occupation of France. The Allies are closing in fast, and Waldheim wants to spirit the art away to Germany on a special train. The curator, however, informs the local French resistance of the scheme, and the French train-yard chief, Labiche (Burt Lancaster), is asked to prevent the train from leaving, or to at least to delay it long enough until the Allies to arrive in a few days' time.

      And so begins a cat and mouse game between Waldheim and Labiche, who at first is dead-set against risking any lives for the art. Eventually, however, Labiche becomes as determined to keep the train in France as Waldheim is obsessed with getting it out. Labiche and his men concoct clever, elaborate schemes to delay and reroute the train under the constant noses of brutal Nazis. Scofield is positively brilliant as Waldheim, whose love for the art makes him at best a complex Nazi, and Lancaster, at age 50, delivers one of his most physical performances -- running, jumping, climbing trains, scrambling over walls, and sliding down steep hills. And for the last section of the film he does all that with a limp, caused by a real mishap he had while golfing on a day off. Frankenheimer later called Burt Lancaster "the strongest man physically I've ever known. He was one of the best stuntmen who ever lived. I don't think anybody's ever moved as well on the screen."

      Frankenheimer shoots many of Lancaster's stunts in long, complex takes, often having his star end the shot in close-up, as if to impress us (successfully) that it was in fact Lancaster doing his own stunt work. The long takes also allow the audience to feel the visceral reality of the action. In this film, the trains are real, the locations are real, and the explosions are real: full-scale, with no effects work. This creates genuine impact, and is all the more impressive today, fifty years on, because very few movies with such large-scale action are ever still made in this way.

      The Train impresses in other ways, too. Almost every shot in the film employs razor-sharp deep-focus photography, resulting in one of the most beautiful black-and-white features of the era. (This is said to be the last great action movie done in black and white.) Frankenheimer's handling of crowd scenes is remarkable, with wide shots crammed with action and extras deep in the frame. Here again, the long takes reveal an unbelievable amount of complicated choreography work. Often, Frankenheimer incorporates people and objects into the extreme foreground so as to emphasize the overall depth of the image. Even something as simple as Lancaster's initial walk through the train yard ends up being one of the most memorable shots in the movie, because of the massive amount of activity involving people and machinery going on all around him in the single take. And the sound design is phenomenal, with the screeching, groaning, hissing and metallic sounds of the moving trains adding immensely to the sense of gritty, sooty realism. Long sections of the film are constructed wordlessly, with the dramatic visuals and intense sound telling the story -- the mark of a first-class filmmaker.

      Ultimately, The Train moves toward a thrilling final sequence that culminates with the final standoff we know must come. ("A painting means as much to you as pearls to an ape!" Scofield berates Lancaster.) It's to the film's credit, however, that it does not present the scene as a simplistic western-type showdown. The variation used works ever better, because it feels of a piece with the sense of loss permeating the German side of the things that has been established from the first moment of the movie.

      Twilight Time's Blu-ray is beautiful. The Train surely hasn't looked or sounded this great since its initial theatrical release. On a new audio commentary track, film historians Nick Redman, Julie Kirgo and Paul Seydor offer good insights into the film, though a single commentary track with so many people is inherently a bit unwieldy, as participants tend to cut each other off or jump around erratically with their points. Kirgo also supplies superb liner notes with all sorts of interesting production information and analysis.

      Otherwise, the Blu-ray retains the extra materials first seen on MGM's 1999 DVD release: an isolated score track, and another audio commentary track with director John Frankenheimer, who died in 2002. His comments are sporadic but fascinating, as he talks about the challenges of the production, his use of lighting and depth of field, and how he approaches a film in terms of the emotional stakes for an audience. Of Michel Simon, the famous French actor who plays to perfection the role of the ill-fated train engineer Papa Boule, Frankenheimer says, "That face! I just couldn't take the camera off him." He also talks of introducing the paintings as he would a human character in the opening sequence, which incidentally was the only one to be shot on a soundstage.

      The Train, which Frankenheimer took over from director Arthur Penn after Penn and Lancaster had a falling out, turned Frankenheimer's life around; he spent a year on location in Normandy, then returned four years later to live there for seven years. In the meantime, he turned out a picture that impresses for its balance of large-scale drama and intimate cat-and-mouse conflict between vividly real characters. A great film.

      By Jeremy Arnold

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    • Updated: January 3, 2011, 10:42 AM ET
    • Arch of Triumph on Blu-ray

    • One of several independent film companies attempting to establish a foothold in Hollywood was Enterprise Productions, which generated a string of quality pictures in the late 1940s. Enterprise's directors included Andre De Toth (Ramrod), Abraham Polonsky (Force of Evil) and Max Ophüs (Caught), but its only box office hit was Robert Rosson's Body and Soul with John Garfield.

      Enterprise's biggest production is director Lewis Milestone's Arch of Triumph, from a novel by the noted Erich Maria Remarque, who had earlier written the source novel for Milestone's anti-war classic All Quiet on the Western Front. Producer David Lewis scored a coup by securing the services of stars Ingrid Bergman and Charles Boyer. After only a few years in Hollywood, Bergman had been nominated for Best Actress three times and won once, opposite Boyer in Gaslight. Remarque's story took place in Paris just prior to the Nazi invasion, a place and time that Bergman had made her own in the wildly popular romantic thriller Casablanca. The highly anticipated movie seemed a guaranteed hit.

      But author Remarque wrote few romances with happy endings. Having fled the Nazis, Austrian doctor Ravic (Charles Boyer) is an undocumented, stateless political refugee living in Paris. He earns money by practicing in secret. Helping maintain Ravic's anonymity is his best friend Maurice (Louis Calhern), a former Russian colonel who now works as a doorman at the Scheherazade Café. Ravic prevents a suicide by Joan Madou (Ingrid Bergman), an Italian-Romanian refugee who has taken a succession of lovers to survive. He cannot resist falling in love with her. Living by night and avoiding police, they travel to Antibes on the French Riviera. Joan attracts the attention of various playboys, including the wealthy & possessive Alex (Stephen Bekassy). Ravic becomes unsure of Joan's love. Back in Paris, Ravic catches a glimpse of a portly German on the streets of Paris, a man who may be Ivon Haake (Charles Laughton), the Nazi torturer who murdered Ravic's lover in Austria. Ravic is dead set on killing Haake, if he ever sees him again.

      Arch of Triumph has been out of circulation for so long that fans of Ingrid Bergman will consider it a major discovery. Charles Laughton's following also jumps at the chance to see him in something 'new'. Unfortunately, the beautifully produced and directed film was a major box office flop. Neither an escapist romance nor an audience-friendly thriller, it's a grim drama about disillusioned and desperate people. By 1948 audiences no longer welcomed stories about political misery in Europe. They had embraced the wartime morale booster Casablanca mainly because of Bogie and Bergman. Warner's well made Confidential Agent starred Charles Boyer as a Spanish Republican dodging Franco agents in wartime England. Audiences didn't care about the issues involved, and noticed only that Boyer and co-star Lauren Bacall didn't generate much romantic chemistry. Carol Reed's The Third Man was a notable exception to this trend.

      Audiences liked political complexity even less in the 1940s than they do now. Arch of Triumph was labeled as 'sluggish' and unfocused, which we can now read as, "doesn't follow the accepted pattern for wartime romance stories." The movie is surprisingly adult in its outlook. Ingrid Bergman's Joan Madou has fled to Paris. Unable to work, her only way to live is to find a man to take care of her. Dr. Ravik comes upon her because her lover has died in her bed. Terrified that the French police will nab her, she feels like a common prostitute. He's demoralized as well. It's a decidedly downbeat romance.

      Arch of Triumph is fairly faithful to the novel by Erich Maria Remarque, one of the few authors who wrote passionately about civilians displaced by the upheavals of war. It's in the same vein as Remarque's novel Flotsam, an 'annihilating epic' in which half a dozen characters fleeing Nazi Germany roam across Europe looking for a non-existent haven. It was made into the impressive Sam Wood movie So Ends Our Night. Pushed from one country to another, refugees must live like criminals to avoid being sent back to prison or death in Germany. It's a story of betrayals, murders and noble suicides. So Ends Our Night was released in 1941 just as conditions turned grim for these stateless refugees. Most had fled to the haven of France, and when the Germans invaded, the majority were rounded up and sent to an unknown fate.

      Unlike the desperate nomads of So Ends Our Night, Dr. Ravik hasn't had to walk halfway across Europe. He has some money and earns more practicing medicine on the sly. Close friend Maurice makes him welcome at the nightclub and tips him to potential trouble. Ravik is able to slip away to the South of France for a vacation with Joan. But their happiness could end at any moment. One slip-up would mean arrest and deportation to Germany, where the torturer Ivon Haake would surely finish him off.

      The movie benefits from director Milestone's formalism and attention to character detail. The lighting, sets and costumes are more realistic than we expect. Nervous pre-war Paris is seen mostly by night. The movie offers noir atmosphere, incipient doom and the haunted face of Ingrid Bergman.

      A screenwriting analyst would surely find fault with the movie's structure. Ravik and Joan's trip to Antibes dissipates much of the story's tension. How tough can things be when she's having a fine time in fancy dresses? We can see audiences wondering what's going on, as the rich are happily gambling even on the brink of war. The script also fumbles Ravik's vendetta against Ivon Haake. A flashback to a torture chamber (cue silhouette images) seems to come from a horror movie. At one point Ravik is arrested and spends months in Germany before escaping and returning to Paris. As most of this happens off-camera, we can't fully appreciate the hardships being suffered by thousands of refugees.

      The movie also fails to utilize the talented Charles Laughton. Ivon Haake is only in the movie for a scene or two, and has no scenes with Ingrid Bergman. No longer in uniform, the German is apparently commuting between Berlin and Paris to prepare a secret police network for the coming occupation. Arch of Triumph is true to the novel (and history) but the audience must have felt cheated to be deprived of a 'big' Laughton scene.

      What does work well is the romantic fireworks between Bergman and Boyer. The lovers only slowly reveal their feelings for each other, and are prevented from full commitment by their refugee status. When Ravik comes back from exile he finds Joan living in a swank apartment provided by the wealthy Alex. He forgives Joan and even gives her time to detach from Alex, who isn't happy that Ravik has re-entered the picture. But war is declared before any of this can be resolved. Ravik spots Ivon Haake again and prepares his trap.

      As we expect, Ingrid Bergman comes through with an absorbing performance. She positively glows as a troubled woman whose life is out of control. The contradictions in Joan Madou remind us of films from the 1970s, when screen characters were allowed to be complex or ambiguous. Charles Boyer is also good but Milestone underplays the suicidal streak in Ravic's drive to kill Haake, and instead treats the doctor as more of a righteous avenger. Thus we expect a much bigger comeuppance for Haake.

      Postwar audiences enjoyed dark stories, but the unsentimental Arch of Triumph asks them to be concerned about problems from a past they'd like to forget, and associated with uncomfortable politics. By 1948 America had aligned itself with occupied West Germany against new foreign enemies. We gave huge sums of money to charities helping displaced European orphans (see The Search) but mostly preferred to forget the ugly wartime situations chronicled by Erich Maria Remarque.

      The film's political complexity now seems much more attractive. We're accustomed to movies about people trapped in grim political binds -- the new A Most Wanted Man is a spy movie that sympathizes with a stateless asylum seeker navigating a dangerous path. Audiences in 1948 may have rejected Bergman and Boyer's characters because they weren't noble idealists and selfless lovers, as in Casablanca. That's probably what attracted Bergman to the role, and it's why the movie is so interesting now.

      Olive Films' Blu-ray of Arch of Triumph is a very good HD transfer of this hard-to-see picture. The show suffered a number of cuts either in reissue or when distributed to television, but UCLA has restored it to its full 133-minute running time. The images show some wear but Russell Metty's B&W cinematography looks terrific. The audio is also strong.

      Enterprise Productions put everything it had into Arch of Triumph, with production values the equal of any big studio film. But audiences didn't "discover" the film and it earned back less than a third of its budget. It was the beginning of dramatic career changes for Ingrid Bergman. Just a couple of years later her Hollywood career was destroyed by the scandal of her affair with Italian director Roberto Rossellini. The American press turned on Bergman with the kind of venom reserved for The Hollywood Ten, Charles Chaplin and the Rosenbergs. When she returned to American screens six years later, Arch of Triumph had been long forgotten. But fans of the actress will be happy to see her in such an interesting and demanding role.

      Let's hope that Erich Maria Remarque's So Ends Our Night can also be rescued from obscurity -- at the moment the only video copies available are in very poor condition.

      By Glenn Erickson

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  1. Press Release

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    • "The Making of GONE WITH THE WIND" Exhibition

    • The exhibition "The Making of 'Gone With The Wind'" commemorates the 75th anniversary of one of the most popular films ever created by exploring its history and legacy. The exhibition runs from Sept. 9 to Jan. 4, 2015, at the Harry Ransom Center, a humanities research library and museum at The University of Texas at Austin.

      Featuring more than 300 items, the exhibition is drawn entirely from the Ransom Center's collections and includes on-set photographs, storyboards, makeup stills, costume sketches, concept art, correspondence and fan mail, production records, audition footage and producer David O. Selznick's own extensive memos. Three original gowns worn by Vivien Leigh as Scarlett O'Hara, including the iconic green curtain dress, will be exhibited together for the first time in more than 25 years. In 2010 donors from around the world contributed more than $30,000 to support conservation work for these costumes. Replicas of two gowns will also be on view.

      From the time Selznick purchased the rights to the book, it took more than three years to bring the film to the screen. The materials in the exhibition document the challenges of turning Margaret Mitchell's Pulitzer Prize-winning book into a manageable screenplay and producing it at a reasonable cost.

      Before a single frame was shot, "Gone With The Wind" was embroiled in controversy. There were serious concerns about how the film would depict race and violence in the South during the Civil War and Reconstruction. While Clark Gable was a popular choice to play Rhett Butler, there was no clear favorite for Scarlett O'Hara, and there was a nationwide search before British actress Leigh was cast in the role.

      "'The Making of 'Gone With The Wind'" is the largest and most comprehensive exhibition on this film," said Steve Wilson, exhibition curator and the Ransom Center's curator of film. "The David O. Selznick archive, which is the Center's largest collection, forms the backbone of the exhibition, placing the Ransom Center in a unique position to tell the story of the making of this epic film."

      The chronologically organized exhibition will reveal the challenges involved in the making of this quintessential film from Hollywood's Golden Age and illustrate why it remains influential and controversial 75 years after it was released. Visitors will get an insider's perspective on the search for an actress to play Scarlett, the film's iconic scenes, the influence of the African-American press on filmmakers' decisions and the enthusiastic reception of the film by fans.

      A fully illustrated exhibition catalog of the same title will be co-published by the Harry Ransom Center and University of Texas Press in September with a foreword written by Turner Classic Movies (TCM) host and film historian Robert Osborne. Generous support for the exhibition has been provided by TCM.

      The David O. Selznick holdings comprise the core of the Ransom Center's film collection, which also includes the archives of silent film star Gloria Swanson, screenwriters Ernest Lehman and Paul Schrader, director Nicholas Ray and actor, director and producer Robert DeNiro.

      "The Making of 'Gone With The Wind'" can be seen starting Sept. 9 in the Ransom Center Galleries on Monday through Friday from 10 a.m. to 5 p.m., with extended Thursday hours until 7 p.m. On Saturdays and Sundays the galleries are open from noon to 5 p.m. Member-only hours are offered on Saturday and Sunday from 10 a.m. to noon.

      Public tours are offered every day at noon, as well as Thursdays at 6 p.m. and Saturdays and Sundays at 2 p.m. "Gone With The Wind" screentests will be shown in the Ransom Center's first-floor theater at 1:30 p.m. and 3:30 p.m. on weekends, immediately following the public tour.

      In conjunction with the exhibition, the Ransom Center will host the 2014 Flair Symposium, "Cultural Life During Wartime, 1861-1865," from Sept. 18 to 20. The symposium will look back to the 19th century to examine the cultural world of Union and Confederate painters, photographers, musicians, theater companies and writers. The songs, images, poems, books and plays that appeared between 1861 and 1865 offer a nuanced perspective on the Civil War that challenges later narratives, both fictional and historical.

      Complementing the physical exhibition is the web exhibition "Producing Gone With The Wind," which explores producing the film, including rarely seen fan mail from individuals who sought auditions, solicited employment and protested the production. Visitors can also see teletypes from Selznick's production company that detail the casting of Leigh as Scarlett O'Hara and explore the costumes, hair and makeup that contributed to the film's vibrant imagery. The web exhibition launches Sept. 9 at www.hrc.utexas.edu/webgwtw.

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    •  
    • DICK DINMAN PRESENTS "THE VIC DAMONE STORY"

    • DICK DINMAN SALUTES LEGENDARY VOCALIST VIC DAMONE (PART ONE): Producer/host Dick Dinman commences his six-show tribute to iconic vocalist Vic Damone as guest Vic Damone shares his reminiscences of his upbringing in a rough section of Brooklyn, the early influence of his idol Frank Sinatra, his first break and first of many hit recordings, and the generous help and encouragement of stars Perry Como and Milton Berle.

      DICK DINMAN SALUTES LEGENDARY VOCALIST VIC DAMONE (PART TWO): Producer/host Dick Dinman continues his tribute to ever-popular song stylist Vic Damone as Vic chats about his first screen test courtesy of MGM producer Joe Pasternak and reveals the identity of the silver screen superstar who saved the day by guiding him through it, his stint in the Army that temporarily interrupted his rise to screen stardom, and his marriage ceremony to the troubled MGM star Pier Angeli as Angeli's ex-beau James Dean looks on mournfully.

      The award-winning DICK DINMAN'S DVD CLASSICS CORNER ON THE AIR is the only weekly half hour show devoted to Golden Age Movie Classics as they become available on DVD. Your producer/host Dick Dinman includes a generous selection of classic scenes, classic film music and one-on-one interviews with stars, producers, and directors. To hear these as well as other DVD CLASSICS CORNER ON THE AIR shows please go to www.dvdclassicscorner.com or www.dvdclassicscorner.net.

      NEXT MONTH! DICK DINMAN PRESENTS "THE VIC DAMONE STORY" (PART THREE AND FOUR).

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    •  
    • San Francisco Silent Film Festival Announces SILENT AUTUMN Film Program

    • San Francisco Silent Film Festival follows its tremendously successful 19th annual Festival (May, 2014) with Silent Autumn on September 20th at the historic Castro Theatre. For information, please visit www.silentfilm.org.

      The San Francisco Silent Film Festival is moving its annual winter event to fall, and with SILENT AUTUMN on September 20 it continues its mission to present masterpieces from the silent era with the finest musical accompaniment in the world. The program:

      ANOTHER FINE MESS: SILENT LAUREL AND HARDY SHORTS
      (USA, 1928-1929, Produced by Hal Roach, total running time is approximately 70 minutes)
      11:00 AM

      This program features the splendid anarchy of the finest comedy team to grace the silver screen. Both Stan Laurel (the thin Briton with the elastic face) and Oliver Hardy (the rotund baby-faced American) were successful comedians before the met, but together they were genius! Many people know the duo from their later feature career which included Sons of the Desert (1933), Babes in Toyland (1934), and Our Relations (1936), and these rare short silents are sure to be a revelation! Included in the program: Two Tars (1928), Big Business (1929) and a surprise or two!
      Musical accompaniment by Donald Sosin

      THE SON OF THE SHEIK
      (USA, 1926, Directed by George Fitzmaurice, 81 minutes)
      1:00 PM

      Rudolph Valentino's last film picks up on the story of his extraordinarily successful The Sheik. The Son of the Sheik resumes about 25 years later, and Valentino again stars, this time as the son! Like his father, he's charismatic, athletic, and a ladies man. This wonderful swashbuckling romance is being presented in a new restoration by Ken Winokur and Jane Gillooly from excellent 35mm negative material.
      Musical accompaniment by Alloy with the World Premiere of their new score!

      A NIGHT AT THE CINEMA IN 1914
      (USA/UK, 1914, 85 minutes)
      3:30 PM

      Marking the centenary of the start of World War I, the British Film Institute has put together this glorious miscellany of comedies, adventure films, travelogues and newsreels recreates a typical night out at the cinema in 1914. Cinema a century ago was a new, exciting and highly democratic form of entertainment. Picture houses across the country offered a sociable, lively environment in which to relax and escape from the daily grind. With feature films still rare, the program was an entertaining, ever-changing roster of short items with live musical accompaniment. Among the highlights of this program of 14 short films are a quirky comic short about a face-pulling competition, a sensational episode of the American film serial The Perils of Pauline, an early aviation display, scenes of suffragettes protesting at Buckingham Palace and Allied troops celebrating Christmas at the Front. There is also an anti-German animation film and an early sighting of one of cinema's greatest icons.
      Musical accompaniment by Donald Sosin

      THE GENERAL
      (USA, 1926, Directed by Clyde Bruckman and Buster Keaton, 75 minutes)
      7:00 PM

      Consistently listed as one of the finest films of all time, The General was one of Keaton's favorites as well. In the film, Buster plays Johnnie Gray who falls into the Confederacy through love of his locomotive and his beautiful Annabelle Lee. Orson Welles said: "The greatest comedy ever, made, the greatest Civil War film ever made, and perhaps the greatest film ever made."
      Musical accompaniment by Alloy Orchestra.

      THE CABINET OF DR. CALIGARI
      (Germany, 1920, Directed by Robert Wiene, 75 minutes)
      9:00 PM

      The story of the hypnotist Dr. Caligari and his somnambulist Cesare is one of the earliest examples of a "psychological thriller" and one of the best known German films of all time. SFSFF's presentation will be the US premiere of the restoration of this brilliant German Expressionist film--restored using the original camera negative, resulting in a print quality worthy of its classic status. With Werner Krauss, Conrad Veidt, Friedrich Fehér, Lil Dagover.
      Musical accompaniment by Donald Sosin


      Tickets Information and Public Contact Numbers
      Silent Autumn at the historic Castro Theatre will take place on September 20. For more information and to purchase tickets and passes, go to www.silentfilm.org.

      San Francisco Silent Film Festival
      833 Market Street, Suite 812
      San Francisco, CA 94103-1828

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    •  
    • Movie-Themed Nights at the Hollywood Bowl

    • Don't miss the Hollywood Bowl's special movie-themed nights sponsored by Turner Classic Movies. Pollstar magazine's Best Major Outdoor Venue (ten years in a row!), the Hollywood Bowl is the largest natural outdoor amphitheater in the United States. Throughout the summer the LA Phil presents the best in jazz, classical, Broadway, and world music, featuring artists that range from Yo-Yo Ma to Janelle Monae, John Williams to Steve Martin, and Gladys Knight to The Pixies. This summer's special movie-themed nights include many crowd favorites:

      Sunday, July 13, 7:30pm
      Grease Sing-A-Long
      Tickets
      Bring the family to the fun-filled Grease Sing-A-Long, which returns with a pre-show performance and the much-loved movie musical on the Bowl's giant screen. Grease is the word! Come early for a 7:30pm pre-show with Sha Na Na.

      Didi Conn ("Frenchy"), host
      Sha Na Na musical guest



      Sunday, August 31, 7:30pm
      The Big Picture: Hitchcock
      Tickets
      Suspense! Sinister plots! Mistaken identities! This year's Big Picture is a thrilling tribute to the classic films of Alfred Hitchcock. Mesmerizing, haunting and psychologically gripping scores by Bernard Herrmann (Vertigo, North by Northwest), Dimitri Tiomkin (Strangers on a Train, Dial M for Murder) and more will be played live while spellbinding scenes are projected on the Bowl's big screen.

      Hollywood Bowl Orchestra
      David Newman, conductor
      Eva Marie Saint, host



      Saturday, September 20, 6:00pm
      Sound of Music Sing-A-Long
      Tickets
      The Hollywood hills are alive with The Sound of Music! Everyone's favorite sing-along returns to the giant screen at the Bowl. Bring your costume for the pre-show parade, and warm up your vocal cords for this beloved and always sold-out event.



      Make the most of your Hollywood Bowl experience with a picnic dinner. You can bring your own food or buy on site. For tickets and information, visit HollywoodBowl.com

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  1. New Books

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    • The Lost Notebook: Herman Schultheis and the Secrets of Walt Disney's Movie Magic

    • By John Canemaker

      In this handsomely illustrated book, author John Canemaker brings to life the covert scrapbook of special effects wizardry compiled by Disney artist Herman Shultheis, who used it to detail how many animated effects were created over seventy years ago.

      Schlutheis not only worked on effects photography but also documented, sometimes painstakingly, how famous sequences in Disney animated classics were conceived and achieved--from the elaborate opening shot of Pinnochio to the snowflakes in Fantasia. Schultheis was in the perfect position to create such a chronicle: his work at the Disney studios was focused on effects photography, but he also shot the reference photographs that animators would often use when creating their drawings.

      Schulteis' story reads a bit like a Hollywood tale: he was a German immigrant and a part-time nudist, a suspected German sympathizer, and a technical whiz with a camera who worked at the Disney studios from 1938 to 1941. After World War II, he worked at Twentieth Century-Fox and Telefilms before going to Guatamela, camera in hand, in 1955. He never came back--disappearing while on a trip into the jungle.

      Thirty-five years later, after his widow's death in 1990, his notebooks were discovered in a cabinet drawer. The originals are on display at The Walt Disney Family Museum in San Francisco and are reproduced for this book. A forward by Pixar's Pete Docter, the Academy Award-winning animation director, puts the importance of the notebooks into context, helping us to understand what they represent in terms of the history of animation and why they are so valued by technicians and film buffs today.

      John Canemaker is an Academy Award-, Emmy Award-, and Peabody Award-winning animation director and designer. His twenty-eight minute film, The Moon and the Son: An Imagined Conversation, won the 2005 Academy Award for Best Animated Short, and his more than twenty films (and their original art) are in the permanent collection of the Museum of Modern Art in New York. He is also a tenured professor and director of the animation program at New York University's Tisch School of the Arts.

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    •  
    • Cosby: His Life and Times

    • By Mark Whitaker

      Bill Cosby has been a part of our cultural history for over fifty years--from his early comedy records to his groundbreaking work in television, movies and stage. Yet this is the first major biography of this talented man.

      Author Mark Whitaker spoke with Cosby himself, in a series of in-depth interviews, as well as over sixty of the actor's associates and close friends to help bring the man and artist into sharper focus .

      Cosby grew up in a Philadelphia housing project, the son of an alcoholic, largely absent father and a loving but overworked mother. He turned his life around when he joined the Navy, talked his way into college and seized his first breaks as a stand-up comic.

      Published on the 30th anniversary of The Cosby Show, the book reveals the behind-the-scenes story of that groundbreaking sitcom, as well as Cosby's bestselling albums, breakout role on I Spy, and pioneering place in children's TV. It also deals with professional setbacks and personal dramas, from an affair that sparked public scandal to the murder of his only son. Mark Whitaker is the former Managing Editor of CNN, Washington bureau chief for NBC News and reporter and editor at Newsweek magazine, where he became the first African-American to lead a national newsweekly. His critically acclaimed family memoir, My Long Trip Home, tells the story of his parents--a star-crossed interracial couple who married in the 1950s--and his grandparents, black undertakers from Pittsburgh and French Protestants who helped hide thousands of Jews from the Nazis during World War II. Whitaker lives in New York City with his family.

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    • The Making of Gone With the Wind

    • By Steve Wilson

      Seventy-five years ago, moviegoers watched a young heroine stand on a hillside in the early morning hours and swear she would never go hungry again. By that point in the movie, Scarlett O'Hara had already encountered love, loss and an invading army. Audiences were swept up in the epic story and the film has become an enduring classic.

      To commemorate the milestone anniversary of this beloved film, author Steve Wilson scoured the archives of the David O. Selznick collection at the Harry Ransom Center at the University of Texas at Austin for this new book chronicling the making of the film.

      This rarely-seen material offers fans and film historians a fascinating behind-the-scenes view of the challenges, trials, and successes related to the production of this timeless classic.

      Before a single frame of film was shot, Gone With The Wind was embroiled in controversy. There were serious concerns about how the film would depict race and violence in the Old South during the Civil War and Reconstruction. And while Clark Gable was almost everyone's choice to play Rhett Butler, there was no clear favorite for Scarlett O'Hara which, stymied the legendary producer Selznick for some time.

      There was also the huge challenge of turning Margaret Mitchell's Pulitzer Prize-winning epic into a manageable screenplay and producing it at a reasonable cost. Various screenwriters tried to tame the story and Selznick himself kept the pressure up with his own notoriously detailed memos. George Cukor was hired and then fired before Selznick finally settled on Victor Fleming as the man most able to handle the scale of both the story and the production.

      With a foreword by film historian and TCM Host Robert Osborne, the book includes on-set photographs, storyboards, correspondence, fan mail, production records, costumes and, of course, Selznick's own lengthy memos. The author writes effectively about how creative choices helped produce one of the most loved films of all time and why it remains so influential all these years later.

      Steve Wilson is the curator of the film collection at the Harry Ransom Center at the University of Texas at Austin. He has curated several exhibitions at the Ransom Center, including Shooting Stars, a display of Hollywood glamour photography, and Making Movies, a major exhibition on film production.

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    • The World of Raymond Chandler: In His Own Words

    • Edited by Barry Day

      The fog shrouded streets, the double-dealing hustlers and the hardboiled dames who could break your heart or just as easily plug you with a bullet--the world of Raymond Chandler was not for the faint of heart.

      Chandler never wrote an autobiography or a memoir, but Day, making use of Chandler's novels, short stories and letters, tells the story of the man "with no home"--a man precariously balanced between his classical English education and the fast-evolving American culture between and after the two World Wars.

      Chandler reveals what it was like to be a writer, and in particular what it was to be a writer of "hard-boiled" fiction in what was for him "another language"--a fast-changing American vernacular that didn't make things easy. He also discusses the work of his contemporaries: Dashiell Hammett, James M. Cain, Hemingway, Fitzgerald, Agatha Christie, Erle Stanley Gardner and Somerset Maugham, among others.

      But Chandler's reflections on place and character--the most often discussed and memorable aspects of his fiction--are among the highlights of Day's selections for this book. Day includes Chandler's reflections on Los Angeles, his adopted city, and the locales he used in his writings, as well as on his time in Hollywood working with Billy Wilder, Howard Hawks, Alfred Hitchcock and other towering figures of the studio era. Day also includes a section on Philip Marlowe, Chandler's alter ego, the incorruptible knight with little armor who walks the "mean streets" of a city not made for chivalry. Barry Day is an author and playwright. In addition to his books on Noël Coward, Day has written about Dorothy Parker, Oscar Wilde, Johnny Mercer, and Rodgers and Hart. He has written and produced plays and musical revues showcasing the work of Coward, the Lunts, Oscar Wilde, and others. He lives in New York, London, and Palm Beach.

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  1. DVD Reviews

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    • The Unknown Known on DVD and Blu-ray

    • The title of Errol Morris' The Unknown Known, a profile of the life and career of former Secretary of Defense and Secretary of State Donald Rumsfeld, is a direct reference to Rumsfeld's most famous TV appearance. Discussing the evidence (or rather, the glaring lack of evidence) linking Iraq with weapons of mass destruction provided to terrorist groups, which was the stated reason for invading Iraq, Rumsfeld told reporters: "there are known knowns; there are things that we know that we know. We also know there are known unknowns; that is to say we know there are some things we do not know. But there are also unknown unknowns, the ones we don't know we don't know." It was a cagey piece of analysis, both a true assessment of the nature of intelligence and an obfuscation of the administration's intelligence failure, in line with another sophisticated excuse offered up to the press: "the absence of evidence is not the evidence of absence." A decade later, the evidence is still absent and Rumsfeld is still refusing to admit that the United States invaded Iraq without provocation or justification, merely suspicions ungrounded in any firm evidence.

      It is not exactly a companion piece to The Fog of War, Morris' documentary on former U.S. Secretary of Defense Robert MacNamara who oversaw the escalation of American involvement in Vietnam. Like that 2003 documentary, Morris engages with a former Secretary of Defense, discussing a foreign war that was launched and (mis)managed under his watch and the indefensible misconduct and scandals involving American soldiers and officer. Where is differs is the response of the subject: MacNamara, with the --- of hindsight and history and the thoughtfulness of a statesman more interested in truth than a personal agenda, admitted not just to his mistakes but to the damage the war wrought on American lives (and, of course, Vietnamese lives, though the focus is one the American legacy). A longtime politician who entered politics as a congressman elected in 1962 and served in the administrations of Richard Nixon, Gerald Ford, and George W. Bush (George H. W. Bush did not trust him), Rumsfeld is a storyteller who makes his case with a gentle matter-of-factness backed by an unforced authority and genial ease, whether talking to reporters during the war or talking to camera in the interviews conducted for the film. The smile, with those half-moon eyes suggesting a grandfatherly affection backed by experience and cocksure authority, is a defining image in the film.

      Errol Morris is one of the most inventive and engaging non-fiction filmmakers in the world today. He brings a strong visual presentation to pull audiences in to his films while building his case on excellent research and choice archival materials. While The Unknown Known features video clips and archival images to fill in Rumsfeld's past, however, it is his talent as an interviewer and interrogator, honed over decades of filmmaking, that gives the film its dramatic center. The film is built on hours of one-on-one interviews between filmmaker and subject, with Rumsfeld speaking directly to the camera. It's a signature of Morris' films thanks to his own invention, the Interrotron. Basically, it uses mirrors in front of the camera a way that allows interviewer and subject to engage each other directly while the subject is in looking directly into the lens. It provides an intimacy with the interview during shooting and during viewing.

      Morris himself was surprised that Rumsfeld agreed to sit down for a series of interviews for this production, given his politics and his history. Watching Rumsfeld respond to Morris' questioning, you can make your own guess as to why he did. Morris is no crusading journalist hammering his subject in a debate and his approach as an interviewer is not confrontational. He engages Rumsfeld on the issues, pressing him but not challenging him. Rumsfeld responds with smiling assurance that never wavers as he repeats the same justifications and excuses he made a decade ago, despite the evidence that has come to light in the years since. And as Morris uses silence as a way to give Rumsfeld the opportunity to continue, to elaborate, to reconsider, Rumsfeld treats it as a game of chicken, simply smiling silently back at the camera until Morris continues. The kind of revelations that MacNamara offered are nowhere to be seen in Rumsfeld, whose purpose seems to be solely to explain and sustain his legacy as he sees it. It's a contest for him, a struggle over who will define his story, like a one-on-one version of the press conferences that made Rumsfeld a media star of sorts in the early 2000s.

      With Rumsfeld constantly obfuscating and sidestepping issues (he calls the abuses at Abu Ghraib exaggerated and denies waterboarding was ever sanctioned), the most interesting parts of the film involve Rumsfeld reading from the hundreds of thousands of memos he wrote during his government service. He called them "snowflakes" and takes pride in them, and true to form, when confronted with a memo that contradicts his own stated position, he sets about reinterpreting it for the camera. With Morris unable to get Rumsfeld to reconsider anything in his legacy, these contradictions are the closest we have to challenging his record. You don't get the dramatic jolt or profound sense of struggle between truth and power that define previous Morris documentaries, from The Thin Blue Line (1988) to Standard Operating Procedure (2008). Rather, you get a glimpse at power protecting itself, at discredited talking points continually presented as fact, at politics as a game of shaping and controlling the message in face of any evidence to the contrary. Discussing Tariq Aziz, the Foreign Minister and Deputy Prime Minister of Iraq under Saddam Hussein, Rumsfeld calls him "A perfectly rational individual. You wonder what goes on in a mind like that." I have that same reaction at the end of The Unknown Known. There is no doubt that Rumsfeld is both a smart, savvy political players and a polished media creature. But for all the easy-going pose of humility, he isn't the least bit humble, and he is not about to let any self-reflection complicate or contradict the legacy he has so carefully built and maintained.

      On Blu-ray and DVD, with a strong picture, thanks to Morris' austere style (a single subject set against a dark background) and digital photography. The archival footage shows its age, of course, but the interview scenes and graphics are vivid and bold and look superb on the discs. Both feature commentary by filmmaker Errol Morris and a short interview with Morris discussing the genesis and the production of the documentary. Also features the 57-minute archival presentation "Third Annual Report of the Secretaries of Defense," an hour-long recording of a conference from 1989 featuring Rumsfeld, Robert McNamara and Caspar Weinberger, and the text of Morris' four-part New York Times op-ed piece "The Certainty of Donald Rumsfeld."

      By Sean Axmaker

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    • Countess Dracula on Blu-ray

    • Hammer Studios struggled to remain relevant in the seventies as their lurid Gothic style was upstaged by the transgressive horrors in films like Night of Living Dead, Rosemary's Baby, and The Witchfinder General, which pushed the boundaries of movie conventions, screen violence, and subject matter. Their answer was to simply push their natural tendencies in R-rated territory. In other words, more explicit blood and boobs. Their most notorious examples were a series of erotic vampire films with female predators who use their bodies and their wiles to seduce their prey.

      Title aside, Countess Dracula is not a vampire at all. The screenplay is inspired by the legend of Elizabeth Bathory, the Hungarian countess who murdered hundreds of girls in the late 16th century, ostensibly to bathe in the blood of virgins to keep her youth, or so the legend goes. This isn't a faithful retelling, however, but an original take on the legend with a Dr. Jekyll and Mr. Hyde dimension to it. Polish-born actress Ingrid Pitt, fresh from playing the bloodsucker Carmilla in The Vampire Lovers (1970), made her second Hammer appearance as the Countess Elisabeth Nádasdy, though you wouldn't recognize her when she enters the film under ridges of prosthetic wrinkles and old age make-up. She's an aging widow burying her husband (how many Hammer films have so set the atmosphere by opening with a funeral?) and bitter over how he has split the inheritance between her and their daughter Ilona (a very young and innocent-looking Lesley-Anne Down), who had been sent to Vienna years before. There is no mention of why she was sent away--it was ostensibly for her education in the cultural center of Europe--but Elisabeth's disdain for human life (she doesn't flinch when her carriage cripples a peasant in a horse-drawn hit-and-run) and the controlled fury of greed and envy she shows at the reading of the will suggests it may have been for the girl's own protection, just one of the unspoken suggestions woven through the film.

      Pitt's reputation has more to do with her voluptuous appearance and frequent nudity than her acting chops but she's really rather effective as Countess Elisabeth, blithely cruel and vindictive as the wrinkled dowager ferocious and renewed with a lusty passion after the blood of serving girl restores the bloom of youth to her shriveled cheek. The serving girl disappears that night, after a visit to the chambers of the Countess, and the next morning a young beauty "arrives" at the castle. Elisabeth has taken over the identity of her daughter Ilona and has arranged for the real Ilona to be kidnapped and held hostage by a mute henchman in a forest cottage. The youth effects are short-lived, of course, so a steady parade of victims is necessary to maintain the transformation, and she's abetted by her loyal nurse (Patience Collier) and Captain Dobi (Nigel Green), the Castle Steward and her longtime lover. It's not just her own youth she desires, however. She's obsessed with handsome young Lt. Imre Toth (Sandor Elès), who served with her husband and was rewarded in his will with horses and the manor stables. So he sticks around, much to the resentment of Dobi (Nigel Green). With the Count's death he expected no challenge to her affections.

      The explanation for this crimson fountain of youth is tossed off with some rather unconvincing ancient text discovered by Master Fabio (Maurice Denham), the castle historian. Though little more than a plot device in the script, Denham makes Fabio a delightful character and a respite from the scheming around him. Even better is Green, a grand old character actor whose wounded dignity and bruised sense of honor makes Dobi almost as dangerous as Elisabeth, as well as just a little sympathetic.

      Countess Dracula belongs to Hammer's erotic horrors of the seventies that began with The Vampire Lovers (1970) and continued through Lust for a Vampire (1971) and Twins of Evil (1971), among others. And sure enough, there are plenty of moments of topless spectacle. But where those films follow a familiar plotline of bloodlust and erotic awakenings, Countess Dracula weaves a fascinating pattern of complicity, jealousy, and blackmail among the central quartet that gives the routine plotting a fascinating subtext.

      Dobi resents the competition of Imre but serves the Countess faithfully nonetheless, securing her supply of young virgins while plotting to undermine the affair. Julie, Elisabeth's personal maid, is even more faithful to her mistress, little realizing that Elisabeth has imprisoned the real Ilona. And when Imre finally learns the truth about the Countess, he's neatly blackmailed into remaining her sexual slave. The four of them keep up the façade of normalcy as bodies are uncovered and the conspiracy is on the verge of collapsing under the Countess' obsessive escalation of killings and increasingly feral bloodlust.

      Hungarian-born director Peter Sasdy, the most interesting of Hammer Studio's directors in this era of transition, brings a perverse psychological weirdness to the film, twisting and intertwining conflicting motivations and overwhelming emotional drives into a spiral of self-destructive acts that are far more fascinating than the usual battles of good and evil. He suggests the depraved atmosphere in the opening scenes, as the peasants hiss "devil woman" and "witch" when Elisabeth rides by. And he luxuriates in the Hammer style, with castle sets filled with period detail and color, village locations populated by hearty characters, great costumes, and of course streams and splashes of blood jumping out of the image.

      Countess Dracula was previously available on DVD on an Ingrid Pitt double-feature with The Vampire Lovers from MGM. The film was originally cut for the U.S. market and received a PG rating, but it received an X certificate in the UK for the nudity and blood, and that version was restored for the non-anamorphic letterboxed DVD and for the new remastered Blu-ray. (Pitt was dubbed for the film by a British actress, but it's so well engineered that you'll only notice if you compare the voice with Pitt's other film appearances.) The color is strong and vivid and the image clean and sharp, a fine edition that should satisfy Hammer fans.

      The disc includes the brief new featurette "Immortal Countess: The Cinematic Life of Ingrid Pitt," a routine but informative survey of her career with the usual suspects showing up as commentators (Ms. Pitt passed away in 2010), and an audio archival interview with Pitt that runs about nine minutes (but doesn't discuss this film). Carried over from the DVD is commentary with director Peter Sasdy, co-writer Jeremy Paul, and star Ingrid Pitt, moderated by Jonathan Southcott, and there is an animated still gallery.

      By Sean Axmaker

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    • Video Nasties: The Definitive Guide on DVD

    • The term "video nasty" isn't exactly a common phrase in the U.S. but in Britain it defines an era of nanny state censorship. The British Board of Film Censorship, or BBFC, determined what could be shown in British theaters and often forced cuts to content or outright banned films, but home video did not exist when the law was written. When the video rental business took off in the 1980s, films that were either banned or censored in theaters were available uncut on tape. The fears of kids being emotionally scarred or corrupted by these tapes were fanned from an ember to a conflagration of controversy thanks to a campaign led by social conservative reactionary activist and self-appointed moral watchdog Mary Whitehead. Members of Parliament, riding the wave of public hysteria, passed the Video Recordings Act of 1984, which forced all videotape releases to be passed by the BBFC before they could be rented or sold in the UK. It imposed an even stricter content code on commercial videotapes than on theatrical releases and, though standards have eased in the decades since implementation, the act is still in effect.

      Video Nasties: The Definitive Guide is a three disc set anchored by the Jake West's 2010 documentary Video Nasties: Moral Panic, Censorship and Videotape, a comprehensive history of the social hysteria and media coverage surrounding the call for censorship, the Parliamentary response, and the reverberations of the act. It opens with a quick montage of clips from the 72 films that were banned under the Video Recordings Act of 1984, with rapid-fire glimpses of gruesome, explicit, and just plain bizarre scenes from the movies. This films on this hit list range from the disreputable (Faces of Death, I Spit On Your Grave) to the notorious (Snuff, Cannibal Holocaust) to classics of the genre (The Evil Dead, Last House on the Left, Possession). Being a British production of a British phenomenon, some of the films cited feature a different title than their stateside release (Zombie Flesh Easter, for instance, is Lucio Fulci's notorious Italian horror originally titled Zombi 2 in Italy and retitled simply Zombie for the U.S.). The affection for these movies is apparent in from the opening minutes, as film historian and horror experts describe the forbidden attractions of films that were mostly, by their own assessments, "rubbish." It's not a matter of defending the films as great art. It's all about acknowledging them as cultural artefacts like any other: they entertain, in some cases inspire, and in a very few instances rise to the level of art.

      Jake West is clearly an aficionado whose sympathies are with the horror fans and anti-censorship activists. He comes from a background of directing featurettes for DVD releases of horror films and has directed a couple of his own horror shorts. Video Nasties: Moral Panic, Censorship and Videotape plays like a high-quality, feature-length disc supplement with a significant budget, dominated by talking head interviews, interspersed with archival news clips and movie clips, and spiced up with cute video effects to parody the look of VHS tape wear and damage. It is also highly informative, packed with expert interviews, from horror historians to news reporters to officials and politicians from the era, and features essential archival footage of Mary Whitehead, former BBFC director James Ferman and other pro-censorship activists on TV talk shows and news reports. Fans of the genre may recognize some of more authoritative participants, like horror film historians Kim Newman and Alan Jones, British film and media historian Julian Petley, and genre film directors Neil Marshall and Christopher Smith. Other important voices include human rights lawyer Geoffrey Robertson and social scientist and academic Martin Barker, and on the pro-censorship side is Graham Bright, the conservative MP who introduced the bill and still proudly stands by his work.

      The hysteria mirrors the American comic books scare in the fifties, when horror comics were accused of causing juvenile delinquency, a proposition backed up by flimsy research and non-existent studies that were never scrutinized by lawmakers. It became a media circus, with Whitehead proclaiming on TV "I have never seen a video nasty" and "Oh please, I actually don't have to see visually what I know is in that movie" and reporters refusing to challenge her. More appalling is the willful misrepresentation and wholesale fabrication of research that was presented in Parliament and picked up by the media without any due diligence. When the fraud was revealed, no one seemed to care. Who needs facts when you know you are right?

      Tapes were confiscated from stores by police without warrant, based solely on directives from the BBFC, and some movies were initially banned by title alone, without ever actually being screened by the censors (among the confiscated titles: Sam Fuller's World War II drama The Big Red One and the musical The Best Little Whorehouse in Texas). Confiscated tapes were destroyed in a modern-day answer to a book burning. The BBFC gave explicit instructions to keep their ever-expanding lists of titles secret, not wanting to create further interest in them, but also creating a Kafkaesque environment of secrecy and control. Writer and director Andy Nyman explains that "the people that put through the act were convinced that what they were seeing in the films were real," and sure enough Graham Bright, the MP who introduced the original law, insists decades later that notorious films like Snuff and Faces of Death include real violence, still repeating the rumors as fact long after they had been dispelled.

      72 films in all were banned for their violent content, but it's more than just about banning a few movies. This was a struggle over free speech. In the name of protecting children from unproven effects, the government made these works unavailable to adults as well. People went to jail for selling or renting these tapes. And when the act was proven to be invalid due to a legal misstep, it was simply reintroduced and passed without revisiting the disproven studies and hysterical claims rolled out when the initial law was passed.

      39 films are still banned for their violent content. 33 other film were initially banned but subsequently acquitted and removed from the Director of Public Prosecution's list. Trailers for all 72 of those films are collected on the bonus discs of this three-disc set, "The Final 39" banned movies on Disc 2 and "The Dropped 33" on Disc 3. You can view them back to back as a running trailer show or with newly-filmed introductions by many of the historians, academics and genre journalists featured in the documentary. Or you can explore each title separately via the menu. It's over seven hours of trailers and introductions altogether, a substantial supplement with a sincere appreciation for the subject.

      The trailers are actually a pretty good introduction to the films and why they were banned--some flaunt the money shots, at least in slivers, and all at least tease audiences with the promise of their most grotesque scenes of violence--and you can decide for yourself which of these warrant further investigation. These were once holy grails for hungry young horror fans in Britain (and even some in the U.S.), a kind badge of honor in some quarters, but today most of them are more interesting for their notoriety than their quality.

      The final supplement is the "Video Ident-a-thon," a montage of logos from the VHS labels, runs almost an hour. It makes for some strange video wallpaper, a jolt of nostalgia for anyone who came of age in Britain in the eighties and a curiosity for the rest of us. It is located on the first disc with the documentary.

      As for the video quality itself, the new interviews were shot on HD video and look just fine. The archival clips show their limitations and the film clips and trailers are standard definition and appropriately rough and ragged in places. It works just fine in the context of this production and it fact adds to the context of the grungy VHS era of video nasties.

      By Sean Axmaker

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    • The Train on Blu-ray

    • Is art worth fighting for? Dying for? These are questions posed in The Train (1964), a thrilling WWII action picture, both to the characters in the story and to us, the audience. When the art in question is a treasure trove of French impressionist art ("the heritage of France"), at risk of being hauled out of the country by Nazis to an uncertain fate, the questions become all the more difficult to answer.

      How refreshing it is for a movie filled with eye-popping, visceral, kinetic action to also center around such a thoughtful dilemma. The Train is not only gripping but timeless, because the issues at its core are timeless.

      It's also timeless in the way director John Frankenheimer, working from an Oscar-nominated script by Franklin Coen and Frank Davis (along with three uncredited writers), crafts an efficient, no-nonsense style that grabs audience attention right off the bat. Nazi Colonel Von Waldheim (Paul Scofield) quietly enters a building to look admiringly at scores of great impressionist paintings hanging on the walls. "Degenerate art," he tells a French curator. "I should detest it." But it's clear he doesn't, even as he then oversees the crating up of all this art in preparation for shipment to Germany. These are the last days of the German occupation of France. The Allies are closing in fast, and Waldheim wants to spirit the art away to Germany on a special train. The curator, however, informs the local French resistance of the scheme, and the French train-yard chief, Labiche (Burt Lancaster), is asked to prevent the train from leaving, or to at least to delay it long enough until the Allies to arrive in a few days' time.

      And so begins a cat and mouse game between Waldheim and Labiche, who at first is dead-set against risking any lives for the art. Eventually, however, Labiche becomes as determined to keep the train in France as Waldheim is obsessed with getting it out. Labiche and his men concoct clever, elaborate schemes to delay and reroute the train under the constant noses of brutal Nazis. Scofield is positively brilliant as Waldheim, whose love for the art makes him at best a complex Nazi, and Lancaster, at age 50, delivers one of his most physical performances -- running, jumping, climbing trains, scrambling over walls, and sliding down steep hills. And for the last section of the film he does all that with a limp, caused by a real mishap he had while golfing on a day off. Frankenheimer later called Burt Lancaster "the strongest man physically I've ever known. He was one of the best stuntmen who ever lived. I don't think anybody's ever moved as well on the screen."

      Frankenheimer shoots many of Lancaster's stunts in long, complex takes, often having his star end the shot in close-up, as if to impress us (successfully) that it was in fact Lancaster doing his own stunt work. The long takes also allow the audience to feel the visceral reality of the action. In this film, the trains are real, the locations are real, and the explosions are real: full-scale, with no effects work. This creates genuine impact, and is all the more impressive today, fifty years on, because very few movies with such large-scale action are ever still made in this way.

      The Train impresses in other ways, too. Almost every shot in the film employs razor-sharp deep-focus photography, resulting in one of the most beautiful black-and-white features of the era. (This is said to be the last great action movie done in black and white.) Frankenheimer's handling of crowd scenes is remarkable, with wide shots crammed with action and extras deep in the frame. Here again, the long takes reveal an unbelievable amount of complicated choreography work. Often, Frankenheimer incorporates people and objects into the extreme foreground so as to emphasize the overall depth of the image. Even something as simple as Lancaster's initial walk through the train yard ends up being one of the most memorable shots in the movie, because of the massive amount of activity involving people and machinery going on all around him in the single take. And the sound design is phenomenal, with the screeching, groaning, hissing and metallic sounds of the moving trains adding immensely to the sense of gritty, sooty realism. Long sections of the film are constructed wordlessly, with the dramatic visuals and intense sound telling the story -- the mark of a first-class filmmaker.

      Ultimately, The Train moves toward a thrilling final sequence that culminates with the final standoff we know must come. ("A painting means as much to you as pearls to an ape!" Scofield berates Lancaster.) It's to the film's credit, however, that it does not present the scene as a simplistic western-type showdown. The variation used works ever better, because it feels of a piece with the sense of loss permeating the German side of the things that has been established from the first moment of the movie.

      Twilight Time's Blu-ray is beautiful. The Train surely hasn't looked or sounded this great since its initial theatrical release. On a new audio commentary track, film historians Nick Redman, Julie Kirgo and Paul Seydor offer good insights into the film, though a single commentary track with so many people is inherently a bit unwieldy, as participants tend to cut each other off or jump around erratically with their points. Kirgo also supplies superb liner notes with all sorts of interesting production information and analysis.

      Otherwise, the Blu-ray retains the extra materials first seen on MGM's 1999 DVD release: an isolated score track, and another audio commentary track with director John Frankenheimer, who died in 2002. His comments are sporadic but fascinating, as he talks about the challenges of the production, his use of lighting and depth of field, and how he approaches a film in terms of the emotional stakes for an audience. Of Michel Simon, the famous French actor who plays to perfection the role of the ill-fated train engineer Papa Boule, Frankenheimer says, "That face! I just couldn't take the camera off him." He also talks of introducing the paintings as he would a human character in the opening sequence, which incidentally was the only one to be shot on a soundstage.

      The Train, which Frankenheimer took over from director Arthur Penn after Penn and Lancaster had a falling out, turned Frankenheimer's life around; he spent a year on location in Normandy, then returned four years later to live there for seven years. In the meantime, he turned out a picture that impresses for its balance of large-scale drama and intimate cat-and-mouse conflict between vividly real characters. A great film.

      By Jeremy Arnold

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    • Arch of Triumph on Blu-ray

    • One of several independent film companies attempting to establish a foothold in Hollywood was Enterprise Productions, which generated a string of quality pictures in the late 1940s. Enterprise's directors included Andre De Toth (Ramrod), Abraham Polonsky (Force of Evil) and Max Ophüs (Caught), but its only box office hit was Robert Rosson's Body and Soul with John Garfield.

      Enterprise's biggest production is director Lewis Milestone's Arch of Triumph, from a novel by the noted Erich Maria Remarque, who had earlier written the source novel for Milestone's anti-war classic All Quiet on the Western Front. Producer David Lewis scored a coup by securing the services of stars Ingrid Bergman and Charles Boyer. After only a few years in Hollywood, Bergman had been nominated for Best Actress three times and won once, opposite Boyer in Gaslight. Remarque's story took place in Paris just prior to the Nazi invasion, a place and time that Bergman had made her own in the wildly popular romantic thriller Casablanca. The highly anticipated movie seemed a guaranteed hit.

      But author Remarque wrote few romances with happy endings. Having fled the Nazis, Austrian doctor Ravic (Charles Boyer) is an undocumented, stateless political refugee living in Paris. He earns money by practicing in secret. Helping maintain Ravic's anonymity is his best friend Maurice (Louis Calhern), a former Russian colonel who now works as a doorman at the Scheherazade Café. Ravic prevents a suicide by Joan Madou (Ingrid Bergman), an Italian-Romanian refugee who has taken a succession of lovers to survive. He cannot resist falling in love with her. Living by night and avoiding police, they travel to Antibes on the French Riviera. Joan attracts the attention of various playboys, including the wealthy & possessive Alex (Stephen Bekassy). Ravic becomes unsure of Joan's love. Back in Paris, Ravic catches a glimpse of a portly German on the streets of Paris, a man who may be Ivon Haake (Charles Laughton), the Nazi torturer who murdered Ravic's lover in Austria. Ravic is dead set on killing Haake, if he ever sees him again.

      Arch of Triumph has been out of circulation for so long that fans of Ingrid Bergman will consider it a major discovery. Charles Laughton's following also jumps at the chance to see him in something 'new'. Unfortunately, the beautifully produced and directed film was a major box office flop. Neither an escapist romance nor an audience-friendly thriller, it's a grim drama about disillusioned and desperate people. By 1948 audiences no longer welcomed stories about political misery in Europe. They had embraced the wartime morale booster Casablanca mainly because of Bogie and Bergman. Warner's well made Confidential Agent starred Charles Boyer as a Spanish Republican dodging Franco agents in wartime England. Audiences didn't care about the issues involved, and noticed only that Boyer and co-star Lauren Bacall didn't generate much romantic chemistry. Carol Reed's The Third Man was a notable exception to this trend.

      Audiences liked political complexity even less in the 1940s than they do now. Arch of Triumph was labeled as 'sluggish' and unfocused, which we can now read as, "doesn't follow the accepted pattern for wartime romance stories." The movie is surprisingly adult in its outlook. Ingrid Bergman's Joan Madou has fled to Paris. Unable to work, her only way to live is to find a man to take care of her. Dr. Ravik comes upon her because her lover has died in her bed. Terrified that the French police will nab her, she feels like a common prostitute. He's demoralized as well. It's a decidedly downbeat romance.

      Arch of Triumph is fairly faithful to the novel by Erich Maria Remarque, one of the few authors who wrote passionately about civilians displaced by the upheavals of war. It's in the same vein as Remarque's novel Flotsam, an 'annihilating epic' in which half a dozen characters fleeing Nazi Germany roam across Europe looking for a non-existent haven. It was made into the impressive Sam Wood movie So Ends Our Night. Pushed from one country to another, refugees must live like criminals to avoid being sent back to prison or death in Germany. It's a story of betrayals, murders and noble suicides. So Ends Our Night was released in 1941 just as conditions turned grim for these stateless refugees. Most had fled to the haven of France, and when the Germans invaded, the majority were rounded up and sent to an unknown fate.

      Unlike the desperate nomads of So Ends Our Night, Dr. Ravik hasn't had to walk halfway across Europe. He has some money and earns more practicing medicine on the sly. Close friend Maurice makes him welcome at the nightclub and tips him to potential trouble. Ravik is able to slip away to the South of France for a vacation with Joan. But their happiness could end at any moment. One slip-up would mean arrest and deportation to Germany, where the torturer Ivon Haake would surely finish him off.

      The movie benefits from director Milestone's formalism and attention to character detail. The lighting, sets and costumes are more realistic than we expect. Nervous pre-war Paris is seen mostly by night. The movie offers noir atmosphere, incipient doom and the haunted face of Ingrid Bergman.

      A screenwriting analyst would surely find fault with the movie's structure. Ravik and Joan's trip to Antibes dissipates much of the story's tension. How tough can things be when she's having a fine time in fancy dresses? We can see audiences wondering what's going on, as the rich are happily gambling even on the brink of war. The script also fumbles Ravik's vendetta against Ivon Haake. A flashback to a torture chamber (cue silhouette images) seems to come from a horror movie. At one point Ravik is arrested and spends months in Germany before escaping and returning to Paris. As most of this happens off-camera, we can't fully appreciate the hardships being suffered by thousands of refugees.

      The movie also fails to utilize the talented Charles Laughton. Ivon Haake is only in the movie for a scene or two, and has no scenes with Ingrid Bergman. No longer in uniform, the German is apparently commuting between Berlin and Paris to prepare a secret police network for the coming occupation. Arch of Triumph is true to the novel (and history) but the audience must have felt cheated to be deprived of a 'big' Laughton scene.

      What does work well is the romantic fireworks between Bergman and Boyer. The lovers only slowly reveal their feelings for each other, and are prevented from full commitment by their refugee status. When Ravik comes back from exile he finds Joan living in a swank apartment provided by the wealthy Alex. He forgives Joan and even gives her time to detach from Alex, who isn't happy that Ravik has re-entered the picture. But war is declared before any of this can be resolved. Ravik spots Ivon Haake again and prepares his trap.

      As we expect, Ingrid Bergman comes through with an absorbing performance. She positively glows as a troubled woman whose life is out of control. The contradictions in Joan Madou remind us of films from the 1970s, when screen characters were allowed to be complex or ambiguous. Charles Boyer is also good but Milestone underplays the suicidal streak in Ravic's drive to kill Haake, and instead treats the doctor as more of a righteous avenger. Thus we expect a much bigger comeuppance for Haake.

      Postwar audiences enjoyed dark stories, but the unsentimental Arch of Triumph asks them to be concerned about problems from a past they'd like to forget, and associated with uncomfortable politics. By 1948 America had aligned itself with occupied West Germany against new foreign enemies. We gave huge sums of money to charities helping displaced European orphans (see The Search) but mostly preferred to forget the ugly wartime situations chronicled by Erich Maria Remarque.

      The film's political complexity now seems much more attractive. We're accustomed to movies about people trapped in grim political binds -- the new A Most Wanted Man is a spy movie that sympathizes with a stateless asylum seeker navigating a dangerous path. Audiences in 1948 may have rejected Bergman and Boyer's characters because they weren't noble idealists and selfless lovers, as in Casablanca. That's probably what attracted Bergman to the role, and it's why the movie is so interesting now.

      Olive Films' Blu-ray of Arch of Triumph is a very good HD transfer of this hard-to-see picture. The show suffered a number of cuts either in reissue or when distributed to television, but UCLA has restored it to its full 133-minute running time. The images show some wear but Russell Metty's B&W cinematography looks terrific. The audio is also strong.

      Enterprise Productions put everything it had into Arch of Triumph, with production values the equal of any big studio film. But audiences didn't "discover" the film and it earned back less than a third of its budget. It was the beginning of dramatic career changes for Ingrid Bergman. Just a couple of years later her Hollywood career was destroyed by the scandal of her affair with Italian director Roberto Rossellini. The American press turned on Bergman with the kind of venom reserved for The Hollywood Ten, Charles Chaplin and the Rosenbergs. When she returned to American screens six years later, Arch of Triumph had been long forgotten. But fans of the actress will be happy to see her in such an interesting and demanding role.

      Let's hope that Erich Maria Remarque's So Ends Our Night can also be rescued from obscurity -- at the moment the only video copies available are in very poor condition.

      By Glenn Erickson

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  1. Press Release

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    • "The Making of GONE WITH THE WIND" Exhibition

    • The exhibition "The Making of 'Gone With The Wind'" commemorates the 75th anniversary of one of the most popular films ever created by exploring its history and legacy. The exhibition runs from Sept. 9 to Jan. 4, 2015, at the Harry Ransom Center, a humanities research library and museum at The University of Texas at Austin.

      Featuring more than 300 items, the exhibition is drawn entirely from the Ransom Center's collections and includes on-set photographs, storyboards, makeup stills, costume sketches, concept art, correspondence and fan mail, production records, audition footage and producer David O. Selznick's own extensive memos. Three original gowns worn by Vivien Leigh as Scarlett O'Hara, including the iconic green curtain dress, will be exhibited together for the first time in more than 25 years. In 2010 donors from around the world contributed more than $30,000 to support conservation work for these costumes. Replicas of two gowns will also be on view.

      From the time Selznick purchased the rights to the book, it took more than three years to bring the film to the screen. The materials in the exhibition document the challenges of turning Margaret Mitchell's Pulitzer Prize-winning book into a manageable screenplay and producing it at a reasonable cost.

      Before a single frame was shot, "Gone With The Wind" was embroiled in controversy. There were serious concerns about how the film would depict race and violence in the South during the Civil War and Reconstruction. While Clark Gable was a popular choice to play Rhett Butler, there was no clear favorite for Scarlett O'Hara, and there was a nationwide search before British actress Leigh was cast in the role.

      "'The Making of 'Gone With The Wind'" is the largest and most comprehensive exhibition on this film," said Steve Wilson, exhibition curator and the Ransom Center's curator of film. "The David O. Selznick archive, which is the Center's largest collection, forms the backbone of the exhibition, placing the Ransom Center in a unique position to tell the story of the making of this epic film."

      The chronologically organized exhibition will reveal the challenges involved in the making of this quintessential film from Hollywood's Golden Age and illustrate why it remains influential and controversial 75 years after it was released. Visitors will get an insider's perspective on the search for an actress to play Scarlett, the film's iconic scenes, the influence of the African-American press on filmmakers' decisions and the enthusiastic reception of the film by fans.

      A fully illustrated exhibition catalog of the same title will be co-published by the Harry Ransom Center and University of Texas Press in September with a foreword written by Turner Classic Movies (TCM) host and film historian Robert Osborne. Generous support for the exhibition has been provided by TCM.

      The David O. Selznick holdings comprise the core of the Ransom Center's film collection, which also includes the archives of silent film star Gloria Swanson, screenwriters Ernest Lehman and Paul Schrader, director Nicholas Ray and actor, director and producer Robert DeNiro.

      "The Making of 'Gone With The Wind'" can be seen starting Sept. 9 in the Ransom Center Galleries on Monday through Friday from 10 a.m. to 5 p.m., with extended Thursday hours until 7 p.m. On Saturdays and Sundays the galleries are open from noon to 5 p.m. Member-only hours are offered on Saturday and Sunday from 10 a.m. to noon.

      Public tours are offered every day at noon, as well as Thursdays at 6 p.m. and Saturdays and Sundays at 2 p.m. "Gone With The Wind" screentests will be shown in the Ransom Center's first-floor theater at 1:30 p.m. and 3:30 p.m. on weekends, immediately following the public tour.

      In conjunction with the exhibition, the Ransom Center will host the 2014 Flair Symposium, "Cultural Life During Wartime, 1861-1865," from Sept. 18 to 20. The symposium will look back to the 19th century to examine the cultural world of Union and Confederate painters, photographers, musicians, theater companies and writers. The songs, images, poems, books and plays that appeared between 1861 and 1865 offer a nuanced perspective on the Civil War that challenges later narratives, both fictional and historical.

      Complementing the physical exhibition is the web exhibition "Producing Gone With The Wind," which explores producing the film, including rarely seen fan mail from individuals who sought auditions, solicited employment and protested the production. Visitors can also see teletypes from Selznick's production company that detail the casting of Leigh as Scarlett O'Hara and explore the costumes, hair and makeup that contributed to the film's vibrant imagery. The web exhibition launches Sept. 9 at www.hrc.utexas.edu/webgwtw.

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    • DICK DINMAN PRESENTS "THE VIC DAMONE STORY"

    • DICK DINMAN SALUTES LEGENDARY VOCALIST VIC DAMONE (PART ONE): Producer/host Dick Dinman commences his six-show tribute to iconic vocalist Vic Damone as guest Vic Damone shares his reminiscences of his upbringing in a rough section of Brooklyn, the early influence of his idol Frank Sinatra, his first break and first of many hit recordings, and the generous help and encouragement of stars Perry Como and Milton Berle.

      DICK DINMAN SALUTES LEGENDARY VOCALIST VIC DAMONE (PART TWO): Producer/host Dick Dinman continues his tribute to ever-popular song stylist Vic Damone as Vic chats about his first screen test courtesy of MGM producer Joe Pasternak and reveals the identity of the silver screen superstar who saved the day by guiding him through it, his stint in the Army that temporarily interrupted his rise to screen stardom, and his marriage ceremony to the troubled MGM star Pier Angeli as Angeli's ex-beau James Dean looks on mournfully.

      The award-winning DICK DINMAN'S DVD CLASSICS CORNER ON THE AIR is the only weekly half hour show devoted to Golden Age Movie Classics as they become available on DVD. Your producer/host Dick Dinman includes a generous selection of classic scenes, classic film music and one-on-one interviews with stars, producers, and directors. To hear these as well as other DVD CLASSICS CORNER ON THE AIR shows please go to www.dvdclassicscorner.com or www.dvdclassicscorner.net.

      NEXT MONTH! DICK DINMAN PRESENTS "THE VIC DAMONE STORY" (PART THREE AND FOUR).

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    •  
    • San Francisco Silent Film Festival Announces SILENT AUTUMN Film Program

    • San Francisco Silent Film Festival follows its tremendously successful 19th annual Festival (May, 2014) with Silent Autumn on September 20th at the historic Castro Theatre. For information, please visit www.silentfilm.org.

      The San Francisco Silent Film Festival is moving its annual winter event to fall, and with SILENT AUTUMN on September 20 it continues its mission to present masterpieces from the silent era with the finest musical accompaniment in the world. The program:

      ANOTHER FINE MESS: SILENT LAUREL AND HARDY SHORTS
      (USA, 1928-1929, Produced by Hal Roach, total running time is approximately 70 minutes)
      11:00 AM

      This program features the splendid anarchy of the finest comedy team to grace the silver screen. Both Stan Laurel (the thin Briton with the elastic face) and Oliver Hardy (the rotund baby-faced American) were successful comedians before the met, but together they were genius! Many people know the duo from their later feature career which included Sons of the Desert (1933), Babes in Toyland (1934), and Our Relations (1936), and these rare short silents are sure to be a revelation! Included in the program: Two Tars (1928), Big Business (1929) and a surprise or two!
      Musical accompaniment by Donald Sosin

      THE SON OF THE SHEIK
      (USA, 1926, Directed by George Fitzmaurice, 81 minutes)
      1:00 PM

      Rudolph Valentino's last film picks up on the story of his extraordinarily successful The Sheik. The Son of the Sheik resumes about 25 years later, and Valentino again stars, this time as the son! Like his father, he's charismatic, athletic, and a ladies man. This wonderful swashbuckling romance is being presented in a new restoration by Ken Winokur and Jane Gillooly from excellent 35mm negative material.
      Musical accompaniment by Alloy with the World Premiere of their new score!

      A NIGHT AT THE CINEMA IN 1914
      (USA/UK, 1914, 85 minutes)
      3:30 PM

      Marking the centenary of the start of World War I, the British Film Institute has put together this glorious miscellany of comedies, adventure films, travelogues and newsreels recreates a typical night out at the cinema in 1914. Cinema a century ago was a new, exciting and highly democratic form of entertainment. Picture houses across the country offered a sociable, lively environment in which to relax and escape from the daily grind. With feature films still rare, the program was an entertaining, ever-changing roster of short items with live musical accompaniment. Among the highlights of this program of 14 short films are a quirky comic short about a face-pulling competition, a sensational episode of the American film serial The Perils of Pauline, an early aviation display, scenes of suffragettes protesting at Buckingham Palace and Allied troops celebrating Christmas at the Front. There is also an anti-German animation film and an early sighting of one of cinema's greatest icons.
      Musical accompaniment by Donald Sosin

      THE GENERAL
      (USA, 1926, Directed by Clyde Bruckman and Buster Keaton, 75 minutes)
      7:00 PM

      Consistently listed as one of the finest films of all time, The General was one of Keaton's favorites as well. In the film, Buster plays Johnnie Gray who falls into the Confederacy through love of his locomotive and his beautiful Annabelle Lee. Orson Welles said: "The greatest comedy ever, made, the greatest Civil War film ever made, and perhaps the greatest film ever made."
      Musical accompaniment by Alloy Orchestra.

      THE CABINET OF DR. CALIGARI
      (Germany, 1920, Directed by Robert Wiene, 75 minutes)
      9:00 PM

      The story of the hypnotist Dr. Caligari and his somnambulist Cesare is one of the earliest examples of a "psychological thriller" and one of the best known German films of all time. SFSFF's presentation will be the US premiere of the restoration of this brilliant German Expressionist film--restored using the original camera negative, resulting in a print quality worthy of its classic status. With Werner Krauss, Conrad Veidt, Friedrich Fehér, Lil Dagover.
      Musical accompaniment by Donald Sosin


      Tickets Information and Public Contact Numbers
      Silent Autumn at the historic Castro Theatre will take place on September 20. For more information and to purchase tickets and passes, go to www.silentfilm.org.

      San Francisco Silent Film Festival
      833 Market Street, Suite 812
      San Francisco, CA 94103-1828

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    • Movie-Themed Nights at the Hollywood Bowl

    • Don't miss the Hollywood Bowl's special movie-themed nights sponsored by Turner Classic Movies. Pollstar magazine's Best Major Outdoor Venue (ten years in a row!), the Hollywood Bowl is the largest natural outdoor amphitheater in the United States. Throughout the summer the LA Phil presents the best in jazz, classical, Broadway, and world music, featuring artists that range from Yo-Yo Ma to Janelle Monae, John Williams to Steve Martin, and Gladys Knight to The Pixies. This summer's special movie-themed nights include many crowd favorites:

      Sunday, July 13, 7:30pm
      Grease Sing-A-Long
      Tickets
      Bring the family to the fun-filled Grease Sing-A-Long, which returns with a pre-show performance and the much-loved movie musical on the Bowl's giant screen. Grease is the word! Come early for a 7:30pm pre-show with Sha Na Na.

      Didi Conn ("Frenchy"), host
      Sha Na Na musical guest



      Sunday, August 31, 7:30pm
      The Big Picture: Hitchcock
      Tickets
      Suspense! Sinister plots! Mistaken identities! This year's Big Picture is a thrilling tribute to the classic films of Alfred Hitchcock. Mesmerizing, haunting and psychologically gripping scores by Bernard Herrmann (Vertigo, North by Northwest), Dimitri Tiomkin (Strangers on a Train, Dial M for Murder) and more will be played live while spellbinding scenes are projected on the Bowl's big screen.

      Hollywood Bowl Orchestra
      David Newman, conductor
      Eva Marie Saint, host



      Saturday, September 20, 6:00pm
      Sound of Music Sing-A-Long
      Tickets
      The Hollywood hills are alive with The Sound of Music! Everyone's favorite sing-along returns to the giant screen at the Bowl. Bring your costume for the pre-show parade, and warm up your vocal cords for this beloved and always sold-out event.



      Make the most of your Hollywood Bowl experience with a picnic dinner. You can bring your own food or buy on site. For tickets and information, visit HollywoodBowl.com

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Frank Capra: The Early Collection DVD
Frank Capra: The Early Collection DVD
$44.99
was $49.99
Columbia Pictures Pre-Code Collection (DVD)
Turner Classic Movies and Sony Pictures Home Entertainment...
$44.99
was $49.99
Hollywood Movie Stills: Art and Technique in the Golden Age of...
This photographic book is the most detailed and perceptive survey...
$24.99
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  •  
  • Wednesday, March 20, 2011

  • Removed: 10:00pm Springfield Rifle
    12:00pm Casablanca
    Added: 1:00pm Virginia City
    12:15pm Casablanca
  •  
  • Wednesday, March 20, 2011

  • Removed: 10:00pm Springfield Rifle
    12:00pm Casablanca
    Added: 1:00pm Virginia City
    12:15pm Casablanca
  •  
  • Wednesday, March 20, 2011

  • Removed: 10:00pm Springfield Rifle
    12:00pm Casablanca
    Added: 1:00pm Virginia City
    12:15pm Casablanca