It's quite fitting that Max Von Sydow, celebrated Swedish actor, should turn 80 on Good Friday, of all days.
There's TWO Pre-code sets out for spring, the Forbidden Hollywood Vol. 3 and now this, Pre-Code Hollywood set from Universal (showing Paramount stuff, which I generally love so no complaints there)Started with the last disc first, since it had THE MURDER OF THE VANITIES (1934) one of the last--and therefore most decadent--films to come out before the code.
Go immediately to House of Mirth and Movies to see “The Unofficial Female Film Canon,” an extraordinary annotated list of 101 films featuring female protagonists.
1) Because the 86-year-old French maitre is still making movies (such as Les Herbes folles, currently in post-production); and2) Because he’s around to personally supervise the DVD transfers of his early masterpieces (such as the Region 2 version of Muriel, ou Le temps d’un retour - reviewed by Glenn Kenny here - and the Criterion special edition of Last Year at Marienbad, to be released in regular and Blu-ray versions this June, along with two rarely-seen Resnais shorts).
1. PAUL THOMAS (dir. Bad Housewives, The Masseuse, The New Devil in Mrs. Jones) - A real actor (he played Peter in the film version of Jesus Christ Superstar), Paul Thomas is that rarity in the world of porn, a genuine "human.
Post-modern sketch comedy is, by nature, repellent. This is by no means a new phenomenon: Monty Python had cops projectile-vomiting into their caps over crunchy frog when most of today's comedians were in diapers (if that).
"I couldn't help but say to [Mr. Gorbachev], just think how easy his task and mine might be in these meetings that we held if suddenly there was a threat to this world from another planet.
Everybody knows the music Maurice Jarre wrote for Lawrence of Arabia and Doctor Zhivago ("Lara's Theme").
Having recently bid a fond adieu to the post-DVD-release critical interest resurgence for Synecdoche, New York, it seems a ripe enough time to forget this dauntingly nebulous film until, say, maybe someone like Criterion comes along in 20 years and revives it via whatever the popular media might be at that point (movies shot directly into the brain via Janus Film electrode? Charlie Kaufman would no doubt speculate far more creatively).
(WATCHMEN SPOILER ALERT)A week after seeing WATCHMEN I'm still disturbed about the subtextual homophobia present in the opening critics killing of Silhouette, a lesbian superhero from the original 1940's Minutemen.
Just got back from seeing WATCHMEN at Union Square, a surreal and thoroughly fascist experience from start to finish; it starts with the "Regal Cinema First Look" promo material that runs before the previews.
Looks like Warner Brothers has wised up and is offering a line of rarities from their vaults on DVD. They include such juicy titles as Boetticher's Westbound, Cukor's The Actress, Walsh's A Distant Trumpet, Minnelli's Four Horsemen of the Apocalypse, Borzage's The Shining Hour, and even films that were believed, at least by some of us, to be lost, like the bondage & espionage Ann Dvorak classic I Was an American Spy! There's even that bizarre must-have bit of craziness from Jack Webb, The D.
Actors make creepy bikers; generally bikers are less verbose. Watching THE WILD ONE the other night, a big screen filled with creepy "juvenile" behavior, got me to thinking about our associations with bikers and random orgiastic violence.
. . . and not one of them is presently available on U.S. DVD. Here's a box set I would happily purchase.
Erich Kuersten’s younger sister series (starting here) inspired me to think about the younger sisters in Hitchcock films, particularly Pat Hitchcock in Strangers on a Train (1951), and her bespectacled predecessor, Edna May Wonacott as Ann Newton in Shadow of a Doubt (1943).
Disney’s Escape to Witch Mountain was the highest grossing film of the weekend. It starred Carla Gugino, among others.
This is my all-time favorite SCTV sketch – a pastiche of Ingmar Bergman and Jerry Lewis, with Andrea Martin as Harriet Andersson and Martin Short (brilliant) as Lewis.
I've only seen a few Bunuel's cheap Mexican productions, but as a fan of Ulmer and 1930s-1940s Poverty Row, they really do something for me.
Today starts a Film Forum revival of John Stahl's 1945 "nature noir," LEAVE HER TO HEAVEN, as creepy a subtextual indictment of post-code Americana as I've ever seen.
It was yesterday and I completely forgot! I know it's coming every year, since it's the day after mine, or one day and a decade or so.