Curly Howard is considered today to be an icon of American comedy thanks to the eternal popularity of The Three Stooges. However, as this mini-biography shows, Curly's real life dilemmas were anything but funny. He was stricken with numerous debilitating strokes while only in his forties and his final days found the comedy legend struggling unsuccessfully to recuperate and lead a normal life.
With the advent of the #MeToo movement, movie lovers are re-evaluating their opinions regarding older films, some of them indisputable classics. Case in point: "Manhattan", Woody Allen's 1979 romcom that sits high on the Woodman's list of significant cinematic achievements. The film's reputation survived Allen's own messy breakup with Mia Farrow and his subsequent marriage to her adopted daughter in the 1990s. However, in light of much greater sensitivities in the post-Weinstein era, some viewers may now find a key plot line in the episodic comedy to be cringe-worthy: Allen's character, a 42 year-old writer in a romantic relationship with a 17 year-old high school student. In real life, there would be moral and ethical consequences pertaining to the clearly sexual relationship that is depicted in the film but at the time of the movie's release critics and audiences were seemingly unconcerned. Writing in the New York Times, Steven Kurutz ponders "How do you solve a problem like "Manhattan?" and examines why some fans of the film are now finding it hard to enjoy its many merits. (Click here to read.) The article raises a larger issue: are we to ignore the artistic merits of cinematic classics because societal norms have changed- or do we still value them but view the films in the context of the times in which they were made?
MacMurray was brilliant in Billy Wilder's 1960 classic The Apartment, playing the philandering married boss of Shirley MacLaine.
For the baby boomer generation, Fred MacMurray was primarily known as the affable widowed dad on My Three Sons and the star of numerous Walt Disney films. However, as Movie Morlocks writer Greg Ferrara points out, MacMurray once excelled at playing charismatic creeps, giving brilliant performances in films such as Double Indemnity, The Caine Mutiny and The Apartment. Click here to appreciate the dark side of MacMurray's talents.
With the blatant "Die Hard" rip-off "Skyscraper" now in theaters, it's time to go back to a really good disaster film: producer Irwin Allen's 1974 blockbuster production of "The Towering Inferno", which benefited from having been made in an era in which it was possible to have genuine all-star casts. When it comes to this particular genre, they really don't make 'em like that anymore.
Here's a gem from the 1952 Academy Awards, which were very low-key back in the day and defined by short acceptance speeches by the winners. Here Greer Garson presents Humphrey Bogart with the Best Actor Oscar for John Huston's "The African Queen".
Here is newsreel footage from the 1966 Royal Film Performance of "Born Free" with Queen Elizabeth attending. Guests include the film's stars Virginia Mckenna and Bill Travers and celebs Rex Harrison and Rachel Roberts, Leslie Caron and Warren Beatty and Ursula Andress, along with Woody Allen, who were in London to film "Casino Royale". The event took place at the Odeon Theatre in Leicester Square, London. (Thanks to reader Dave Norris for the heads up on this. Dave served as chief projectionist at the Odeon for many years.)
Joe Dante's addictive Trailers from Hell presents producer Roger Corman narrating the trailer for his 1966 smash hit The Wild Angels starring Peter Fonda and Nancy Sinatra. Corman reveals some amusing anecdotes about the making of the film, including a death threat he received from the actual Hell's Angels. Watch the trailer and learn how the ever-resourceful Corman persuaded them that it wouldn't be financially profitable for the Angels to murder him.
CLICK HERE TO VISIT THE "TRAILERS FROM HELL" WEB SITE AND ENJOY HUNDREDS OF OTHER CLASSIC TRAILERS.
What a year it was! In 1966, you could see the following movies playing locally in Winnipeg, Canada: Dean Martin as Matt Helm in The Silencers, James Coburn as Our Man Flint, The Trouble With Angels, Carry on Cleo, The Sound of Music and a quadruple feature of monsters flicks: Die Monster, Die, Eegah, Tomb of Ligeia and Planet of the Vampires.
It wasn't an unusual practice for movie studio's to exploit an actor's popularity by reissuing an old film under a new title. Case in point: director Michael Winner's 1972 crime thriller "The Mechanic" starring Charles Bronson. It's a top notch action flick and did reasonably well on its first release. However, in the wake of Winner and Bronson's massive 1974 hit "Death Wish", United Artists reissued the film under the title "Killer of Killers", an obvious attempt to make it appear as though Bronson was again appearing as a vigilante. In fact, the marketing campaign was deceptive because in "The Mechanic" he plays a criminal...a professional assassin, to be precise. Yes, he's taking out some bad guys but not on the basis of morality but simply because he wants a fat paycheck from other bad guys. The campaign resulted in this interesting, if dishonest, trailer.
It was June 6, 1944 when the greatest military operation in history took place. American, British and Canadian forces landed at Normandy to liberate Europe. The amazing courage of the Allied forces not only saved democracy on the continent but also made it possible for Germany to re-emerge as one of the great nations of the world. No film has ever better captured the overall epic nature of the battle, as seen from both sides, than Darryl F. Zanuck's The Longest Day. Why not watch it ASAP with your kids and grandkids to remind them of how unimaginable courage made it possible for us to have the freedoms we enjoy today? It's also a hell of a good movie!
The web site Geek Tyrant presents evidence to bolster their opinion that, in the world of Batman actors, Adam West is still the guy who kicks ass most. Writer Mick Joest displays five key things that West's Batman could do that no other actor ever attempted in their interpretation of the Caped Crusader...Click here to read and view clips..
The Daily Mail and the web site Bored Panda present an interesting aspect to the design of movie posters. Many years ago, the nation of Ghana's political disruptions resulted in a shortage of professional printing presses. Thus, major motion pictures had to be marketed through hand-painted, custom-made posters created by local artists. The results, to put it kindly, were generally less-than-impressive. However, in a bizarre twist, these "so bad, they're good" posters have now become valuable collector's items, fetching up to $15,000 each. For more click here. (Images copyright Bored Panda).
RETRO-ACTIVE: THE BEST FROM THE CINEMA RETRO ARCHIVES
BY LEE PFEIFFER
Newly released documents and a new book unveil heretofore unknown facts about the infamous meeting between Elvis Presley and President Richard M. Nixon in 1970. The King had written to the President in the hopes of being appointed a federal agent so that he could presumably play a role in Nixon's anti-drug war. In fact, his real motive was simply to acquire the badge as part of his collection of law enforcement memorabilia. Nixon aides persuaded the President to meet with the legendary entertainer at the White House. The meeting was initially awkward for both men. Elvis was out of his element in the White House and seemed a bit intimidated in the presence of Mr. Nixon, who, in turn, was not exactly a leading advocate of rock 'n roll music. Elvis was giddy when Nixon arranged for him to get his badge as an "honorary" agent. In the course of their 30 minute conversation, Elvis discussed how he felt he could have a persuasive effect on young people to avoid drugs (though ironically, he was falling victim to addiction himself). He also made some shocking comments about The Beatles that, when they were revealed publicly, alienated the Fab Four, who had idolized Elvis. For more click here
what I think of a film and why, and my readers know my tastes by now. Some hate
my taste, and so I'm reliable for them, too, since they know they'll like what
Crist, American film critic
BY JOE ELLIOTT
month marks the 96th birthday of American film critic Judith Crist (1922-2012).
Crist was one of the most influential and controversial movie reviewers of her
day. She was a founding film critic for New
York magazine and spent over two decades serving as the in-house movie
reviewer for TV Guide. In addition,
she was a frequent contributor to NBC’s Today
show for many years. She was very much a tell-it-like-it-is kind of critic,
totally unafraid to speak her mind even when this got her into hot water with
powerful people in the industry, which it sometimes did. While it’s hard to
believe today, back in the 1960s and 1970s a bad review from a prominent critic
like Crist could help sink a multi-million dollar film project. Her panning,
for example, of 1963’s Cleopatra
starring show-biz celebrity couple Richard Burton and Elizabeth Taylor, so
upset executives at 20th Century-Foxthey
threatened to ban her from future screenings of new films.
was equally unafraid to criticize films the public loved, such as the hugely
popular The Sound of Music (1965), a
feature she characterized as
perfect “for the 5-to-7 set and their mommies who
think the kids aren’t up to the stinging sophistication and biting wit of Mary
Poppins.”Well-known Hollywood director and
full-time curmudgeon Otto Preminger sarcastically nicknamed her “Judas Crist,”
meant as an insult but also a sort of unintended backhand compliment to her
sagacity and prestige as a critic. (An antediluvian alpha male type likePreminger
likely would have been especially irked having a woman critique his films.)
Roger Ebert, a great admirer of Crist, credited her for helping turn American
film criticism into a popular art form, bringing to it both a sense of fun and
seriousness. Her work in turn spurred readers to seek out the writings of other
critics and reviewers, including Ebert himself. For this contribution alone we
owe her a lot. Then there was the platform she helped create for other savvy women
like herself who wished to have their own ideas and opinions taken seriously. In her 2012 New
York Times obit it was erroneously reported that she was the first woman to
become a full-time film critic at a major American newspaper.
She wasn’t the first, but certainly among the first, and
probably the first female to gain real prominence in that position. As a result, she helped open the door
for many who followed. In addition, she was an early vocal fan and supporter of
such newcomers as Stanley Kubrick, Francis Ford
Coppola, Robert Altman, Steven Spielberg and Woody Allen. Not a bad legacy.
what I personally remember most about Judith Crist was her work for TV Guide. Every week my mom would buy a
copy of the guide, then one of the best-selling publications in America, at the
local grocery. Each new edition brought the promise of some exciting new
movies, either recent theatrical releases or those made for television. Crist
reviewed many of these for the magazine. I especially remember the big fall
preview edition that came out each year. This was the time when many of the
movie blockbusters and Oscar winners of the previous season first came to
television as the three major networks (ABC, NBC, CBS) did battle during
“sweeps week,” a four-week period of intense rivalry for viewer ratings. There
was always a section by Crist, filled with pithy, often wickedly funny
thumbnail reviews of many of the films. Since I couldn’t watch all of them, I
trusted her to guide me in my viewing choices.
this end, I would carefully read each review as if I were going to be tested on
it the next day in school, taking special care to highlight those titles she
liked best, along with their scheduled air dates. My rule of thumb was, if she
liked it, I’d watch it: call her my first movie arbiter, my sovereign, my
queen. If I had to have one, and I suppose I did at that early age, I could
have done a lot worse. One of the few exceptions I made to this rule were the
“Man With No Name” westerns starring Clint Eastwood. For me, these were
entirely bullet-proof from criticism and I made it a summer ritual to see each
one of them.
Crist's pan of "Cleopatra" outraged executives at Fox.
when I was growing up I’d had a friend like Judith Crist. She said once in an
interview that as an adolescent she sometimes skipped school in order to catch
matinees of such film classics as The
Grapes of Wrath and Grand Illusion.
Doubtlessly she was absorbing everything she saw like a thirsty sponge. She
watched movies where and whenever she could, not because she was necessarily
planning to become a professional critic and writer one day, but simply because
it was her passion and love. They entertained her and broadened her perspective.
They opened her mind and heart to new people and places. They deepened her
understanding of humanity and history. In a word, they brought her joy. Definitely
my kind of girl.
Those were the days! Check out the productions appearing on Broadway during the week of May 21, 1960: The Sound of Music, Toys in the Attic, The Tenth Man, My Fair Lady, Destry Rides Again, Finian's Rainbow, A Raisin the the Sun, Bye Bye Birdie, Henry IV, Gypsy, West Side Story, The Best Man, The Andersonville Trial, The Music Man, The Miracle Worker and many others. Stars appearing simultaneously on the Great White Way included Jackie Gleason, Vivien Leigh, Eddie Albert, Melvin Douglas, Anne Bancroft, Patty Duke, Andy Griffith, Jason Robards, Anthony Perkins, Mary Ure, Jessica Tandy, Ossie Davis and Ruby Dee. Best of all, you didn't have to take out a second mortgage to afford tickets to these productions.
This writer has always been a fan of the 1971 doomsday thriller "The Omega Man" starring Charlton Heston as the presumably last man alive after biological warfare seems to have eradicated everyone else on earth (he survived by injecting himself with an experimental vaccine.) As Roger Ebert once noted, most of the scenarios that center on "the last man alive" end up providing a Cecil B. DeMille-like cast of characters and "The Omega Man" is no exception. The film's most haunting scenes are in its brilliant opening shots that somehow manage to capture L.A. streets virtually deserted. But soon enough, we see that Heston's character is pursued by a cult of other, disfigured survivors who want to eradicate him because he represents the sins of the old world order. Then he bumps into sexy Rosalind Cash, who becomes his lover and introduces him to her band of survivors. Much of the film creaks with age (Cash's "Black Power" shtick and Heston's final Christ-like imagery seem silly today) but it's still an exciting thriller set in the "future"- 1975! The trailer provides many highlight and hints of Ron Grainer's great score. The film was based on Richard Matheson's novel "I Am Legend" but eschewed the plot about the protagonist being pursued by vampires, as did the 2007 Will Smith remake which did retain the novel's title. The first version of the novel was filmed in 1964 as a low-budget but admirable Italian production that is the only one to date to keep the vampire angle.
Here's the original American theatrical trailer for director Robert Aldrich's classic 1967 WWII adventure "The Dirty Dozen". Interestingly, the narrator provides the actor's personal assessments of the characters they play. For some reason Jim Brown is referred to as "Jimmy Brown" and Donald Sutherland, then a struggling character actor, is only glimpsed and isn't mentioned by name in the credits. He recently told "60 Minutes" that the film helped raise his profile considerably. However, as the trailer was cut long before the film's release, he was still largely unknown at the time.
News blurb from Film Daily, November 20, 1958 regarding the beginning of production on "One-Eyed Jacks". Stanley Kubrick was originally signed to be the director but he had a falling out with star Marlon Brando, who was also producing the film. Brando ended up taking over the direction, a bold move for someone with no experience behind the camera. "Jacks" went far over-budget due to Brando's sense of perfectionism and laissez faire attitude regarding studio concerns. The film wasn't ready for release until 1961, following a contentious period during which considerable footage had to be cut in order to produce a final version of the film everyone felt was acceptable. The movie earned high marks from critics and did attract large audiences that should have ensured a significant profit, but due to the fact the film ended up costing over $6 million, it was deemed a money-loser for Paramount. Nevertheless, Brando did create an innovative take on the western genre and a riveting film, as well. However, he never aspired to direct a film again.
The 1970 film Darker Than Amber should have been a huge commercial success. It
should have been the start of a major film franchise. It should have elevated
Rod Taylor to the ranks of the era’s top action stars. None of these expectations
were realized despite the fact that the movie expertly combines mystery,
action, drama and romance with a unique protagonist.
The movie is based on the seventh in a series
of 21 novels written by John D. MacDonald between 1964 and 1985 featuring Travis
McGee, a self-described beach bum who lives on a houseboat called The Busted Flush in Fort Lauderdale,
Florida. When not enjoying his sporadic retirement, he works as a “salvage
consultant” in return for half of the value of whatever he retrieves for
clients. Though he is not an official detective, he possesses intrinsic investigative
skills and is an enemy to evildoers. On occasion, he may offer his services pro
bono because he is also a knight-errant, though one with sullied armor. His
best friend is Meyer Meyer, an economist who lives in a nearby cabin cruiser
and who provides him with periodic philosophical advice.
was the first and last appearance of Travis McGee on cinema screens. The film’s
box office failure may have been due in part to the inexperience of the
relatively new studios that produced and distributed it. National General
Pictures began distributing films in 1967, including their own productions as
well as movies from Cinema Center Films, the recently-formed subsidiary of the
CBS Television Network. NGP released McGee’s film debut, which was produced by
CCF, with meagre publicity and it disappeared quickly from theaters. (CCF
ceased production in 1972 and NGP stopped distributing films in 1973; Warner
Bros. subsequently acquired the rights to all of NGP’s movies.)
Than Amber begins, McGee and Meyer are fishing in a skiff underneath a
bridge when his line gets snagged by a woman who has been thrown over with
weights tied to her feet. Travis saves her life and brings her back to his
houseboat. Her name is Evangeline Bellemer and she is consumed with shame and
guilt due to a shady past. Her despair combined with her stoic acceptance of
pain intrigues McGee who becomes romantically involved with her. Unwisely, she
makes the fatal mistake of leaving the houseboat to retrieve money from her
apartment. McGee is infuriated by her fate as well as that of his friend, Burk,
from whom he rented the skiff. His ensuing investigation leads him to Terry,
Griff and Adele, a trio of crooks who used Vangie in a scam that victimized men
on cruise ships. McGee hatches a plan of revenge with the help of Meyer and
Merrimay, an actress who resembles Vangie. The plan will take him to Miami, to
Nassau and back to Florida. But he underestimates his adversaries who will kill
anyone that stands in their way. After Griff outfoxes him, he is only saved
from a shallow grave by the appearance of a stray pup. And when his plan to
manipulate Adele fails, he finds that he is no match for the ferociously demented
Terry who proceeds to beat the living daylights out of him.
This was the first movie that Robert Clouse
directed and it is an auspicious debut. Unlike many films in which the location
photography serves as a travelogue, Clouse and cinematographer Frank Phillips authentically
capture Florida’s leisurely sleaze along with its stunning splendor. He also utilizes
peripheral characters to good effect, a good example being the diner scene with
the maid Nicole. However, Clouse excels with the action sequences which are further
enhanced by the credible exposition of the principle characters. Not only are McGee
and Vangie well-defined but Terry and Griff also emerge as atypical villains courtesy
of brief vignettes. Because of this, the inevitable clashes are not just
exercises in wanton violence. While McGee’s bout with Griff is exciting, it is
only a prelude to his eagerly-anticipated fracas with Terry. This bareknuckle brutal
fight, which begins on the cruise ship and ends on the pier, is a thrillingly
staged, bone-breaking, blood-splattering, vessel-bursting battle between two
equally-pitiless antagonists whose only desire is to pummel the life out of one
In the screenplay credited to Ed Waters, the
novel’s title loses its source. In the novel, Vangie is Eurasian and has dark
hair and dark eyes with “irises a strange yellow-brown, just a little darker
than amber.” In the movie, Vangie is blonde and no mention is made of her eyes.
Then again, the title could pertain to the movie if it refers to something that
is quite prominent in the fight sequence: blood. (According to the biography of
John D. MacDonald, The Red Hot Typewriter,
MacDonald disliked the script and contributed to major uncredited revisions
with executive producer Jack Reeves.) Basically, the script follows the novel’s
plotline fairly closely, one exception being McGee’s affair with Vangie, who elicits
more sympathy than the novel’s callous prostitute. The ending of the film is also
more poignant than that of the novel in which McGee is relatively unchanged by
his experiences. In the film, the bruised and battered McGee looks sadly out to
the sea, unable to forget the woman whose life he saved but whose death he was
unable to prevent.
Revisiting A Passage to India (1984)
on Turner Classics the other night, I was struck in a way that I had never been
before by how incredibly beautiful and powerful Judy Davis’s performance is in
this movie. The plot of the film, based loosely on a 1924 novel by English
writer E.M. Forster, revolves around the adventures of two Victorian English
women in early 20th century India. The younger woman, Adela Quested, played by Davis, has come to that
country with the likely intention of marrying a local British magistrate named
Ronny Heaslop (Nigel Havers). She is accompanied on her sea voyage by Heaslop’s
mother, known in the film simply as Mrs. Moore, played exquisitely by Peggy
Ashcroft. The two women become good friends during the trip and share a disdain
for the kind of English class snobbery they encounter upon their arrival. One
hot afternoon they decide to take a day trip from the city, known as
Chandrapore in the novel, where they have lodgings to visit the fictional Marabar
Caves, a site reportedly based on the Barabar Caves in the Makhdumpur region of Jehanabad
district, Bihar. Note: David Lean, the film’s director and writer, decided against
shooting these scenes at Barabar because he felt the location lacked the scenic
grandeur he so loved to showcase in his pictures.
During the outing, Mrs.
Moore has an attack of severe claustrophobia while visiting the first cave -- a
foreshadowing of her own death within a few short days. She insists that Adela
and Dr. Aziz (Victor Banerjee), a young Indian physician whose idea it was to
visit the caverns, continue their sightseeing without her. Shortly after this an incident occurs (or does it?)
involving the couple. We see a frantic Adela running down a steep
ravine in a state of great agitation, as if being chased by someone. (In an
important earlier linking scene we saw her riding her bicycle alone on the
outskirts of town where she encountered a number of highly erotic Indian
statues abandoned in the tall grass; an experience which clearly left her
emotionally shaken.)Upon returning to Chandrapore, Aziz is shocked to find himself accused of
attempted rape. He is immediately arrested and jailed to await trial. All this
is prelude to the moment when Adela takes the witness stand for the prosecution
Among my favorite classic American film is Alice Adams (1935), the early Katherine Hepburn
vehicle. There is a moment in that movie when director George Stevens puts the
young actress’s face fully in frame (just as David Lean does in Passage with
Davis, but with less tenderness) holding it there as she muses on small-town
social snobbery. “People do talk about you, oh yes they do…,” Alice says in her
silly, heartbreaking manner. There is something of this same unsparing,
introspective quality in the climatic courtroom scene with Adela: there is much
more, too. Two lives hang in the balance here, the life of the accused and that
of his accuser. What Adela says or doesn’t say at that moment will forever
determine not only Aziz’s fate, but hers as well. She can either choose to save face by
remaining silent on the matter, or risk destroying everything by speaking up. Everything hinges on her decision. I am reminded
of those famous lines from T.S. Eliot: Do I dare/ Disturb the universe? / In a minute there is time / For
decisions and revisions which a minute will reverse… So how should I presume?
Chances are you never heard of Oscar Micheaux. However, if you read about his remarkable life, you'll be impressed- especially if you are a retro movie lover. Micheaux was a pioneer in African-American cinema. Like most black people, he was appalled by the content of D.W. Griffith's 1915 cinematic sensation "Birth of a Nation". While the film was a landmark in terms of its technical achievements, it was also one of the most racist films the industry would ever produce, extolling the Ku Klux Klan as heroes while vilifying black men as dangers to civilized society. Micheaux, an industrious young man, had already found success writing and publishing novels. In 1918, he decided to also try his hand at making movies. In those days many theaters were still segregated and Micheaux made intelligent, adult films for black audiences. They became sensations with grateful viewers who were sickened by seeing members of their race depicted in degrading manners in mainstream Hollywood production.s. Micheaux would go on to make 44 films and had just started to bridge the gap into desegregated cinema when he passed away. Writing in The Daily Beast, Gil Troy looks back on the life and career of this under-appreciated filmmaker. Click here to read.
Joe Dante's addictive "Trailers from Hell" web site presents the original trailer for Jerry Lewis's 1964 madcap comedy "The Disorderly Orderly", one of his best solo efforts. The trailer has a commentary track by John Landis, who provides a lot of fun facts in the brief running time. For instance, he informs us that the film was shot at the famed Greystone Mansion, which was also where key scenes from the film "Westworld" were shot. On top of that, there are snippets of Sammy Davis Jr. singing the title song...
Michael Coate of the Digital Bits website has once again assembled film historians, including Cinema Retro's Lee Pfeiffer, to weigh in on a classic movie: in this case, the original "Planet of the Apes", which marks the 50th anniversary of its initial release. Click here to read their observations about the film and its legacy.
The Daily Mail has a fascinating feature that explores the film sets still standing in the desert region of Almeria, Spain, where countless movies were shot over the decades. Although the region is largely associated with the "Spaghetti Western" genre that came into full bloom in the 1960s with Sergio Leone's "Man With No Name" trilogy starring Clint Eastwood, many other major films were shot in the area. They include "Lawrence of Arabia", "Cleopatra", "Play Dirty", "100 Rifles", "El Condor" "How I Won the War", "Patton" and "The Hill", to name but a few. While some locations have faded due to abandonment and neglect, others are still thriving and host hoards of film-crazy tourists.
The following news items were found in The Hollywood Reporter on January 24, 1968:
Director Peter Yates, assistant director Tim Zinneman, cameraman Bill Fraker and several key crew operators to San Francisco for final pre-production on Warner-Seven Arts' Bullitt
Lee Marvin will star in Monte Walsh, based on the Jack Schafer novel. Marvin will reportedly receive $1 million against 10% of the gross.
Sammy Davis Jr. set to portray a key figure in the Rhythm of Life musical number in Universal's roadshow production of Sweet Charity. Assignment marks the first screen song and dance role Davis has played since he appeared in Porgy and Bess. (Note: this was not true. Davis performed song and dance numbers in the Rat Pack films Oceans Eleven and Robin and the Seven Hoods-Ed.)
David Karp yesterday turned in the first draft screenplay of Viva Che!, 20th -Fox's forthcoming drama based on the life of revolutionist Ernesto (Che) Guevara. (The film was released under the title Che!- Ed.)
MGM has set an April starting date for the King Brothers production of Heaven With a Gun, a big scale western starring Glenn Ford to be shot at the Culver City studio and on location.
MGM's The Dirty Dozen rolls into its seventh consecutive month of performances in Los Angeles this week when it moves to the Tiffany Theatre on Sunset Boulevard.
Director James Goldstone has set May 1 for start of filming on his next Universal feature, Winning starrig Paul Newman and Joanne Woodward. Picture was originally slated to begin production in March, but start date has been pushed back to accomodate Newman, currently editing A Jest of God which he directed for Warner Seven-Arts. (A Jest of God was released under the title Rachel, Rachel- Ed.)
James Caan getting his choice of roles after appearing in Games
John Wayne used to smoke five packs of cigarettes a day before his operation; now he chews tobacco.
Richard Burton and Audrey Hepburn rumored to appear in Song of Norway in 1969. (They didn't- Ed.)
The blurb above ran on November 15, 1963 in the Film Daily trade magazine. Carl Foreman's expensive and ambitious WWII drama "The Victors" was screened in advance for war correspondents. The film was a dark and cynical look at the experiences of everyday soldiers in the WWII European campaign. An impressive cast of established stars and up-and-coming talent appeared in the film but the movie had a tortured history. Released during the Christmas season, the movie's downbeat, anti-war message didn't resonate with audiences. The movie was severely cut with different length versions appearing in various areas of the globe. The full director's cut has never been reconstructed. Additionally, the movie has never been released on DVD or Blu-ray in the USA, though it is available in the UK and European markets. Even in a truncated version, Foreman's film still packs a punch.
(The fascinating story behind the making of "The Victors" is covered in detail in Cinema Retro's tribute to films of WWII issue. Click here to order)
Bonnie Parker and Clyde Barrow were immortalized as big screen anti-heroes in Arthur Penn's 1967 classic "Bonnie and Clyde". However, as an article in the Daily Mail indicates, their string of notorious bank robberies and sometimes fatal shoot-outs led to them being media sensations in the 1930s- but also resulted in a rather miserable existence. The basics of the movie's screenplay kept most of the main facts historically accurate, but as you'll see from the article there was also plenty of artistic license as well. Unlike Warren Beatty and Faye Dunaway, the real life Bonnie and Clyde were far from sex symbols. They did capture the imagination of the American public at a time when the country was grappling with depression from the Depression. It was an era in which the most notorious gangsters flourished, though all met inglorious demises, as did Bonnie and Clyde who were lured into a fatal ambush on a country road. The article presents a wealth of historical photographs of the couple as well as some morbid shots of their dead bodies, which were put on display as though they were carnival attractions. Also featured is a newly-found photograph of the couple embracing that has never been published before. Click here to read.
It started with a rather innocuous post on the Cinema Retro Facebook page of the paperback movie tie-in novel for "Beneath the Planet of the Apes" along with a notation that we missed the era in which so many new films spawned the release of these editions. Before you could say "Dr. Zaius", readers from around the globe chimed in with their own memories of reading and collecting these books. Best of all, many of them took us up on the challenge to post any photos they might have from their own personal collections. Before long, there was a plethora of great images posted, bringing back memories of paperbacks based on "Dirty Harry", "Taxi Driver", "Star Wars", "The Mechanic" and so many others. Click here to join the fun and feel free to add your own observations and photos. (Note: to view all the entries, go to the end of the article and click on "View more comments" link.)
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Director Bernardo Bertolucci with Marlon Brando and Maria Schneider on the set of "Last Tango in Paris". The film's notorious sexual content overshadowed its artistic merits. Among them: a brilliant Oscar-nominated performance by Brando in which he laid bare inner demons that haunted him personally over the course of his life. Brando always dismissed the film by saying that he never knew what it was about but he also implied he regretted doing it because it revealed far too much of his inner turmoils. Maria Schneider was only 19 years-old when she made the movie and would later say that, she too, regretted the experience because she claimed to have been sexually manipulated by both Brando and Bertolucci. Nevertheless, the film remains powerful viewing even today in an era in which it would be unthinkable for a legendary leading man to make a movie this bold and groundbreaking. -Lee Pfeiffer
Click here to order Cinema Retro's special edition tribute issue to "Where Eagles Dare".
BY LEE PFEIFFER
Writing in the Daily Mail, journalist Philip Norman recalls his visit to the Austrian set of "Where Eagles Dare" to interview Richard Burton. As a star-struck 24 year-old, he was given personal access to Burton and Elizabeth Taylor, who had accompanied her husband to the film set. All was going swimmingly until an ill-fated, late night social gathering took place in the hotel lobby where Burton and other cast members were still clad in the uniforms of German army officers. An unstable American fan approached Burton to tell him how much he admired him- but when he became intrusive, a war of words broke out and the man pulled a pistol on Burton, threatening his life. In true cinema style, the unflappable Burton dared the man to either use it or stick it up his arse! The tense scene was diffused by the unexpected appearance of Taylor, clad in her nightdress, who paraded into the lobby and seemed more disturbed about the noise from the argument than the man threatening her husband's life. Click here to read the remarkable and amusing tale.
In an amusing article for The Washington Post writer Emily Yahr looks back on the legacy of "My Heart Will Go On", the Oscar-winning theme song from James Cameron's "Titanic" twenty years after its premiere. It's become in-vogue to express one's hatred for the song even though, as Yahr points out, the track was acclaimed when it debuted and became a massive sales phenomenon, thanks to Celine Dion's vocal skills. As with any cultural phenomenon, "Titanic"- which also won the Best Picture Oscar- has been virtually disowned by film scholars as being too corny, predictable and obvious in its attempts to pull the heartstrings. Yet, I suspect that at least some of these critics secretly still get considerable enjoyment out of the film, if not for its emotional elements, than at least for its still impressive technical aspects including Peter Lamont's brilliant production design (which also was recognized with an Oscar). In a way this may be a Hollywood version of what could be termed "The Trump Effect"- many people are too embarrassed to express their support for the film publicly but behind closed doors they fawn over it. Doubtless, there will inevitably be a backlash to the backlash and the movie and the title song will be re-evaluated favorably if only because it will become too bland and boring to be among those who knock it. I have not seen "Titanic" since 1997, which seems to indicate that my enthusiasm for the movie is somewhat diluted (I've watched Don Knotts' "The Ghost and Mr. Chicken" several times over this period of time.) Yet I don't bare the film any ill will, as I remember enjoying it quite a bit. Similarly, my only gripe with "My Heart Will Go On" is that it was played so incessantly at the time of its release that there was seemingly no escape from its grip. I recall a birthday party for my daughter at which a group of ten or eleven-year-old girls were singing it passionately with misty eyes. Can you truly hate a song like that? Apparently so, according to the Washington Post article, which quotes the film's female lead, Kate Winslet as saying the track makes her want to throw up. Ouch!
It's that time of year when everyone thinks of those timeless holiday songs, movies and classic TV series- but some are cursed to remember the infamous "Star Wars Holiday Special" that was unleashed on an unsuspecting public in 1978. Designed to make a quick buck from exploiting the recent, unexpected success of "Star Wars", the show is regarded today as an Ed Wood-like achievement in that it's so patently awful in every respect that it has to be said it's uproariously entertaining, albeit in an unintended way. Don't blame young George Lucas, who had yet to emerge as a Force himself in Hollywood. Lucas was initially enthused about the concept but his involvement was very limited, as he was already at work on "The Empire Strikes Back". He would later denounce the show at every mention and once said he wished every trace of it could be obliterated from the planet. Although it has never been officially released on home video, bootleg versions have been flooding the web for many years. In recognition of the dubious achievement that the show represents, writer Lindsey Romain of the Thrillist web site lays out some of the bizarre facts behind the even more bizarre show (Click here to read). All you need to know if you're unfamiliar with the infamous program is that it starred Bea Arthur and Harvey Korman (who appeared in black face as a woman!), although members of the film cast were dragooned into appearing, tossing out awful one-liners written by some otherwise very talented writers like Bruce Vilanch and Pat Proft. Watch the above video for the inside story of an infamous misfire that unfortunately didn't exist in a galaxy far, far away.
From the Cinema Retro archives: Boxoffice magazine covered Gregory Peck being awarded "Star of the Year" and Suzanne Pleshette named "The Most Exciting New Star" at the 1962 Theatre Owners of America convention.
Sometimes we should just let the music do the editorializing. Just sit back and relish the greatness of John Barry's 1969 main theme for "Midnight Cowboy" and ponder why we don't hear music like this in contemporary cinema.
The Academy of Motion Picture Arts and Sciences presents this rare 1960 eleven minute industry promotional short that was sent to theater managers to explain the innovative ways they could promote Alfred Hitchcock's "Psycho". Hitchcock personally oversaw the construction of the unique campaign that intentionally made seeing the film a status symbol. No one was admitted after the movie had started and large lines of ticket holders waited patiently for the next screening. Theater fronts and lobbies were decorated with extravagant advertising materials and Hitchcock himself provided recorded announcements to keep the crowds entertained. When no studio agreed to give "Psycho" the green light, Hitchcock financed the movie himself on a shoestring budget using many of the people who were working with him on his weekly T.V. series. The film became one of the top-grossers of all time and netted Hitchcock a fortune.
Frank Sinatra made his first appearance in The Sands, the legendary Las Vegas casino, as a young crooner in 1953 when the town was a microcosm of its present self. The Chairman of the Board would become synonymous with the place as the years passed. In 1960, Sinatra and his fellow Rat Packers- Dean Martin, Sammy Davis Jr., Joey Bishop and Peter Lawford- were filming "Oceans Eleven" by day and appearing on-stage at night in their sensationally popular, largely improvised "Summit" act which consisted of music and comedy. Sinatra's efforts on behalf of African-Americans helped integrate the hotels in Vegas and he was the town's major draw. However, Sinatra's mercurial temper also loomed large in outrageous displays of anger. When Howard Hughes took over the Sands in 1967, he cut off Sinatra's credit line (which apparently the crooner never intended to pay for). Sinatra had a hissy fit and went wild in the main casino before quitting the place to lend his talents to Caesar's Palace.
Writing on the Daily Beast site, Allison McNearney recalls the doomed love affair between Sinatra and the Sands. Click here to read.
They were two of the greatest acting talents of their time. But when Laurence Olivier and Vivien Leigh discarded their spouses and families to begin a torrid affair, it paved the way for scandal and madness. Olivier found himself seduced by the sexually aggressive Leigh, who worked diligently to help deconstruct his marriage, as well as her own. When the two finally married, the relationship became erratic when Olivier discovered that Leigh had been diagnosed with what would now be known as bipolar disorder. Her range of emotions varied wildly and as time wore on, her mental condition deteriorated to a tragic level. Writer Michael Thornton covers the tempestuous relationship for the Daily Mail and points out that Olivier and Leigh never fell out of love with each other- even after they divorced. Adding to the salacious aspects of the story, Thornton maintains that both Olivier and Leigh were actively bisexual and carried on affairs with members of the same sex. Leigh, however, fell victim to her psychological disease and would have quick sexual interludes with men she would pick up on the street. To read, click here.
In days of old, American movie audiences were often shown a charity promotional short for the Will Rogers Institute, which provided vital research into debilitating medical diseases. At the completion of the film, theater ushers (remember them?) would walk through the audience soliciting contributions for the charity. Many major stars cut promo shorts for the Will Rogers Institute. In this one, shown in the summer of 1969, Clint Eastwood makes the appeal following clips of action scenes from "Two Mules for Sister Sara" and "Coogan's Bluff".
Writing in The Daily Beast, Ron Capshaw addresses a long-running rumor that Errol Flynn may have been a Nazi spy. The largely debunked theory, which still intrigues Hollywood historians, revolves around Flynn's friendship with a man who was a Nazi espionage agent in the pre-war years. The two traveled together and considered themselves good friends. Letters written by Flynn were revealed to have contained anti-semitic statements and Flynn once insulted studio mogul Jack Warner in front on a film set by telling him that "We don't allow any Jews on the set". In one letter, Flynn even says that he wishes the United States had its own version of Hitler so that Jews could be taught a thing or two. By 1940, however, Flynn was routinely denouncing Naziism and when America entere the war the following year, Flynn even volunteered to work undercover as a U.S. espionage agent, though nothing came of the proposal. He also never saw his Nazi spy pal again after 1940 and began dismissing him as a "screwball". However, the U.S. government was still so concerned by the possibility that Flynn, too, was spying for Nazi Germany that they had him followed and investigated. For more click here.
Here's another batch of rare TV promotional ads, this time from 1966. Highlights include Adam West as Batman pitching savings bonds to kids on behalf of President Johnson so they can help support the Vietnam War (!); The Monkees in an ad for Rice Krispies, Elizabeth Montgomery in "Bewitched", Robert Loggia as "T.H.E Cat" and many more. Enjoy!
Director Sofia Coppola's revisionist version of the 1971 production of "The Beguiled" is winning critical raves.This has inspired writer Mike Scott of the Times-Picayune to look back at the original version of the film which was shot at a historic plantation near Baton Rouge, Louisiana in 1970. The film marked the third collaboration between newly-minted superstar Clint Eastwood and his mentor, director Don Siegel. The article provides some very rare on set photos and an overview of the gothic Civil War drama that bombed when it was first released, though its stature has increased among film scholars in the ensuing decades. Eastwood fans who have never seen the movie are advised to do so. It represents a major achievement in his early acting career and he also plays an unsympathetic character, a rarity for him. Click here to read.
For an in-depth look at the film, order Cinema Retro's special issue "The American Westerns of Clint Eastwood" by clicking here.
Writing for the Film Comment web site, Mark Harris revisits how Antonioni's "Blow-up" helped usher in a bold new era of moviemaking even as it divided audiences. Some felt it was a work of genius while some mainstream moviegoers demanded refunds at the boxoffice. Nevertheless, this much is certain: the film was instrumental in marking a new era of screen realism and sexual freedom from its opening frames to its much-debated final scene.
The Guardian has rounded up an eclectic group of directors to weigh in on their own personal choices for the greatest film scenes ever shot. They range from the skeleton battle in "Jason and the Argonauts" to the car chase in "The French Connection". Click here to read the justifications for their choices.
Watch the original trailer for producer Euan Lloyd's superb 1978 adventure film "The Wild Geese". It's as sensational as the movie itself even if it falls into the common problem of divulging too many key scenes and plot points. They really don't make 'em like this any more!
CLICK HERE TO READ OUR REVIEW OF THE "THE WILD GEESE" BLU-RAY SPECIAL EDITION
Thanks to Nick Sheffo of Fulvue Drive-in web site for alerting us to this 23 minute compilation of American TV ads from the year 1977. It's a fun hodgepodge hawking everything from Ford Pintos (fire extinguishers not included!) to celebrities: Jack Nicklaus pitching American Express cards ("Don't leave home without it!"), Caroline Munro oozing over Noxema shaving cream, George Lazenby as a thinly-veiled James Bond being introduced to Sony hi-tech gadgets in a clever 007 spoof, James Garner and Mariette Hartley in one of their popular ads for Polaroid cameras, inimitable character actor Anthony James giving an endorsement to Mobile 1 motor oil, actor Paul Burke for Radio Shack, Cicely Tyson for RCA color TVs, James Coburn in cowboy gear shilling for Schlitz beer and Ed McMahon endorsing Budweiser (yes, in those days, first-rate talents could promote third-rate beers.) Best of all, there's dear ol' O.J. Simpson, promoting Hertz, dashing through an airport at top speed- well at least faster than he moved in his slow-mo car chase. Coincidentally, another future "Husband of the Year" and murder suspect, the poor man's Brando, Robert Blake, turns up promoting STP auto additive. The ads are chock full of girls with Farrah hairdos, guys with wide colors and polyester suits, the miracles of cassette tape recorders, the Betamax and cars large enough in size to have fit comfortably in the Battle of the Bulge. Too bad they don't feature that other great innovation of the 1970s- canned wine.
With all the controversial films that were released in the 1960s it's hard to imagine that "The Sound of Music" (yes, that "Sound of Music") would have emerged as the center of a protest. However, in this case the protests weren't against the film itself but rather that it represented too much of a good thing. Turns out that by the time the film hit its 53rd week at the Moorhead Theater in Moorhead, Minnesota, the students at Minnesota State University had enough of nuns and Nazis-- they just wanted a new movie to play in the town's theater. What's truly remarkable isn't just that "The Sound of Music" instigated a student protest but that there was an era in which a theater could still reap profits from the 53rd consecutive week showing the same movie. Our crack team of researchers hasn't been able to find out if the student's demands were met and if "The Sound of Music" went on to play at the Moorhead Theater. The people we feel most sorry for are the theater staff. Can you imagine being an usher and seeing the same film several times a day for over a year???-