6.28.2005
Liking Drew Again
If this is in fact accurate, then it is all the more reason to love Drew Barrymore again. I lost a geat deal of respect for her after the Charlies Angels films and surroundign publicity. It's good to she she does take her celebrity status seriously.
Back
Finally checking back in after a long absence. I hope to get back to regular posting some time soon.
6.27.2005
Where I've Lived (Part II)
This is another example of somewhere I lived but do not remember. After being born, my family briefly lived in Tulsa, OK. My father is from here and we had, and still have, family in the area.
I am be wrong on the timetable here, but I think this was where we moved first after I was born.
To Friend
Today I had to take Friend to the vet and have her put to sleep. She was diagnosed with diabetes and a hyperthyroid and had lost half of her body weight in the past four months despite eating five times as much food.
She was with me for 13 years, keeping me company through much.
A beautiful cat, a more beautiful companion.
5.20.2005
Where I've Lived
I have liked Google maps since I first saw them, and so thought I would start an occasional series of posts on places I've lived.
Let me begin with where I was born: San Antonio, TX. I don't know more specifics than this, I need to find my birth certificate to get the name of the hospital.
Let me begin with where I was born: San Antonio, TX. I don't know more specifics than this, I need to find my birth certificate to get the name of the hospital.
5.16.2005
Valley Forge
Being a beautiful day, we took a quick trip to Valley Forge this morning and saw some deer and some of the cabins, we then took a walk along the stream. It was a great morning.
TCM for the week
Haven't done this in a while, but thought I would get back to recommending things from TCM for the week.
Monday would be Henry Fonda's 100th birthday, and so TCM is celebrating with a 12 movie salute. I don't have to remind you which one is my favorite, with Jezebel (1938) running a close second.
Tuesday morning sees some Maureen O'Sullivan films from the 1930s for her birthday. Not familiar with many of them apart from Tarzan: I will try and see Hide-Out (1934) with Robert Montgomery, directed by W. S. VanDyke. I love Montgomery and VanDyke is one of the more interesting directors of the period. In the evening is Howard Hawks' Tiger Shark (1932) which I have not seen but could be good.
I'll check in on the rest of the week later.
Monday would be Henry Fonda's 100th birthday, and so TCM is celebrating with a 12 movie salute. I don't have to remind you which one is my favorite, with Jezebel (1938) running a close second.
Tuesday morning sees some Maureen O'Sullivan films from the 1930s for her birthday. Not familiar with many of them apart from Tarzan: I will try and see Hide-Out (1934) with Robert Montgomery, directed by W. S. VanDyke. I love Montgomery and VanDyke is one of the more interesting directors of the period. In the evening is Howard Hawks' Tiger Shark (1932) which I have not seen but could be good.
I'll check in on the rest of the week later.
5.13.2005
Written on the Wind
As noted last weekend, I went to see Sirk's Written on the Wind at The Colonial Theater last Sunday. Overall a wonderful experience.
This was my first visit to The Colonial and, though the interior is a bit run-down, it does still hold the charm that is missing from most modern megaplex cinemas. I like the openness of the theater and the decorations that go into these kinds of buildings. Being in the middle of a city makes it so much more attractive as well - there is nothing like coming out of a good film in the middle of the day onto a busy street with pedestrian and vehicle traffic - as opposed to a gigantic parking lot.
As for the film itself, as you can tell from the title of my blog, I must have enjoyed it. I had never seen the film on this size screen - only on TV and in projection in classrooms. The print, while not as good as the Criterion DVD enhanced print, was quite good with no noticeable splices or even scratches and the color, though not "popping," was sharp.
Here, then, are a few things about the film that caught my eye this time around.
This was my first visit to The Colonial and, though the interior is a bit run-down, it does still hold the charm that is missing from most modern megaplex cinemas. I like the openness of the theater and the decorations that go into these kinds of buildings. Being in the middle of a city makes it so much more attractive as well - there is nothing like coming out of a good film in the middle of the day onto a busy street with pedestrian and vehicle traffic - as opposed to a gigantic parking lot.
As for the film itself, as you can tell from the title of my blog, I must have enjoyed it. I had never seen the film on this size screen - only on TV and in projection in classrooms. The print, while not as good as the Criterion DVD enhanced print, was quite good with no noticeable splices or even scratches and the color, though not "popping," was sharp.
Here, then, are a few things about the film that caught my eye this time around.
- The credits - I had noticed them before and I think someone has written about them (need to look that up), but on the big screen the juxtaposition of the actor names with the characters was clearly inspired. So much is told about the characters through those brief moments - Kyle with the bottle, Mitch at the window, Lucy helpless in bed, and Mary Lee in the dark at the window. Great melodrama.
- The moment that has been growing on me in my last few screenings of the film and came out again this time is when Kyle learns from the Doctor in the soda shop that he has a "weakness." As he walks out, the kid riding the electric horse is wonderful Freudian camp. The look on Kyle's face is stupendous.
- Seeing the film on the large screen really heightened Mary Lee's "dance of death" and her father's fall down the stairs. I am always astounded by the camera work in that shot and on the big screen it looks even better.
- I felt that Mary Lee's "Down by the river" scene played better on the large screen. On TV or in a small screening room, it plays more like TV soap opera and thus a little more campy. On the large screen, the emoting of her face is more visible and the scene itself feels more cinematic - it shakes some of the conventions of the TV soap. Still over-the-top, but not quite as much so.
- Rock Hudson looks so much better on the big screen - helps me to see even more clearly why he was such a big star. The square jaw and good looks are much more impressionable in this format. Heck, they all looked better. That is really one thing that I think gets lost with older films now. The actors were chosen for how they looked, acted, and generally came across on the large screen - we see them now primarily on TV and wonder what the fuss is about.
Scrabble Points
Pholph's Scrabble Generator
My Scrabble© Score is: 28.
What is your score? Get it here.
5.07.2005
Coming Up
Tomorrow at 2pm, The Colonial Theatre in Phoenixville will be screening Douglas Sirk's Written on the Wind (1956). This is one of my all-time favorites films (certainly in my top 5) and one that first got me interested in studying film. It stars Rock Hudson, Lauren Bacall, Robert Stack, and Dorothy Malone and is a tour de force of high 50s melodrama. If you like day or nighttime soaps or enjoy camp entertainment, then this is the film for you. It's got an impotent alcoholic, two friends in love with the same woman, guns under pillows, a crazed nymphomaniac (that phrase is going to bring lots of disappointed people to this site), and phallic symbols galore. All that is presented in lush technicolor which (if it is a good print) will knock your socks off.
Beyond tomorrow, The Colonial is screening Douglas Sirk films on Sundays all through May. Written on the Wind is classic Sirk who, at the time, was considered to be only a standard studio director turning out lush adult melodramas that would never last. His work was revived in the 1970s by film theorists who began to see his films as careful critiques of 1950s American life. Most recently, Todd Haynes' Far From Heaven (2002) was a feature homage to Sirk following on his use of cinematography, color, plot, and themes.
Anyway, if you have time tomorrow, check it out.
Beyond tomorrow, The Colonial is screening Douglas Sirk films on Sundays all through May. Written on the Wind is classic Sirk who, at the time, was considered to be only a standard studio director turning out lush adult melodramas that would never last. His work was revived in the 1970s by film theorists who began to see his films as careful critiques of 1950s American life. Most recently, Todd Haynes' Far From Heaven (2002) was a feature homage to Sirk following on his use of cinematography, color, plot, and themes.
Anyway, if you have time tomorrow, check it out.
4.13.2005
Dogville
[Still in editing stage]
Much as his 2000 film Dancer in the Dark used the intersection of the American film musical and maternal melodrama film genres to form a commentary on working America, so Dogville mixes a variety of styles, genres, and references to again comment on America and, this time, its relationship to poverty and the poor.
One of the most obvious references of this film, made through the minimalist sets, is to Thornton Wilder's play "Our Town." What this brings to the film is the sense that it is operating as a counter to that play's portrayal of the quintissential American town - Dogville opposed to Grover's Corners. Whereas "Our Town," through Emily, works to reveal the need to appreciate life as it happens since life will not last, Dogville reveals, through Grace, that the mere enjoyment of life has its limits. While Emily comes to realize after her death that the living do not get life, Grace comes to realize that the realities of life often overcome it's appreciation. Throughout the film, Grace submits to the charms of Dogville and its residents out of, first, an enjoyment of the experience of living that life in the mountains. When it all comes apart - after the initial rape and the smashing of her figurines - she continues to submit to Dogville out of a feeling of obligation to the kindness they once showed her. She remains willing to forgive them for everything out of an understanding of the risk they think they are taking.
The second reference that struck me through the film was its connections to the "Runaway Bride" version of screwball comedy from the 1930s typified by It Happened One Night. In terms of a general plot, Dogville and Happened share a number of similarities. They both concern a wealthy woman running away from the responsibilites and obligations of her class - marriage or ascencion to power. In both films the women meets with and is taken in by a man who is out of work, poor, and at odds with those who are his immediate superiors - an editor or the town. Both men see the woman as a way back into the graces of those above him, a way of showing his talent and, by extension, his necessity to those above him. Ultimately, in each, the woman learns something from the man about the American spirit and he learns from her about love.
In the specifics, however, Dogville rewrites the uplifting Capra film into a scathing critique of or perhaps revelation about American poverty. Here, Von Trier uses to scaffolding of the screwball comedy to write an exceedingly dark film that reveals the lengths of exploitation that individuals will go to when they occupy power. While Happened toys with the idea, and dismisses it, through the "Walls of Jericho" and threats to the travelling salesman, Dogville plays them out and pulls the walls down and makes good on the threats. The implication here being that this is what "real" people would be more inclined to do.
Much as his 2000 film Dancer in the Dark used the intersection of the American film musical and maternal melodrama film genres to form a commentary on working America, so Dogville mixes a variety of styles, genres, and references to again comment on America and, this time, its relationship to poverty and the poor.
One of the most obvious references of this film, made through the minimalist sets, is to Thornton Wilder's play "Our Town." What this brings to the film is the sense that it is operating as a counter to that play's portrayal of the quintissential American town - Dogville opposed to Grover's Corners. Whereas "Our Town," through Emily, works to reveal the need to appreciate life as it happens since life will not last, Dogville reveals, through Grace, that the mere enjoyment of life has its limits. While Emily comes to realize after her death that the living do not get life, Grace comes to realize that the realities of life often overcome it's appreciation. Throughout the film, Grace submits to the charms of Dogville and its residents out of, first, an enjoyment of the experience of living that life in the mountains. When it all comes apart - after the initial rape and the smashing of her figurines - she continues to submit to Dogville out of a feeling of obligation to the kindness they once showed her. She remains willing to forgive them for everything out of an understanding of the risk they think they are taking.
The second reference that struck me through the film was its connections to the "Runaway Bride" version of screwball comedy from the 1930s typified by It Happened One Night. In terms of a general plot, Dogville and Happened share a number of similarities. They both concern a wealthy woman running away from the responsibilites and obligations of her class - marriage or ascencion to power. In both films the women meets with and is taken in by a man who is out of work, poor, and at odds with those who are his immediate superiors - an editor or the town. Both men see the woman as a way back into the graces of those above him, a way of showing his talent and, by extension, his necessity to those above him. Ultimately, in each, the woman learns something from the man about the American spirit and he learns from her about love.
In the specifics, however, Dogville rewrites the uplifting Capra film into a scathing critique of or perhaps revelation about American poverty. Here, Von Trier uses to scaffolding of the screwball comedy to write an exceedingly dark film that reveals the lengths of exploitation that individuals will go to when they occupy power. While Happened toys with the idea, and dismisses it, through the "Walls of Jericho" and threats to the travelling salesman, Dogville plays them out and pulls the walls down and makes good on the threats. The implication here being that this is what "real" people would be more inclined to do.
4.09.2005
TCM this week
Let's see what is coming up this week on TCM.
Today, Monday 4/11, continues April Fools with Charlie Chaplin all day. I haven't really watched enough to say too much, but I have to admit that I have never been a huge fan of his. There is something about the comedy style that I don't like - I am tempted to say that it is too aggressive for my taste, but I need to see more to clarify that.
Tuesday night continues the Errol Flynn tribute. I watched more of The Adventures of Robin Hood last week than I had seen in quite some time, but still found it lacking some of his other films. I certainly see his charm, though. He may not have been the most talented actor, but the camera sure does love him and his voice is superb. Anyway, tomorrow night there are no films of his I have seen, but The Charge of the Light Brigade (1936), Escape Me Never (1947), and Dodge City (1939) sound the most promising to me. I take that back, though. I did see Virginia City (1940) last month and found it about typical for a Flynn vehicle - good action with some romance with Flynn sving the day all around. Bogart makes a good villain here.
Wednesday continues April Fools with "Classic Stage to Screen Comedies." All look great, but I highly recommend The Front Page (1931), Dinner at Eight (1933), and The Women (1939).
Thursday morning is a brief tribute to Lee Tracy who, frankly, I have never noticed or heard of. I'm trying to put a face to the name. TCM will screen five films that morning from 1932 to 1937. I will try and see a couple to see who this is. To top it off, some of the titles sound interesting.
Friday's April Fools features Brown & Carney in the morning and Abbott & Costello at night. I haven't seen any A&C since I was a kid, so I'm not sure how I will feel about them now. I may try and see some with my son to see if there is a similar reaction as there was to Laurel and Hardy. I am going to suspect not as the medium will have changed between the early 1930s and the 1940s. I suspect that the humor of A & C is much more narrative driven and thus might not be as accessible to a four year old.
Enjoy the week!
Today, Monday 4/11, continues April Fools with Charlie Chaplin all day. I haven't really watched enough to say too much, but I have to admit that I have never been a huge fan of his. There is something about the comedy style that I don't like - I am tempted to say that it is too aggressive for my taste, but I need to see more to clarify that.
Tuesday night continues the Errol Flynn tribute. I watched more of The Adventures of Robin Hood last week than I had seen in quite some time, but still found it lacking some of his other films. I certainly see his charm, though. He may not have been the most talented actor, but the camera sure does love him and his voice is superb. Anyway, tomorrow night there are no films of his I have seen, but The Charge of the Light Brigade (1936), Escape Me Never (1947), and Dodge City (1939) sound the most promising to me. I take that back, though. I did see Virginia City (1940) last month and found it about typical for a Flynn vehicle - good action with some romance with Flynn sving the day all around. Bogart makes a good villain here.
Wednesday continues April Fools with "Classic Stage to Screen Comedies." All look great, but I highly recommend The Front Page (1931), Dinner at Eight (1933), and The Women (1939).
Thursday morning is a brief tribute to Lee Tracy who, frankly, I have never noticed or heard of. I'm trying to put a face to the name. TCM will screen five films that morning from 1932 to 1937. I will try and see a couple to see who this is. To top it off, some of the titles sound interesting.
Friday's April Fools features Brown & Carney in the morning and Abbott & Costello at night. I haven't seen any A&C since I was a kid, so I'm not sure how I will feel about them now. I may try and see some with my son to see if there is a similar reaction as there was to Laurel and Hardy. I am going to suspect not as the medium will have changed between the early 1930s and the 1940s. I suspect that the humor of A & C is much more narrative driven and thus might not be as accessible to a four year old.
Enjoy the week!
4.03.2005
TCM catching up
Wow, has it been that long? Needless to say, things have been very busy, but I'm glad to be able to get back into things.
April on TCM looks good. The April Fools selections look great and, as I mentioned earlier, I am finding myself to be a fan of Errol Flynn, so I am looking forward to seeing more of his films.
Let's get into things.
First, for the past week, on Firday I caught some of the day long Laurel and Hardy, and it was great. My son (4) and I watched The Music Box and loved it. He keeps asking for it. I also taped Blotto and hope to watch it with him this week.
Let's see what's coming up this week.
All day tomorrow, Monday, is a spotlight on Charley Chase featuring silents of his the whole day. I hope to be able to watch at least a few of them.
Tuesday must be a dream day for me - Bette Davis all morning and then Errol Flynn all night. I wish I could watch all day. I recommend all the Davis films, but especially Of Human Bondage (1934) and All This and Heaven Too (1940) which I, surprisingly, saw first only two months ago. Outstanding.
As for the Flynn, TCM is featuring a new documentary on him at 8:00 and 11:30 which should be interesting. Sandwiched between is The Adventures of Robin Hood (1938), which I am not too fond of, but the later showing of the documentary is followed by Captain Blood (1935) and They Died With their Boots On (1941). The latter is a film that would consistently make my top ten list should I construct one. (Maybe I will.) Every time it is on, I must watch it even though I find it at times a horrible film.
Wednesday sees another Davis film, It's Love I'm After (1937) with Leslie Howard and Olivia DeHaviland. That evening is a three film tribute to Preston Sturges, with Sullivan's Travels (1941), The Lady Eve (1941), and The Palm Beach Story (1942). Of the three, Eve is by far my favorite and, as I mentioned last month, one of my all time favorite films. (Two in two nights!).
Thursday slows down a little for me, but features films by Bogart in the evening. To Have and Have Not (1944) remains a must see even though it is often overshadowed by Casablanca (1942) and The Big Sleep (1946). Not to take anything from those films, but Have remains special.
Friday returns to April Fools with some Marx Bros. films in the day and evening. I am only now seeing more of these, so I am not sure what to recommend at the moment. I'll get back to this one.
I'm going to stop here for the moment and will continue later.
April on TCM looks good. The April Fools selections look great and, as I mentioned earlier, I am finding myself to be a fan of Errol Flynn, so I am looking forward to seeing more of his films.
Let's get into things.
First, for the past week, on Firday I caught some of the day long Laurel and Hardy, and it was great. My son (4) and I watched The Music Box and loved it. He keeps asking for it. I also taped Blotto and hope to watch it with him this week.
Let's see what's coming up this week.
All day tomorrow, Monday, is a spotlight on Charley Chase featuring silents of his the whole day. I hope to be able to watch at least a few of them.
Tuesday must be a dream day for me - Bette Davis all morning and then Errol Flynn all night. I wish I could watch all day. I recommend all the Davis films, but especially Of Human Bondage (1934) and All This and Heaven Too (1940) which I, surprisingly, saw first only two months ago. Outstanding.
As for the Flynn, TCM is featuring a new documentary on him at 8:00 and 11:30 which should be interesting. Sandwiched between is The Adventures of Robin Hood (1938), which I am not too fond of, but the later showing of the documentary is followed by Captain Blood (1935) and They Died With their Boots On (1941). The latter is a film that would consistently make my top ten list should I construct one. (Maybe I will.) Every time it is on, I must watch it even though I find it at times a horrible film.
Wednesday sees another Davis film, It's Love I'm After (1937) with Leslie Howard and Olivia DeHaviland. That evening is a three film tribute to Preston Sturges, with Sullivan's Travels (1941), The Lady Eve (1941), and The Palm Beach Story (1942). Of the three, Eve is by far my favorite and, as I mentioned last month, one of my all time favorite films. (Two in two nights!).
Thursday slows down a little for me, but features films by Bogart in the evening. To Have and Have Not (1944) remains a must see even though it is often overshadowed by Casablanca (1942) and The Big Sleep (1946). Not to take anything from those films, but Have remains special.
Friday returns to April Fools with some Marx Bros. films in the day and evening. I am only now seeing more of these, so I am not sure what to recommend at the moment. I'll get back to this one.
I'm going to stop here for the moment and will continue later.
3.20.2005
TCM for 3/20 - 3/27
A couple of good days this week, Monday and Wednesday, and then a smattering of other things throughout the week.
Tonight (Sunday) at midnight the Silent Sunday feature is Ben-Hur (1925), one of the first successes Thalberg had in coming to MGM. A great film - as great as the remake if not better.
Tomorrow morning, starting at six, begins a string of films directed by W.S. VanDyke II, who I think was one of the better studio directors at MGM during the 1930s. Some of my favorites of his are Tarzan the Ape Man (1932), Manhattan Melodrama (1934), The Thin Man (1934), Forsaking All Others (1934), San Francisco (1936), Love on the Run (1936), and Marie Antionette (1938). As you can see from this list, he directed a number of films for Clark Gable and, in my opinion, constructed some interesting takes on depression era masculinity in these and other films. Manhattan Melodrama and Forsaking All Others remain two of my three favorite Gable films for just that reason: the way they juxtapose Gable against William Powell and Robert Montgomery respectively to highlight his gendered performance.
Tomorrow, TCM will be running some of Van Dyke's lesser known films, which I am grateful for and will be taping. When I get around to watching them I will post more about them.
Then, tomorrow night the Claudette Colbert tribute continues. Among the films being shown is Since You Went Away (1944) which I happened to see last month on TCM. A great tear-jerker and document of the realignment of social roles during World War II.
Wednesday would be Joan Crawford's 101st birthday (most likely), and so there are a number of her films on during the day. Unfortunately, not many of my favorites. But I would recommend Grand Hotel (1932) and Mildred Pierce (1945) (speaking of realigning social roles during World War II).
Nothing leaps out at me right now for the rest of the week - though there certainly are other great films. When I see them I will let you know.
Tonight (Sunday) at midnight the Silent Sunday feature is Ben-Hur (1925), one of the first successes Thalberg had in coming to MGM. A great film - as great as the remake if not better.
Tomorrow morning, starting at six, begins a string of films directed by W.S. VanDyke II, who I think was one of the better studio directors at MGM during the 1930s. Some of my favorites of his are Tarzan the Ape Man (1932), Manhattan Melodrama (1934), The Thin Man (1934), Forsaking All Others (1934), San Francisco (1936), Love on the Run (1936), and Marie Antionette (1938). As you can see from this list, he directed a number of films for Clark Gable and, in my opinion, constructed some interesting takes on depression era masculinity in these and other films. Manhattan Melodrama and Forsaking All Others remain two of my three favorite Gable films for just that reason: the way they juxtapose Gable against William Powell and Robert Montgomery respectively to highlight his gendered performance.
Tomorrow, TCM will be running some of Van Dyke's lesser known films, which I am grateful for and will be taping. When I get around to watching them I will post more about them.
Then, tomorrow night the Claudette Colbert tribute continues. Among the films being shown is Since You Went Away (1944) which I happened to see last month on TCM. A great tear-jerker and document of the realignment of social roles during World War II.
Wednesday would be Joan Crawford's 101st birthday (most likely), and so there are a number of her films on during the day. Unfortunately, not many of my favorites. But I would recommend Grand Hotel (1932) and Mildred Pierce (1945) (speaking of realigning social roles during World War II).
Nothing leaps out at me right now for the rest of the week - though there certainly are other great films. When I see them I will let you know.
3.18.2005
'Star Wars' a Titanic Tearjerker
I worry when George Lucas says something like this: I describe it as a 'Titanic' in space.
The last two films had generally been faulty not because they were lacking visual pleasure, but because the characters were just horribly rendered and relationships and emotions were flat and uninteresting.
And now he thinks he has written a tearjerker? I can only hope he didn't write it or else my tears will be of a different kind.
The last two films had generally been faulty not because they were lacking visual pleasure, but because the characters were just horribly rendered and relationships and emotions were flat and uninteresting.
And now he thinks he has written a tearjerker? I can only hope he didn't write it or else my tears will be of a different kind.
3.16.2005
This Our Brent
I truly enjoyed the birthday tribute to George Brent yesterday. As I mentioned on Sunday, I think to audiences today his popularity is quite hard to understand, but his film work is truly wonderful in a certain way.
That was driven home for me when watching This Our Life with him, Bette Davis, and Olivia de Havilland yeterday. He provides such a flat, empty vessel for the two women to work off of that he is quite remarkable. Even de havilland, who is much more subdued than Davis, emotes around Brent in ways that make him seem dead. When she meets him on the park bench, he so well fits the role. But he seems the same way even later when they are supposed to be happy.
I need to run now, but will write more on this later.
That was driven home for me when watching This Our Life with him, Bette Davis, and Olivia de Havilland yeterday. He provides such a flat, empty vessel for the two women to work off of that he is quite remarkable. Even de havilland, who is much more subdued than Davis, emotes around Brent in ways that make him seem dead. When she meets him on the park bench, he so well fits the role. But he seems the same way even later when they are supposed to be happy.
I need to run now, but will write more on this later.
3.13.2005
TCM for the week of 3/13 to 3/19
Here are some of the highlights coming up tonight and for the rest of the week.
Tonight, after midnight, four Paul Robeson features are running. They include Body and Soul (1925), The Emperor Jones (1933), Jericho (1937), and Song of Freedom (1936). I've seen Body and Soul and parts of Emperor and Song. All are excellent if for nothing more than Robeson who has an amazing screen presence even in mediocre films. I will be taping (no TiVo yet) and recommend you do so as well.
Monday night continues the Claudette Colbert feature with Tovarich (1937), It's a Wonderful World (1939), Midnight (1939) and Boom Town (1940). The only one of these I have seen is Boom Town with Gable and Spencer Tracy and again I recommend it. I am less of a fan of later Tracy (1940s and 50s), but can see the energy and excitement of him in his early work. It is on display here with Gable.
Tuesday during the day features one of my favorite of the unremembered yet everywhere stars of the 1930s and 40s, George Brent, in celebration of his birthday. I will see as many as I can - some I have yet to tape and see so this is going to be good for me. Among those I have that I recommend are: The Keyhole from 1933 opposite Kay Francis, Front Page Woman (1935) with Bette Davis, and In This Our Life (1942) also with Bette Davis and Olivia de Havilland. Brent is, I think, to modern audiences quite the enigma as he seems so bland and emotionless to us today - hard to believe he was initially promoted as Warners' answer to Clark Gable!
Thursday morning at 6:00am King Vidor's Not So Dumb from 1930 with Marion Davies is playing. I will be taping this one to check out as I am interested in the films of the year.
On Saturday, be sure and check out In A Lonely Place (1950) with Humphrey Bogart and he evening on George Cukor including the 2002 documentary on him. All of the films being shown around are recommended.
Enjoy.
Tonight, after midnight, four Paul Robeson features are running. They include Body and Soul (1925), The Emperor Jones (1933), Jericho (1937), and Song of Freedom (1936). I've seen Body and Soul and parts of Emperor and Song. All are excellent if for nothing more than Robeson who has an amazing screen presence even in mediocre films. I will be taping (no TiVo yet) and recommend you do so as well.
Monday night continues the Claudette Colbert feature with Tovarich (1937), It's a Wonderful World (1939), Midnight (1939) and Boom Town (1940). The only one of these I have seen is Boom Town with Gable and Spencer Tracy and again I recommend it. I am less of a fan of later Tracy (1940s and 50s), but can see the energy and excitement of him in his early work. It is on display here with Gable.
Tuesday during the day features one of my favorite of the unremembered yet everywhere stars of the 1930s and 40s, George Brent, in celebration of his birthday. I will see as many as I can - some I have yet to tape and see so this is going to be good for me. Among those I have that I recommend are: The Keyhole from 1933 opposite Kay Francis, Front Page Woman (1935) with Bette Davis, and In This Our Life (1942) also with Bette Davis and Olivia de Havilland. Brent is, I think, to modern audiences quite the enigma as he seems so bland and emotionless to us today - hard to believe he was initially promoted as Warners' answer to Clark Gable!
Thursday morning at 6:00am King Vidor's Not So Dumb from 1930 with Marion Davies is playing. I will be taping this one to check out as I am interested in the films of the year.
On Saturday, be sure and check out In A Lonely Place (1950) with Humphrey Bogart and he evening on George Cukor including the 2002 documentary on him. All of the films being shown around are recommended.
Enjoy.
3.10.2005
Sign of the Cross
As mentioned, one of the Claudette Colbert films I wanted to see was The Sign of the Cross as I had heard much about it. It was, on the whole, about what I expected from DeMille and a good film. I was a bit surprised by the relative lack of screen time for Colbert though. She is billed as one of the stars, but is in the film less than several of the other players.
Another side note, I was struck by a scene in which Marcus Superbus (yes, that is his name) has brought the chaste Christain Mercia he is in love with back to his palace for a party (orgy). She resists being one of his playthings and, eventually, he has Ancaria, the "most talented" woman in all of Rome, attempt to seduce her by singing and dancing for here.
The scene that ensues is amazingly like the scene in Blue Velvet at Ben's place when Ben is singing "In Dreams" while Frank sings along and Jeffrey watches. In Sign of the Cross, Ancaria sings a song that has similar lyrics - "In my dreams," "I come to you," "I walk with you," and others that are similar, and the whole feel of the moment is like that of Blue Velvet, with the innocent protagonist being both shocked and somewhat seduced by the intriging decadence he/she finds around him/her.
I could write more, but was wondering if anyone knew if this moment was an influence on this moment. I have looked through some of my stuff on Blue Velvet but can't find any connection.
Another side note, I was struck by a scene in which Marcus Superbus (yes, that is his name) has brought the chaste Christain Mercia he is in love with back to his palace for a party (orgy). She resists being one of his playthings and, eventually, he has Ancaria, the "most talented" woman in all of Rome, attempt to seduce her by singing and dancing for here.
The scene that ensues is amazingly like the scene in Blue Velvet at Ben's place when Ben is singing "In Dreams" while Frank sings along and Jeffrey watches. In Sign of the Cross, Ancaria sings a song that has similar lyrics - "In my dreams," "I come to you," "I walk with you," and others that are similar, and the whole feel of the moment is like that of Blue Velvet, with the innocent protagonist being both shocked and somewhat seduced by the intriging decadence he/she finds around him/her.
I could write more, but was wondering if anyone knew if this moment was an influence on this moment. I have looked through some of my stuff on Blue Velvet but can't find any connection.
3.04.2005
TCM for the week of 3/5 - 3/12
I thought I might try doing this on a weekly basis and just giving my highlights for that time frame rather than trying to keep up daily.
I may do daily updates from time to time, but this way will probably work the best.
So, coming up this week:
Sunday during the day, at noon, be sure and catch Picnic (1955) with William Holden and Kim Novak. Great 50s male melodrama and Bill looks so good without his shirt on.
Sunday evening the theme is William Faulkner, and so The Tarnished Angels (1957) with Robert Stack, Rock Hudson, and Dorothy Malone is running. This is an unusual Sirk melodrama - being black and white foremost - but, as the title of the blog indicates, I can't pass up Sirk.
Lorna Doone (1922) is the silent Sunday night feature at midnight. I haven't seen it, but try and watch these when I can - so give it a look if you are free.
Monday begins the month long salute to Claudette Colbert, an actress I am not too fond of but do like when I sit down and watch her films.
At 8 I will certainly see The Sign of the Cross (1932) a film I have been wanting to see for a long time. I'll let you know how it is.
this is followed by Cleopatra (1934) at 10:15, which I think is a mostly middling picture. I can never get too excited by it, though it does have some delightful scenes to watch.
The 1934 Imitation of Life comes up at midnight and then It Happened One Night at 2 am. No more to say about the latter, if you haven't seen it make it a point to do so. As for Imitation, it lacks the gut wrenching power of Sirk's version (theme!) but is still a powerful film. 1934 was a busy year for Colbert.
Tuesday's theme is "computer problems" and the only film that jumps out for me is War Games (1983) with Matthew Broderick and Ally Sheedy. I just remember loving this film as a kid and so try to see it when it is on. Unfortunately, that is usually on regular TV with commercials, so seeing it here will be nice.
Wednesday's theme is Lauren Bacall and so, really, all I will say is start watching at 8 and plan on being up all night.
Thursday morning features some films from 31, 32, and 33 all by director Gregory LaCava. I do not know them or really him, but will try and catch some and report back.
On Friday, They Gave Him a Gun (1937) is screening at 7:30. I don't know the film, but it sounds intriguing and I like Tracy, Tone, and director Van Dyke so it should probably at least be interesting in terms of how it deals with masculinity.
I may try and report back during the week on what I see.
Enjoy!!
I may do daily updates from time to time, but this way will probably work the best.
So, coming up this week:
Sunday during the day, at noon, be sure and catch Picnic (1955) with William Holden and Kim Novak. Great 50s male melodrama and Bill looks so good without his shirt on.
Sunday evening the theme is William Faulkner, and so The Tarnished Angels (1957) with Robert Stack, Rock Hudson, and Dorothy Malone is running. This is an unusual Sirk melodrama - being black and white foremost - but, as the title of the blog indicates, I can't pass up Sirk.
Lorna Doone (1922) is the silent Sunday night feature at midnight. I haven't seen it, but try and watch these when I can - so give it a look if you are free.
Monday begins the month long salute to Claudette Colbert, an actress I am not too fond of but do like when I sit down and watch her films.
At 8 I will certainly see The Sign of the Cross (1932) a film I have been wanting to see for a long time. I'll let you know how it is.
this is followed by Cleopatra (1934) at 10:15, which I think is a mostly middling picture. I can never get too excited by it, though it does have some delightful scenes to watch.
The 1934 Imitation of Life comes up at midnight and then It Happened One Night at 2 am. No more to say about the latter, if you haven't seen it make it a point to do so. As for Imitation, it lacks the gut wrenching power of Sirk's version (theme!) but is still a powerful film. 1934 was a busy year for Colbert.
Tuesday's theme is "computer problems" and the only film that jumps out for me is War Games (1983) with Matthew Broderick and Ally Sheedy. I just remember loving this film as a kid and so try to see it when it is on. Unfortunately, that is usually on regular TV with commercials, so seeing it here will be nice.
Wednesday's theme is Lauren Bacall and so, really, all I will say is start watching at 8 and plan on being up all night.
Thursday morning features some films from 31, 32, and 33 all by director Gregory LaCava. I do not know them or really him, but will try and catch some and report back.
On Friday, They Gave Him a Gun (1937) is screening at 7:30. I don't know the film, but it sounds intriguing and I like Tracy, Tone, and director Van Dyke so it should probably at least be interesting in terms of how it deals with masculinity.
I may try and report back during the week on what I see.
Enjoy!!
3.02.2005
Reevaluation
I'm trying to think of the bext way for me to get back into this once things slow down a bit.
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