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    • She Devil on Blu-ray

    • Not all small-scale genre pictures are created alike. Some semi-obscure 1950s sci-fi and horror thrillers are laughably dated and some are just misunderstood. If given a thoughtful second look, a few transcend their own mediocrity. I propose a reappraisal of the lowly 1957 double-bill denizen She Devil, produced by an un-credited Robert L. Lippert and directed by Kurt Neumann, the man best known for the original, popular 1958 sci-fi horror classic The Fly. She Devil is also sourced from a fantastic short story that, tangentially at least, involves flies. But mostly it is a medical-horror update of the archaeic, ultra-conservative Alraune axiom: artificially manipulated life forms are by definition Evil, even beautiful women. Especially beautiful women.

      If they are fortunate to find themselves the subject of serious discussion, most sci-fi pictures of the 1950s are quickly linked to anxieties about atomic extinction or other fears associated with creeping technology -- alienation, loss of identity. She Devil chooses instead to examine gender relations, with outrageous results. The movie's impressively undiluted sexism shows no overt signs of deliberate parody or even a satirical edge; the whole thing is played straight. We're told that it was produced so quickly that there was likely little time for anyone concerned to ask what kind of movie was being made. Genre formulas adapted for commercial filmmaking take their own shapes, sometimes without the conscious intervention of an "author's message." Already notorious among hipsters as an unintentional comedy, the engagingly misogynist She Devil may be the most unconsciously "political" gender-based fantasy of the goofy '50s monster craze. It is ripe for rediscovery.

      As pointed out by author Tom Weaver, She Devil is basically My Fair Lady with an Eliza Doolittle character that transforms not into a lady, but a fiendish murderer. Retired M.D. and benevolent hospital executive Dr. Richard Bach (Albert Dekker) has invited brilliant researcher Dr. Dan Scott (Jack Kelly) to set up a lab in his mansion. Between experiments the cohabiting doctors sip martinis served by their housekeeper Hannah (Blossom Rock, Grandma on TV's The Addams Family. Dan explains that he has isolated the factor in fruit flies that allows them to adapt so easily to new environmental conditions. Dan has already given his serum to various small animals: hamsters are cured of pneumonia and a cat's broken spine has mended. A panther has recovered from severe injuries... and also changed the color of its fur. The doctors overcome their moral qualms and try out the serum on a terminal TB patient, Kyra Zelas (Mari Blanchard). The woman recovers overnight and, grateful to Dan, moves in with her benefactors. But she undergoes a radical personality change. She becomes ruthlessly violent in a high-class dress shop, clubbing a man for his money to buy a new wardrobe. Kyra also discovers that she has the ability to change her hair color. Kyra shows no contrition when confronted with her criminal actions and threatens to expose their illegal experiment unless they stop interfering and allow her to do everything she wants. At Bach's hospital charity party Kyra's glowing blonde hair attracts the attention of married millionaire Barton Kendall (John Archer), much to the dismay of his wife Evelyn (Fay Baker). By this time has also fallen under Kyra's spell, and is just as upset. Kyra is attracted to Dan but won't allow sentiment to interfere with her plans -- she intends to kill Evelyn, marry Barton and take control of his vast fortune. Realizing that they've created a monster, Richard and Dan decide to put a stop to Kyra's crime spree. The only problem is, that her system can 'adapt' to most any sedative they might use.

      Let's dispense with She Devil's silly-science first ...individual fruit flies don't alter their bodies to adapt to new conditions, they pass on their adaptations to successive generations. Although we expect our buddy team of doctors to create some sort of physical monster, Kyra's only new super-powers are immunity to disease, rapid healing and the ability to change her hair color at will. With her distinctive wide-set eyes, strikingly beautiful actress Mari Blanchard would be recognizable with her head shaved. But with just a change of hair from black to blonde, neither the dress store's owner nor Evelyn Kendall initially recognize her.

      If Carroll Young and Kurt Neumann's screenplay is really a fair indicator of male-female relations in our society, something is very seriously amiss. Kyra is concerned that her doctors treat her like a lab guinea pig, and she's completely correct. Richard and Dan conspire quietly and then present Kyra with condescending explanations of what they're up to. The familiar phrase heard more than once is "we know what's best for you". It's a paternalistic, authoritative world out there. Most women go along to get along, but the revived, liberated Kyra is having none of that: she robs and murders to get what she wants. 1950s films routinely dressed ordinary housewives in fashions ordinary women couldn't hope to afford. To reach her full alluring potential, Kyra needs a wardrobe. She is simply taking care of business, getting what's necessary in a society that doesn't value a woman without material adornments.

      So, the film's "monster" is simply a woman that won't submit to patriarchal authority or play a submissive role. Richard and Dan immediately instinctively understand this is social heresy, that Kyra must be destroyed. We the audiences are meant to agree. Although no previous dialogue suggested a religious context, Richard is suddenly talking about "what is meant to be" and the balance of good and evil. Saving Kyra's life was a mistake, and now they must do something about it. Compounding its sexist bias, the script now has the doctors plot a "moral" killing. They are the creators, therefore they are responsible. It's a pretty scary idea, not carried out to its logical extreme. It never occurs to Richard and Dan that doctors aren't responsible for the moral activities of their patients. They claim that Dan's serum changed Kyra, just as the leopard became more aggressive. As in Nicholas Ray's Bigger than Life, whatever 'demons' were released by the serum, were probably already a part of her personality. Plenty of people make a change in their lifestyle after an illness.

      The doctors' definition of responsibility is frighteningly selective. Their plan is to reverse the effect of Dan's serum, which will leave Kyra as she was, doomed to die. They rationalize their actions with pious resolve: "it was pre-ordained".

      When genre-based film criticism reached a peak in the early 1970s articles appeared that examined the dark recesses of "B" genre films for traces of a sexist conspiracy. They found plenty of evidence in films now considered howlers: Voodoo Woman, The Wasp Woman, The Leech Woman. What wasn't acknowledged is that most of these films were written by men, that often than not reworked conventional formulas that had been around for decades. Conservative notions were bound to slip into the mix. Just the same, She Devil's gender politics are more than just Camp fun -- they're a concrete expression of social attitudes that more 'sophisticated' entertainments try to gloss over.

      These days, if we don't side with the enterprising Kyra Zelas, we certainly see a world populated with her ethical sisters (and brothers). Kyra wants wealth and power, and as long as she gets them the "how" is of no importance. The film's real fantasy is the divide between the way films once portrayed society's workings, and how things really function. Aggressive, selfish behavior always received its comeuppance in movies made under the Production Code, which would not tolerate challenges to their bland concept of a universal moral code. It's entirely possible that the semi-religious posture struck in She Devil's last act was added to keep the censors at bay.

      The B&W "Regalscope" format gives this very modest production a handsome look, along with Kurt Neumann's competent if not stylish direction. Cameraman Karl Struss (of Murnau's Sunrise) slightly over-lights Kyra in the party scene to make her hair seem to glow, a subtle effect for sure. The hair-color changing is a filter trick, a Struss invention from back in the silent era. A spectacular car crash murder scene is an RKO stock shot lifted from the 1952 Otto Preminger noir Angel Face and cropped for the 'scope format. It still looks frightening. Suggesting an undeveloped noir angle, a "haunting" portrait of Kyra becomes the focus of Dan's obsession. Author Stanley G. Weinbaum's original short story "The Adaptive Ultimate" had already been staged more than once for radio and television, the most recent being a 1955 episode of TV's Science Fiction Theater.

      The acting is professional on all counts. Our association of Albert Dekker with more villainous roles (Doctor Cyclops, Kiss Me Deadly, The Wild Bunch) now makes his Dr. Bach seem a little less benign, especially when he's devising elaborate ways to discreetly do away with Kyra. Mari Blanchard was a standout beauty in minor parts. Her most hopeful career break came when she was cast opposite Audie Murphy in Destry, a remake of the Marlene Dietrich film. Suffering from polio as a child, Ms. Blanchard fell victim to cancer at an early age.

      The fascinating story-behind-the-story of Regal Films has been revealed in published interviews conducted by Tom Weaver.1 Although his name appears on none of the pictures, independent producer Robert L. Lippert was head of the outfit. Sometime around 1955, Lippert found himself frozen out of business by the Hollywood Guilds when he sold his films to Television, and tried to avoid residual payments. But he outwitted the ban through a deceptive production deal with 20th-Fox. He ran Regal Films with close associates and kept his personal involvement a secret. On this film, co-Producer Kurt Neumann took a solo producing credit. This arrangement held for many movies including The Fly, which was boosted to semi- "A" status and went out as a straight Fox picture. Lippert continued making pictures under the radar for Fox Under a different company name -- The Alligator People (another hoot, gender issues-wise), The Return of the Fly and The Day Mars Invaded Earth. Lippert didn't take another film credit until he relocated to England in the early 1960s.

      Olive Films' Blu-ray of She Devil is in great shape and is presented in its original 2.35:1 "Regalscope" aspect ratio. Until now the only way it was available only on pan-scanned flat copies that ruined what are fairly attractive compositions. A light scratch runs partway through the first reel and other imperfections are visible, but the show overall is in spectacular shape.

      She Devil was originally a co-feature with the quite different sci-fi thriller Kronos, made by practically the exact same production team.

      For more information about She Devil, visit Olive Films. To order She Devil, go to TCM Shopping.

      By Glenn Erickson


      1. [Author Tom Weaver was the first to click off the similarities between She Devil and the musical stage hit My Fair Lady, which had opened the year before. The passages about Robert Lippert are from Weaver's interview with director Maury Dexter, in his book I Talked with a Zombie: Interviews With 23 Veterans of Horror and Sci-Fi Films and Television] ↵

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  1. New Books

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    • Mabel And Me: A Novel About The Movies

    • By John Boorstin

      Mabel Normand became a star known as much for her beauty as her comedic timing. In a series of shorts she made with Roscoe Arbuckle, Normand perfected that timing and became known as the Queen of Comedy.

      But Normand was also known for her hard-living ways, her attempts at sobriety and her love affair with legendary producer Mack Sennett .

      John Boorstein's novel is set in the early days of silent filmmaking, before the movies became an industry known as the Dream Factory. It is a coming-of-age story about a young man who finds himself as obsessed with the new art form--as much as he is with the woman at the center of it all, Mabel Normand. John Boorstein is a writer and filmmaker who works in a broad range of media. He made the Oscar®-nominated documentary Exploratorium; created Time Mobile, a pioneer prototype video game; was Associate Producer on All The President's Men; and with director Alan J. Pakula, wrote and produced the thriller Dream Lover. He is a member of the Writers Guild of America, the Los Angeles Institute for the Humanities at USC, and the Academy of Motion Pictures Arts and Sciences. He lives in Los Angeles.

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    • The Cinematic Voyage of The Pirate: Kelly, Garland and Minnelli at Work

    • By Earl J. Hess and Pratibha A. Dabholkar

      During Metro-Goldwyn-Mayer's glory days, the studio's famous Arthur Freed Unit made an extraordinary string of dazzling musicals. Amid a glittering array of such film, one of the most interesting was The Pirate. Based on a successful 1942 Broadway production, the film was directed by Vincente Minnelli and starred Gene Kelly and Judy Garland. It showcased some of the brightest work of these three gifted moviemakers and entranced many critics and viewers with exotic set décor and costumes, brilliant Technicolor application, stunning dance routines, and a clever plot about an actor who pretends to be a famous pirate to win the love of a fanciful island girl.

      Drawing on extensive research, including archives, memoirs, interviews, and newspaper coverage, this story of the making of the film takes the reader from the original conception of the story in the mind of a German playwright named Ludwig Fulda, through S. N. Behrman's Broadway production starring Alfred Lunt and Lynn Fontanne, to the arduous task of crafting a suitable screenplay at MGM. Behind-the-scenes issues such as Garland's personal problems during shooting and the shaping of the film by Minnelli and Kelly are among the many subjects detailed.

      While initial reception of The Pirate reinforced hopes for its success, many audiences did not understand the film's tongue-in-cheek tone, and some critical reviews were mixed. This shaded perception of the film, and its significance. As this careful study shows, The Pirate was a commercial and critical success despite some early misperceptions. The movie made a small profit for MGM, and has grown in public appeal over time.

      Earl J. Hess is the Stewart W. McClelland Chair in History at Lincoln Memorial University. Partibha A. Dabholkar is a Retired Associate Professor of Business from the University of Tennessee. Although Dr. Hess's principal area of research is the Civil War and Dr. Dabholkar's is technology in services, both are connoisseurs of the film musical, applying their rigorous academic approach to researching and writing full histories of classic musicals. Their first book on the comprehensive history of a film musical was Singin' in the Rain: The Making of an American Masterpiece. The authors are married and live in the southeastern U.S.

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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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    • 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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  1. DVD Reviews

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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. Press Release

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    • Joslyn Art Museum in Omaha Screens THE BIRDS on 11/7!

    • On Friday, November 7 Omaha Film Historian Bruce Crawford will host his 35th tribute to classic films with a screening of Alfred Hitchcock's The Birds, with special guest Tippi Hedren. The screening will also include an unveiling of the commemorative U.S. Postal Envelope honoring the film, created by artist Nicolosi. Both Miss Hedren and Nicolosi will sign autographs at the event.

      Tickets are $23 and go on sale October 15 at all Omaha Hy Vee food store customer service counters. The event will take place Friday, November 7, 7pm at the Joslyn Art Museum, 2200 Dodge St., Omaha NE. 68102, and will benefit the Nebraska Kidney Association. For more information please call 402-932-7200 or visit www.omahafilmevent.com

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    • NOIRCON: October 30-November 2

    • SOCIETY HILL PLAYHOUSE, 507 SOUTH 8TH STREET, PHILADELPHIA, PA 19147

      NOIRCON 2014: This biennial tribute to all things noir--from literature to film, art and poetry--will take place from October 30 through November 2, 2014. The conference is produced and headquartered at Society Hill Playhouse in Philadelphia, PA.

      Programming includes panels on Friday, Saturday and Sunday; parties; movie screenings; an awards banquet at MOCA (the Philadelphia Mausoleum of Contemporary Art) on the banks of the Delaware, on Thursday evening; and a Sunday visit to Philadelphia's Port Richmond Books.

      Farley Books of New Hope will be on site at the Playhouse throughout the weekend as the official bookseller for NOIRCON.

      Featured Guests:
      Fuminori Nakamura of Tokyo, Japan, who will receive the David Goodis Award for excellence in writing. Nakamura has won many prizes for his novels including Japan's most prestigious literary award, the Akutagawa Prize . Two of his books have been translated into English, The Thief and Evil and the Mask, both published by Soho Press. Tom Nolan, of The Wall Street Journal will do a one on one interview with this outstanding young writer on Saturday.

      Bronwen Hruska, Soho Publishing, is being recognized as an outstanding publisher in crime fiction with the Jay and Deen Kogan award, last given to Otto Penzler of Mysterious Books. She has led the way in translation publishing and opened many doors for women in the field.

      Eddie Muller, better knows as the Czar of Noir, will accept the Anne Friedberg Award for contribution to Noir Education and Preservation, and will also introduce a special screening of the film The Prowler (written by Dalton Trumbo and first released in 1951), at 1pm Thursday, October 30 at The International House. A novelist from San Francisco, many of his books relate to and examine Film Noir.

      Scheduled panels include: The Black Dahlia, Jewish Noir, Existential Noir, The Politics of Noir, A Ross MacDonald Examination, Veering Off the Highway: How Springsteen's Music Shapes Crime Fiction, and Three Minutes of Terror, when every attending writer gets three minutes to share his work or ideas.

      Among the program participants are: Joseph Samuel Starnes, William Lashner, Joan Schenker, Stuart Neville, Jean Cash, Jonathan Woods, Robert Polito, Vicki Hendricks, Steve Hodel, Carole Mallory, Sigrid Sarda, Buffy Hastings, Jeff Wong, Duane Swierczynski, Tom Nolan, Alan Gordon, Megan Abbott and keynote speaker Eric Miles Williamson.

      Dr. Louis Boxer and Deen Kogan, director of Society Hill Playhouse, co-chair NOIRCON 2014. For further information call 215-923-0210 or check the website: www.noircon.com

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    • DICK DINMAN PRESENTS "THE VIC DAMONE STORY" (PARTS THREE AND FOUR)

    • DICK DINMAN SALUTES LEGENDARY VOCALIST VIC DAMONE (PART THREE): Iconic vocalist Vic Damone shares some fascinating stories about his years as an MGM star with producer/host Dick Dinman and also reveals why he ultimately turned down an important role in THE GODFATHER. Among the songs included in this show are Vic's rarely heard outtake number that was not used in ATHENA as well as an exclusive presentation of Jane Powell and Vic's never before heard musical audition (with piano accompaniment only) for THE STUDENT PRINCE/DEEP IN MY HEART.

      DICK DINMAN SALUTES LEGENDARY VOCALIST VIC DAMONE (PART FOUR): Vic Damone candidly reveals to producer/host Dick Dinman how the callous behavior of acclaimed director Vincente Minnelli made his experience costarring in MGM's mega-budget musical extravaganza KISMET so relentlessly unpleasant. Among the songs included in this show are Vic's rarely heard duet of "This Is My Beloved" with Judy Garland.

      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 FIVE AND SIX).

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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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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