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    • An Interview with Christopher Plummer on His Recently Published Memoirs

    • On Friday, December 5th, TCM interviewed Christopher Plummer by phone about his new autobiography, IN SPITE OF MYSELF (published by Knopf). An actor of great range and versatility, Plummer has worked in every facet of the industry - theatre, television, radio and film - and we covered everything from John Barrymore to Plummer's appearance in STAR TREK 6: THE UNDISCOVERED COUNTRY with fellow Canadian William Shatner to unsung stage legends such as Laurette Taylor to THE SOUND OF MUSIC to his upcoming title role in Terry Gilliam's THE IMAGINARIUM OF DOCTOR PARNASSUS and much more.

      TCM: What was the main reason that compelled you to write IN SPITE OF MYSELF?

      Christopher Plummer: Well, I wanted to write about the old guard that had gone before television had come into play. All the great stars that I had worked with in the past because that really is history. Because they themselves have such links with the past that you feel like you know the past by knowing them. And I knew that a lot of young people - if they ever bother to pick up the book to read - will probably not know who the hell I'm talking about. But it doesn't matter because anybody who's interested in the arts, they should know and that's why I wanted to tell those stories.

      Well, it's great to have accounts of all these theatre people because there are no film records of them.

      CP: No, there's not. Kathreen Cornell, for example, only appeared in one movie. I think it was STAGE DOOR CANTEEN and she had a guest appearance like everyone else in that.

      Your book fills me with regret at not being able to have seen some of these great people on the stage.

      CP: Yes, I know, I know, and I was so lucky to have met them and some of them at the end of their careers. They were all still living that rich and extraordinary life that the theatre had in those days. Kathreen Cornell, for example, was the last actress to have her own private train which we traveled in across the U.S. and Canada before hitting Broadway. It was like a fairy story.

      TCM: I wanted to ask you about growing up in Canada. From your memoirs, it seems that music and theatre were your favorite arts as a teenager but there was little mention of cinema. There was one comment you made, "I shunned celluloid and adopted toward it a repulsively snobbish disregard." I was curious where that attitude came from? CP:(laughs) Well, that attitude came from almost everyone in the theatre in those days. Don't forget that we still had an almost snobbish disregard for the cinema. The theatre was the senior art and the cinema was this kind of brash newcomer that had come in and made a lot of people famous without a hell of a lot of training. And here we were in a profession where you had to train otherwise you wouldn't be tolerated. It was a very old-fashioned, extraordinary [attitude]...and it still hung on with a lot of Broadway actors in guys like Jason [Robards, Jr.] and George C. Scott. When I was on Broadway and they were my friends and they were a part of the rhythm of life in New York in the fifties, even they made movies to make money in order to be able to go back to the theatre and do great plays. That sort of stayed with me through the fifties and then you grow up and say, "C'mon on, the movies are [legitimate work].." Secretly, of course, I was lying because I went to the movies all the time as a kid. I saw thousands of films. I became a sort of boring film buff when I was fifteen or sixteen. It all changed in the sixties and seventies and we began to revere the cinema. But I still held on to that truth about the theatre and the training. That holds true to today.

      TCM: One comment you made in the book was that you read the John Barrymore biography, Good Night, Sweet Prince and that influenced you to want to become a stage actor.

      CP: Oh yes, hugely. It was the first book about an actor I had ever read and - my god - I thought that if this guy could look that good and be that good on the stage and still be a drunk - god love him! That was my idea of absolute heaven. To be able to drink, act, look handsome...and get girls!

      TCM: But you never had a chance to see him on stage did you?

      CP: No, but I knew his daughter Diana which I write about in the book. And she was full of stories about her dad even though she didn't know him that well either. But the little she knew of him she was obsessed by him and certainly shared a huge history of stories about him. I was very fond of Diana, such a self-destructive nature. It was a Barrymore disease, I guess, for awhile and she inherited it, I suppose. When I was in my sixties, I played him [John Barrymore] on the stage on Broadway and I somehow wish Diana could have seen me. I think she might have been proud of me. I hope so.

      TCM: Did you ever see the film version of Diana Barrymore's autobiography Too Much Too Soon? I was curious if Dorothy Malone captured what she might have been like?

      CP: Yes, she wasn't quite as flamboyant as Diana in life or on the screen. She was very good in it but I see Diana in other movies as herself and she's sometimes good and sometimes a little theatrical because she hadn't done that many films and was primarily a stage actress.

      TCM: In terms of John Barrymore on film, is there a particular performance that you most admire?

      CP: Well, it's such a shame that we couldn't see him when he was playing Hamlet on the stage, when he was in full control of his powers. I know that by the time he arrived on the screen he was kind of dissipated a bit..but I loved him in TWENTIETH CENTURY. I thought all of his theatricality was..given its true importance in that movie. And I liked his performance in a picture called MIDNIGHT. He was terribly good in that and I think he had a ball in MIDNIGHT. COUNSELLOR AT LAW, you can see every now and then, a touch of greatness in him. There are flashes of it, you know, as you watch it. There are certain scenes, particularly almost at the end, in that tension before he tries to commit suicide. And he's on that telephone call to the ship. There are moments in there of such pain and reality that you say, "Hey, wait a minute that must have been part of what he was like as Hamlet." So it crosses your mind. But then he goes back to being a ham. And one enjoys that in a way but there's something sad about it. I thought his Mercutio [in ROMEO AND JULIET, 1936] was a little over the top. But I knew - god who played Benvolio in that? - Basil Rathbone played Tybalt and he told me that he and Reginald Denny, he played Benvolio...they had to support Jack while he did his soliloquy. So the director said "Look, just stay out of frame and just hold him still for christsake, will you, so he can get through this speech?" So what you see is Jack doing the great Queen mab speech alone, of course, but what you don't see is Benvolio and Tybalt supporting him on either side. I mean, Basil Rathbone told me that story. Awful! (laughs)

      TCM: With you being such a classically trained actor, I was curious about your opinion of "The Method" and Marlon Brando's impact on the theatre world with A Streetcar Named Desire.

      CP: Listen, to me "The Method" is usually totally misunderstood. It doesn't mean that you have to mumble and not be heard. It means that you use it when you're in deep trouble, when you can't bring your imagination to work then you try and have a sense memory of your own that can help and I think that's true of any instinctive actor. You don't have to go to a method school to learn that. But when Marlon came to the fore and became the second - actually - very real actor, the first being Montgomery Clift...Monty and Marlon Brando were the two supremely realistic actors on the screen at that time. And it was just wonderful to watch and you realized they knew how to treat the medium. The Medium needed that then. Now I'm going to switch back a few decades before that to an actor not a lot of people will know but an actor called Robert Williams who was one of the most realistic comedians the screen had. He made Cary Grant look like he was overacting. Robert Williams was the lead opposite Jean Harlow in PLATINUM BLONDE which was directed by Frank Capra. To watch Robert Williams act was like seeing a comic using the Method, long before the Method became famous with Marlon and Monty. So people were doing it already, that's my point. Brando was great and I would have liked to use both my classical knowledge and Brando's kind of wonderful imaginative reality and mix them up and that would have been the perfect mix for any artist.

      TCM: I love the idea of actors playing characters in Shakespeare's plays that you don't ordinarily associate with Shakespeare such as Brando playing Mark Anthony in JULIUS CAESAR or Jack Palance in the same play which you talk about in your book.

      CP: Well, that is a true story you know and I'll never forget him [Palance] throwing his costume offstage in a rage because the critics hadn't recognized that he had worked very hard. And they were miserable to him. However, I do redeem Jack and I became very fond of Jack but it wasn't easy in the beginning because he was a pretty forbidding fellow. That stare would freeze anybody in their tracks. But I became very fond of him because there was a vulnerability about him. He redeemed himself as Caliban [in Shakespeare's THE TEMPEST]. He was terribly good as Caliban. He used all of his sort of hissing (makes vocal sounds like Palance)...and the thing he did in westerns. He used that and it worked. Raymond Massey was Prospero, he was Caliban. So he redeemed himself and I think the critics came back and praised him for that, which they should, because they were very unkind to him in JULIUS CAESAR.

      TCM: I've noticed that you've played some of the same characters over and over again on stage and in film - Oedipus Rex, Cyrano - and was curious if you liked replaying the role at different points in your life as you got older because you brought a different perspective to the character and got a new idea of how to approach him? Or was it something else?

      CP: Oh, god no. You're exactly right. Also, different people in different countries. I did Benedick twice [in Much Ado About Nothing], once in Stratford in Canada, and once in Stratford-on-Avon in England with totally different people, casts, and all that. Hamlet, you know, I've done twice. And Hamlet you can never do well enough until you are my age. For instance, I think I'd be terrific as Hamlet now because I've learned so much since that I could put it into Hamlet. Do you know what I mean? I don't think anybody can play that part and be the right age for it. It's not possible that anybody could be so witty, urbane, moving, touching, wise, all the things that Hamlet is...princely, cultured, way beyond his years. How can you do all that until you're old enough to have the technique in which to make it look all so simple? Everybody has to work so goddamn hard when they play Hamlet and I'm just as guilty as anybody else.

      TCM: Yes, it would be hard to accept a 20-year-old actor as a character like King Lear.

      CP: Yes, in a sense, because you would look right - he was about 26 - and I played him when I was 26 or 27. And then the next time I played him I was 30 and still looked ok. The booze hadn't gotten to me yet. (laughs) And I was better the second time. Of course. You learn more in the interum. And now I think I'm ready but sadly the movies have killed that you see because now they want you to look the part. Edwin Booth, the great American actor of the 19th century, played Lear until he was 65 or certainly into his sixties, and with long, white hair and nobody complained. He was wonderful in it.

      TCM: Now one play I wanted to ask about was THE ROYAL HUNT OF THE SUN where you played Pizarro on the stage but in the film version of it you played the Inca King Atahualpa. Was that a different transition to make?

      CP: Yes, but I kept thinking when I was Pizarro on Broadway..I kept watching young David Carradine who was playing Atahualpa, the Inca king, and making all sorts of weird sounds. It was wonderful stuff he was doing. And I kept thinking if this was ever a movie, THAT'S the film part. He doesn't have much dialogue. All he does is come on and make these weird noises and look strange and wonderful. And those poor Pizarro has all these speeches to make, which in the theatre work great but on screen they're too long. You'd have to cut them. So I said Atahualpa for me. And then Bob [Robert] Shaw put it together with some other people and said would you want to come and play Atahualpa? And I said yes, absolutely. No, I had a fascinating time playing both those characters because I think Peter Shaffer wrote a play that was way ahead of its time although it was a hit in both London and New York. But it didn't quite hit the mark with its story about diverse cultures needing each other...societies dependent on one another. I think a few years later it would have worked better.

      TCM: There is a photo in IN SPITE OF MYSELF of William Shatner with the caption reading, "My rebellious understudy," and wanted to know about your experiences together in theatre in Canada.

      CP: No, in radio. We grew up in radio together in Montreal in both French and in English. So there was a lot of work going on. But rebellious understudy, by that I meant that Bill Shatner, who was my understudy, when he went on, he broke all the rules. He did everything I didn't do. So he was totally different from me in every single way. Even from sitting down to standing up. So I knew he was a rebel. And I knew that he was going to be a star.

      TCM: So that must have been a fun reunion when you starred together in STAR TREK 6: THE UNDISCOVERED COUNTRY?

      CP: Oh, god yes. It really was fun. I enjoyed that and it was a good script too, a funny script.

      TCM: And now it's time for a few inevitable SOUND OF MUSIC questions. Did you ever have an inkling while you were filming it that it was going to be the huge boxoffice hit it became?

      CP: Well, I do mention in the book that during the last two days of shooting in California where we did most of the interiors people started coming to visit the set. Journalists would turn up, actors would turn up. Shirley MacLaine was there a lot because she was making a movie next door and...there was suddenly a strange interest in the thing which I thought very mysterious. And I remember Julie [Andrews] saying to me, "I have a feeling that we might be famous." And of course we had no idea the bloody thing was going to take off like it did. But I begain to have an inkling that something was afoot in California toward the end.

      TCM: And after THE SOUND OF MUSIC was a hit, did you receive a lot of screenplays with characters similar to the Captain Von Trapp character?

      CP: Yes, that's sort of why I decried my role as the Captain a lot. I don't decry the movie because it was a very well made movie.

      TCM: But you wisely turned all of those scripts down.

      CP: Well, not all of them. I did some of them because, you know, you have to make a living. But my type of roles are sort of uptight, urbane, sophisticated young men...sort of boring and dull. People don't have any imagination in this business, do they? I can do comedy. I can do all sorts of things. Why are they giving me this uptight crap? So I was so happy when I arrived at a certain age and I could become a character actor and be free of all that nonsense.

      TCM: One person you mention in your book that I love and have only seen rarely on screen but he's always wonderful is Michael Kidd. Of course he's more famous as a choreographer but you worked with him on your musical Cyrano and he was so great in IT'S ALWAYS FAIR WEATHER with Gene Kelly. What are your memories of him?

      CP: Oh, Michael Kidd was a gem. I mean I haven't heard anybody say anything about Michael Kidd that wasn't absolutely magical for them. Fred Astaire was over the moon about Michael Kidd when he worked with him as a choreographer. I was when he did Cyrano. He was absolutely wonderful the way he moved that whole evening. And his taste in it was extraordinary. He had a lovely human taste about everything. I've put his name down every year on a ballot to be honored, you know, by the Kennedy Center honors. And now he's gone and he's never been honored. To me, he was one of the very original, great choreographers of our history. It was Agnes DeMille and Michael Kidd. He did the original GUYS AND DOLLS, the movie version of it, SEVEN BRIDES FOR SEVEN BROTHERS...I mean, I can't believe that he has not been honored in the way he deserved to be. Yeah, I loved him. He was a great guy and he was the kind of guy who would say to you (imitated his voice), "Oh, I don't want that done, please" - he was so modest. And he shunned the limelight. Maybe that was why.

      TCM: One of my favorite directors that you worked with - Anthony Mann - had moved into big budget films at the time you made THE FALL OF THE ROMAN EMPIRE with him. Your chapter on the making of that film was fascinating and would make a great film as well. But I was curious, since he was fired from SPARTACUS a few years before that, if you felt he had gotten in over his head with directing these epics? Having worked with him closely, do you feel it was harder for him to manage these big productions or that his style had changed from his earlier, more intimate noirs and westerns?

      CP: Well I loved working with him and don't think so at all. I think THE FALL OF THE ROMAN EMPIRE was wonderfully directed. It looked wonderful, it moved well. The only problem with THE FALL OF THE ROMAN EMPIRE was that the script wasn't very good. It was badly written because there was a huge conglomerate of writers on it that had come out of every hole in the wall. I don't know how they managed to stay in one room - one cigarette smoke filled room - as they all penned with very mundane script with a huge and wonderful cast. A terrific director. And I thought EL CID was an absolutely wonderful epic. That had classic porportions to it in its simplicity. No, I don't think so at all. I think Anthony Mann was a very, very unsung versatile director who could do the epic drama as equally well as he did film noir and westerns. He was good at all three. And you know the funny thing is he was one of the few Hollywood directors that I've ever met who adored the theatre because he started in the theatre.

      TCM: I didn't realize that. As a director or actor?

      CP: I think as an actor. But I didn't mention that in my book because I wasn't sure if he was a director or an actor but I do know that he started in the theatre as a young man.

      TCM: I'm going to jump ahead to something more recent, your performance as "60 Minutes" Reporter Mike Wallace in THE INSIDER. Was that intimidating to play someone who is still quite active and visible in their profession and would probably see your performance?

      CP: Well, it was kind of dangerous and I like danger because, you know, I think you have to go in where angels fear to tread. And I met Michael and have even been interviewed by him. And I watched him when I was a youngster...and he was barely a youngster too then...as the angry young man of television. So I didn't have to do much research because I remembered very well how his voice sounded...and how he attacked everybody and was an extraordinary, probing commentator. No, that was wonderfully challenging and greatly helped I was by Michael Mann [the director] who kept me from imitating him. He insisted that I put some of my own personality into the Mike Wallace character which is correct..because otherwise that's just a simple imitation of the man and that's cheap. So he guided me very well though that and I admired him. And of course my friendship began with Russell Crowe and Al Pacino, both of whom I admire enormously. It goes without saying about Al Pacino and Russell Crowe, who is probably the most talented leading man that Hollywood has had in a long time.

      TCM: In 2005 both you and your daughter Amanda were both nominated for Emmy awards in separate television productions. Have you ever worked together on stage or in film or have any plans to?

      CP: No, we never have and I do want to very much. One avoided it for a while because it looked like we were pushing the family. You know, "Oh yes, I'll team up with my daughter and I'll get my grandmother to play all the other parts." So we avoided it and I think there is a sort of shyness about being related that can sometimes interfere with your work or with your freedom in your work. But now I think I would love to and there are a couple of plays that I am very much thinking about doing with her. Because I admire her enormously. She's a very original talent. She's extraordinary.

      TCM: There's a little independent film you made in Canada in 1978 that I'm quite fond of called THE SILENT PARTNER with Elliott Gould and Susannah York. You are very frightening in that film. At the time I saw it, it seemed like Canada was developing into a very active filmmaking location with lots of directors like David Cronenberg and Darryl Duke emerging.

      CP: Yes, The Canadian film industry was beginning. It started mostly in Montreal and the French film industry had started even before that in Montreal - the French-Canadian film industry - and they'd done some wonderful local movies which were shown in several French speaking countries such as France for example. And several of them were prize winning movies but then the English followed suit. I starred in an earlier Montreal movie, THE PYX, which I did with Karen Black. That was sort of the beginning of this new resurgence in English filmmaking. Then THE SILENT PARTNER came along several years later with Darryl Duke directing. He was a very talented director. And that script was written by our friend who is now a very big Hollywood director - Curtis Hanson. He was a very young guy then and had written a script - a really fascinating script. My wife's idea was to put me in a Chanel dress in the last scene - that was Elaine's idea - and I took it to Darryl and he said, "Oh, god, I don't think our friend the writer is going to like that" but he said, "I love it" and finally I think we won both of them over. It did work. It was a great idea.

      TCM: I'm curious if you've ever had the desire to direct after so many years of film and stage experience?

      CP: I've sort of collaborated on some of the television productions I've done particularly one-man shows such as Nabokov...Vladimir Nabokov, a wonderful writer. I did a one-man show on him [Nabokov on Kafka, 1989) for television which I loved doing because he was such a fascinating creature. So I've directed a little bit and directed on stage but I would rather go on being an actor. The agony of being a movie director - I don't envy them. I really don't because they spend at least two years of their lives and unless you're a hugely popular director with final cut and there are very few now that have that. You work hard and put your life into it and what happens? Some committee comes along and changes it all, particularly in the movies. And I think my god, I'm not going to do that. By the time this guy's in his third year of being cut by a committee, I've made 25 plays as an actor. I mean I can work so much harder and quicker. So I modestly remain an actor.

      TCM: In terms of your current projects, is the new Terry Gilliam film, THE IMAGINARIUM OF DOCTOR PARNASSUS completed yet?

      CP: No, he's waiting for all sorts of insurance problems to be cleared because of Heath Ledger's death. And although Heath Ledger was replaced by three actors as you know - Jude Law, Johnny Depp and Colin Farrell - which is terrific replacing, my god. There are still some monetary problems over insurance. Otherwise, it's almost ready to be released. And poor Terry has gone through torture.

      TCM: He seems to go through torture on all of his movies.

      CP: Oh, I know and I adore Terry because he has such a wild, wild imagination. And I keep saying to him, you know, it's so much easier Terry if you just scrap the movie and make the documentary.

      TCM: That's what they did about his La Mancha film.

      CP: That's right....which I loved that documentary. It was just wonderful. So that's coming out this year. And I just finished a movie with Helen Mirren who I adore about Tolstoy and his wife [THE LAST STATION]..and a very good script by Michael Hoffman which we made in Germany last winter and spring. That should be coming out soon and I'm looking forward to that because I think there was some depth in that and some fun. And the Tolstoys have not been written about that very much on the screen as a family. Order the television serial.

      TCM: I noticed you have another new project on your slate, a film version of Shaw's CAESAR AND CLEOPATRA.

      CP: Yes, we did it this summer up in Stratford, Canada with a wonderful young Black actress named Nikki James who looks sixteen..just the age that Shaw imagined her to be in his play and we're going to bring it to New York which we're trying to negotiate right now. It's a very funny play and a very timely one too. The references to the Egyptian takeover brings a response from the audience. You can hear them thinking "ah ha Iraq" which immediately springs to mind.

      TCM: One last question: In terms of all the great Broadway and theatre actors you've known and worked with, is there one that you'd love to introduce to somebody who knew nothing about the theatre? Or more than one?

      CP: Yes, it can't be one. It started in France because I grew up watching French cinema and French theatre and we got a lot of French theatre in Montreal you know that came over from Paris and our own French theatre. I would say one of the most exciting French actors was Pierre Brasseur. He did the most extraordinary work. If you saw him as Keen, he just electrified the house. They all had the grand manner of the theatre which you don't see anymore. And he was also marvelous in - you remember his performance in LES ENFANTS DU PARADIS [Children of Paradise]? He played the great ham actor Frederick Lemaitre and wiped the floor with everybody. He was so funny. That sort of acting I would say influenced me greatly. Of course, Laurence Olivier. When one was young one was influenced by him. Wonderful way with Shakespeare. He made it so attractive as well as Shakespearian. And He made it attractive for the world so Shakespeare was given a huge resurgiance by his movie HENRY V. He influenced a huge generation of actors which I was one. And soon you get to kick the habit and become your own master. Even beefy old Donald Wolfit was a great King Lear. I mean I saw him on the stage and he was extraordinary. When I played King Lear many, many years later I'm afraid I stole some things from Donald Wolfit. I thought "Oh boy, I didn't do him justice" but he was wonderful too. The people I would have loved to have seen were Laurette Taylor who I understand from everyone who worked with her that I knew was the greatest actress that America ever produced. She was so real when she came on that you thought she was giving a documentary performance. You'd thought she'd come in straight off the street. She was that real that Anthony Ross who played the gentleman caller in Tennessee Williams original production of THE GLASS MENAGERIE of which Laurette Taylor starred in told me that on the stage she would suddenly turn to you and say something by Tennessee Williams but say it with such reality that you thought she was speaking to you in confidence.

      Interview conducted by Jeff Stafford

      *This originally appeared on TCM's Movie Morlocks blog on December 13, 2008. You can View It Here..

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  1. New Books

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      Eric Lax has been with Woody Allen almost every step of the way. He chronicled Allen's transformation from stand-up comedian to filmmaker in On Being Funny (1975). His international best seller, Woody Allen: A Biography (1991), was a portrait of a director hitting his stride. Conversations with Woody Allen comprised interviews that illustrated Allen's evolution from 1971 to 2008. Now, Lax invites us onto the set-and even further behind the scenes-of Allen's Irrational Man, which was released in 2015, and starred Joaquin Phoenix and Emma Stone. Revealing the intimate details of Allen's filmmaking process, Lax shows us the screenplay being shaped, the scenes being prepared, the actors, cinematographers, other crew members, the editors, all engaged in their work. We hear Allen's colleagues speak candidly about working with him, and Allen speaking with equal openness about his lifetime's work. An unprecedented revelation of one of the foremost filmmakers of our time, Start to Finish is sure to delight not only movie buffs and Allen fans, but everyone who has marveled at the seeming magic of the artistic process.

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    • Backwards & In Heels: The Past, Present And Future Of Women Working In Film


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      "After all, Ginger Rogers did everything that Fred Astaire did. She just did it backwards and in high heels..." - Ann Richards

      Women have been instrumental in the success of American cinema since its very beginning. One of the first people to ever pick up a motion picture camera was a woman, as was the first screenwriter to win two Academy Awards, the inventor of the boom microphone and the first person to be credited with the title Film Editor. Throughout the entire history of Hollywood women have been revolutionizing, innovating, and shaping how we make movies, yet their stories are rarely shared. This is what film reporter Alicia Malone wants to change. Backwards and in Heels tells the history of women in film in a different way, with stories about incredible ladies who made their mark throughout each era of Hollywood. From the first women directors to the iconic movie stars and present day activists--each of these stories are inspiring in the accomplishments of women, and they also highlight the specific obstacles women have had to face. Backwards and in Heels combines research and exclusive interviews with influential women and men working in Hollywood today, such as Geena Davis, J.J. Abrams, Ava DuVernay, Octavia Spencer, America Ferrera, Paul Feig and many more, as well as film professors, historians and experts. Think of Backwards and in Heels as a guidebook--your entry into the complex world of women in film. Join Alicia Malone as she champions Hollywood women of the past and present, and looks to the future with the hopes of leveling out the playing field.


      Alicia Malone is a film reporter, host, writer and self-confessed movie geek. She first gained notice hosting movie-centric shows and reviewing films in her native Australia, before making the leap to Los Angeles in 2011. Since then, Alicia has appeared on CNN, the Today show, MSNBC, NPR and many more as a film expert. Currently, she is a host on FilmStruck, a cinephile subscription streaming service run by the Criterion Collection and Turner Classic Movies, and she is the creator and host of the weekly show, Indie Movie Guide on Fandango. Alicia is passionate about classic films, independent movies and supporting women in film. In 2015, Alicia gave a TEDx talk about the lack of women working in film and why this is important to change. In 2017, she was invited to give a second TEDx talk, where she spoke about the hidden stories of the earliest women working in Hollywood. Alicia has also spoken at conferences around America, and because of this, was named of one the 100 Worthy Women of 2016. Alicia has traveled the world to cover the BAFTAs, the Oscars, the Cannes Film Festival, Toronto Film Festival, Sundance Film Festival, Telluride Film Festival and SXSW. She is a member of the Broadcast Film Critics Association, and over the years has interviewed hundreds of movie stars and filmmakers. She also wrote this bio, but knew it would sound way less egotistical if written in third person.

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    • Kirk and Anne: Letters of Love, Laughter, and a Lifetime in Hollywood


    • As screen icon Kirk Douglas approaches his 100th birthday, he and his wife of 62 years, Anne Buydens, share secrets to longevity in life and love told through candid commentary and priceless correspondence between each other and famous friends from celebrities to world leaders, spanning almost a century.

      Part of Turner Classic Movies' publishing program, this book is the story of film legend and centenarian Kirk Douglas and his wife of nearly sixty-three years, Anne. Their stories of enduring love and a lifetime led on the world stage unfold through the couple's own candid commentary and priceless letters from their personal archives. Carefully maintained by Anne over the course of more than six decades and never before made public, the correspondence includes details of their courtship and marriage, set against the backdrop of Kirk's screen triumphs in films ranging from Lust For Life to Paths of Glory and Spartacus.

      Through the letters themselves and Kirk and Anne's words, never-before-told stories emerge about the legendary figures they knew so well, including Lauren Bacall, Frank Sinatra, Burt Lancaster, Elizabeth Taylor, John Wayne, the Kennedys, and the Reagans; fascinating first-hand accounts of film sets and star-studded dinner parties; and tales of travel to over forty countries as goodwill ambassadors. Complemented by previously unpublished photos, Kirk and Anne candidly details the adventurous, oftentimes comic, and poignant reality behind the glamour of a Hollywood life, as only a couple of sixty-two years (and counting) could tell it.


      Kirk Douglas, a living legend at age 100, has distinguished himself as an actor, producer, philanthropist, and author. His numerous recognitions for achievements both on and off screen include an Academy Award for Lifetime Achievement, the Presidential Medal of Freedom, and France's Legion of Honor. Over a career spanning seventy years, he starred in some eighty films.

      Anne Buydens Douglas built her career in the film industry as a publicist. She met Kirk Douglas during the making of Act of Love (1953) and they married soon after. Anne would become his closest advisor and eventually take the reins as president of their independent production company, Bryna Productions.

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  1. DVD Reviews

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    • Dick Dinman & William Wellman Jr. Salute the BEGGARS OF LIFE!

    • DICK DINMAN & WILLIAM WELLMAN JR. SALUTE THE "BEGGARS OF LIFE": Popular author, actor, producer and raconteur William Wellman Jr. and producer/host Dick Dinman rave about Kino Lorber's marvelous Blu-ray release of legendary director William Wellman's favorite of his silent films BEGGARS OF LIFE in which the notorious Louise Brooks plays a train-hopping hobo who dresses like a boy to escape the law and discourage the lecherous advances of Wallace Beery and his rambunctious band of hoboes.

      PLUS "DICK'S PICKS": Flicker Alley's sensational 2K Blu-ray restoration of THE LOST WORLD pits Wallace Beery against the meanest prehistoric monsters that KING KONG's cutting edge special effect animation genius Willis O'Brien can devise.


      The award-winning DICK DINMAN'S DVD CLASSICS CORNER ON THE AIR is the only show devoted to Golden Age Movie Classics as they become available on DVD and Blu-ray. 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.

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    • Dick Dinman & Eddie Muller Reach Their BREAKING POINT!

    • DICK DINMAN & EDDIE MULLER REACH THEIR "BREAKING POINT": TCM's acclaimed "Noir Alley" host Eddie Muller joins producer/host Dick Dinman in a noir-ish duet as both sing the praises of Michael Curtiz' alternately tough and tender John Garfield masterpiece THE BREAKING POINT (which Eddie feels is Curtiz' best directed feature) and the Criterion Collection's shimmeringly spotless Blu-ray release of this Warner Bros. gem is certain to restore this comparatively obscure film to it's rightful position as one of the finest film noir classics ever committed to celluloid.

      The award-winning DICK DINMAN'S DVD CLASSICS CORNER ON THE AIR is the only show devoted to Golden Age Movie Classics as they become available on DVD and Blu-ray. 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.

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    • Dick Dinman Salutes Cagney/Wilder Comedy Classic ONE, TWO, THREE

    • DICK DINMAN SALUTES CAGNEY/WILDER CLASSIC "ONE, TWO, THREE": Kino Lorber's KL Studio Classics division has just released on Blu-ray Billy Wilder's break-neck mile-a-minute cold war comedy classic ONE, TWO, THREE in which Hollywood great James Cagney gives one of the richest, funniest, most breathlessly paced performances of his career and joining producer/host Dick Dinman to salute this frantically paced comedic milestone is classic film distributor and popular writer, producer and director Michael Schlesinger whose commentary is one of the highlights of this much requested and long awaited Blu-ray release.

      PLUS: "Dick's Picks" salutes KL Studio Classics Blu-ray releases of Hitchcock's LIFEBOAT, THE INDIAN FIGHTER, MARJORIE MORNINGSTAR, A FAREWELL TO ARMS, TOUGH GUYS, DAREDEVILS OF THE RED CIRCLE, THE SHIEK and SON OF THE SHIEK, ZAZA and the 3-D Archive's brilliantly immersive 3-D restoration of THOSE REDHEADS FROM SEATTLE.

      The award-winning DICK DINMAN'S DVD CLASSICS CORNER ON THE AIR is the only show devoted to Golden Age Movie Classics as they become available on DVD and Blu-ray. 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.

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    • Dick Dinman & George Feltenstein Salute Tracy/Hepburn, Scott/McCrea Hits!

    • DICK DINMAN & GEORGE FELTENSTEIN SALUTE TRACY/HEPBURN, SCOTT/McCREA HITS!: Warner Home Video's popular Senior Vice President of Classic and Theatrical Marketing George Feltenstein rejoins producer/host Dick Dinman as both salute the Blu-ray release of George Stevens' WOMAN OF THE YEAR which teamed Spencer Tracy and Katharine Hepburn for the very first time (and which together with Criterion's astounding Blu-ray incarnation of Michelangelo Antonioni's countercultural masterpiece BLOW-UP continues Warner Home Video's highly acclaimed association with the prestigious Criterion Collection) as well as the spectacular looking Warner Archive Blu-ray release of Sam Peckinpah's legendary masterwork RIDE THE HIGH COUNTRY in which iconic western stars Randolph Scott and Joel McCrea unite for the first and only time.
      PLUS: The underrated Glenn Ford/Henry Fonda contemporary western comedy THE ROUNDERS, Henry Fonda in SPENCER'S MOUNTAIN, the Sci-Fi hits WORLD WITHOUT END, WHEN DINOSAURS RULED THE EARTH and much in demand cult classic FROM HELL IT CAME in which a marauding and perpetually scowling tree terrorizes even more wooden thespians.

      The award-winning DICK DINMAN'S DVD CLASSICS CORNER ON THE AIR is the only show devoted to Golden Age Movie Classics as they become available on DVD and Blu-ray. 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.

      COMING SOON: JAMES CAGNEY RULES IN BILLY WILDER'S ONE, TWO, THREE!

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    • Dick Dinman & George Feltenstein Salute Kelly & Astaire Musicals!

    • DICK DINMAN & GEORGE FELTENSTEIN SALUTE KELLY & ASTAIRE MUSICALS: Warner Home Video and it's Warner Archive continue their celebrated tradition of releasing the greatest musicals of dancing legends Gene Kelly and Fred Astaire in pristine Blu-ray quality with the respective Blu-ray releases of Kelly's IT'S ALWAYS FAIR WEATHER and Astaire's FINIAN'S RAINBOW and producer/host Dick Dinman welcomes back Warner Home Video's Sr, Vp. of Classic and Theatrical Marketing George Feltenstein as both explore the immense challenges and difficulties both films faced during each of their production periods and the myriad of reasons that both films are far more popular today than they were in their initial releases.

      The award-winning DICK DINMAN'S DVD CLASSICS CORNER ON THE AIR is the only show devoted to Golden Age Movie Classics as they become available on DVD and Blu-ray. 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.

      COMING SOON: TRACY & HEPBURN! SCOTT & McCREA!! TABONGA!!!

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  1. Press Release

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    • Web Reviewer Glenn Erickson Launches 'CineSavant'


    • Web reviewer Glenn Erickson, aka 'DVD Savant' has established a new home under a new identity, 'CineSavant.' Reviewing independently since 1998, the Savant database has grown to over five thousand reviews and articles, and become one of the most respected and sought-out review pages on the web for news and opinions about classic films on disc. Readership boomed when the page Trailers from Hell picked up Glenn's reviews as featured content in 2015.

      A varied background helps add perspective to Glenn's reviews; from the UCLA Film School he worked in special effects, and then moved on to TV commercial work, and trailers for The Cannon Group. A long stint with MGM/UA Home Video led to editing large-scale DVD extras and other special projects. He began writing for the web in 1997 as 'MGM Video Savant.' Working with the film curators at MGM, Glenn helped detect and produced the restoration of the original ending of the film noir classic Kiss Me Deadly. Glenn has published two books of reviews, and has been writing and researching for TCM since 2004.

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    • Library of America's The Moviegoer on LAURA

    • Library of America's new regular web feature called The Moviegoer is devoted to great films inspired by classic American writing. This biweekly column features columns by Megan Abbott, David Denby, Wendy Lesser, Charles McGrath, Farran Smith Nehme, Carrie Rickey,Terrence Rafferty, Harold Schechter, Michael Sragow, & others and launched on January 27, 2016.

      American literature has proven an endlessly renewable resource for filmmakers, its originality and vitality inspiring whole catalogues of memorable movies. Now Library of America, the acclaimed nonprofit publisher of the nation's greatest writing, presents The Moviegoer, a biweekly column in which curator Michael Sragow (Film Comment) and other leading writers and critics offer fresh, penetrating examinations of the best of these films, gems that readers will want to revisit or watch for the first time. Standing at the intersection of classic American writing and classic filmmaking, The Moviegoer, offers not reviews but full scale reevaluations that explore the creative alchemy involved in translating a masterwork from page (or stage) to screen. It takes its inspiration, and its catholic compass, from the hero of Walker Percy's famous novel, and, in the words of curator Sragow, "aims to generate new enthusiasm for cinema as well as for literature."

      To read the entry in the series on Laura by Megan Abbott and to sign up for an alert when a new Moviegoer is published, click here.

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    • Acclaimed documentary TAB HUNTER CONFIDENTIAL released on DVD & Blu-ray

    • FilmRise has announced the September 1 Blu-Ray and DVD release of Tab Hunter Confidential. After an incredible year on the film festival circuit and a theatrical run across fifty cities in the United States, the acclaimed documentary will be available to rent or own from all major retailers. Based on Hunter's New York Times best selling memoir, producer Allan Glaser and director Jeffrey Schwarz (I Am Divine) have assembled dozens of past and present Hollywood stars, and most importantly the man himself, to talk frankly about being a survivor of the Hollywood roller coaster. The Blu-Ray & DVD will be available nationwide at all major retailers, with autographed copies only available on Tab Hunter's official website, www.tabhunter.com. Click here to learn more and order Tab Hunter Confidential on Blu-Ray & DVD (with optional autograph).

      Throughout the 1950s, Tab Hunter reigned as Hollywood's ultimate heartthrob. In dozens of films, and in the pages of countless magazines, Hunter's astonishing looks and golden-boy sex appeal drove his fans to screaming, delirious frenzy, solidifying him the prototype for all young matinee idols to come. Bristling against being just another pretty face and wanting to be taken seriously, Hunter was one of the few to be able to transcend pin-up boy status. He earned his stripes as an actor to become a major movie star and recording artist. But throughout his years of stardom, Hunter had a secret. He was gay, and spent his Hollywood years in a precarious closet that repeatedly threatened to implode and destroy him. Decades later, Hunter's dramatic, turbulent and ultimately inspiring life story has become an explosive documentary feature.

      Tab Hunter Confidential offers unprecedented access to the man behind the marquee smile, who shares first hand what it was like to be a manufactured movie star during the Golden Age of Hollywood and the consequences of being someone totally different from his studio image. The film traces Hunter's dizzying rise to Hollywood super-stardom, his secret life in an era when being openly gay was unthinkable, and his ultimate triumph when the limelight finally passed him by and true love won.

      Punctuating Tab's on-screen presence are rare film clips and provocative interviews with friends and co-stars including John Waters, Clint Eastwood, George Takei, Debbie Reynolds, Robert Wagner, Portia de Rossi, Noah Wyle, Connie Stevens, Robert Osborne, and dozens more.

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    • 3-D Funhouse at MoMA in NYC - Sept. 1-10


    • 3-D Funhouse is a weeklong tribute to the enterprising 3-D Film Archive, whose curators have dedicated themselves to collecting, restoring, and presenting in digital form the stereoscopic films of the analog era. It takes a lot of dedication and detective work to reassemble these wonders of midcentury technology, many of which were discarded by their producers once the 1950s 3-D fad had passed. Presented here are four newly restored features, ranging from the studio musical Those Redheads from Seattle (1953) to the feisty independent science-fiction film Gog (1954), as well as a program of rare 3-D shorts.


      Organized by Dave Kehr, Curator, Department of Film.


      3-D Rarities. 1922-53
      Friday, September 1, 4:00 p.m.
      Tuesday, September 5, 4:00 p.m.
      Saturday, September 9, 1:00 p.m.

      September Storm. 1960.
      Directed by Byron Haskin

      Friday, September 1, 7:00 p.m.
      Sunday, September 3, 1:00 p.m.
      Saturday, September 9, 7:00 p.m.

      Those Redheads from Seattle. 1953.
      Directed by Lewis R. Foster

      Saturday, September 2, 4:00 p.m.
      Monday, September 4, 4:00 p.m.
      Thursday, September 7, 7:00 p.m.

      Gog. 1954.
      Directed by Herbert L. Strock

      Saturday, September 2, 7:00 p.m.
      Monday, September 4, 7:00 p.m.
      Sunday, September 10, 4:00 p.m.

      Dragonfly Squadron. 1954.
      Directed by Lesley Selander

      Sunday, September 3, 4:00 p.m.
      Tuesday, September 5, 7:00 p.m.
      Wednesday, September 6, 4:00 p.m.


      For more information, links and showtimes, visit www.moma.org.

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To Kill a Mockingbird - 50th Anniversary DVD
$8.55
was $14.98
Out of the Past DVD
$14.36
was $17.99
Rear Window DVD
$10.47
was $14.98
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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