18 items from 2016
It's in glorious Technicolor Metrocolor, CinemaScope and StereoPhonic Sound! Fred Astaire's final MGM musical gives him Cyd Charisse and a Cole Porter score, plus some nice Hermes Pan choreography. The script and Rouben Mamoulian's direction aren't the best, but the combined magic of the musical and dancing talent saves the day. Silk Stockings Blu-ray Warner Archive Collection 1957 / Color / 2:40 widescreen / 117 min. / Street Date July 12, 2016 / available through the WBshop / 21.99 Starring Fred Astaire, Cyd Charisse, Janis Paige, Peter Lorre, George Tobias, Jules Munshin, Joseph Buloff, Wim Sonneveld Cinematography Robert Bronner Art Direction Randall Duell, William A. Horning Film Editor Harold F. Kress Original Music Cole Porter Written by Abe Burrows, Leonard Gershe, George S. Kaufman, Leueen MacGrath, and Leonard Spigelgass Produced by Arthur Freed Directed by Rouben Mamoulian
Reviewed by Glenn Erickson
- Glenn Erickson
On this day in history as it relates to the movies...
1819 The bicycle is patented by W.K. Clarkson, Jr. which could be why June has lots of bicycle holidays like "bike to work week" and such. There's even a Bicycle Film Festival happening in NYC this very weekend.
1904 Peter Lorre is born
1922 Underappeciated film star Eleanor Parker is born. Her two best known classics are Caged (1950, her first nomination in one of the all time best Best Actress years) and The Sound of Music (1965, snubbed in supporting actress). Also born on this day is two-time Oscar recipient Dick Smith, an indisputable giant in movie makeup. Among his classics: The Godfather, The Exorcist, Amadeus, and Taxi Driver
- NATHANIEL R
The Nazis can't even keep the National Socialist propaganda out of a simple science fiction fable. Hans Albers is the Aryan King Midas as a scientist, and gorgeous Brigitte Helm the Englishwoman who thinks he's peachy keen. The climax is pure Sci-Fi heaven, an unstable 'Atomic Fracturing' installation, wa-ay deep down in a mineshaft under the ocean. Gold (1934) Blu-ray Kino Classics 1934 / B&W / 1:33 flat Full Frame / 117 min. / Street Date June 14, 2016 / available through Kino Lorber / 29.95 Starring Hans Albers, Friedrich Kayßler, Brigitte Helm, Michael Bohnen, Ernst Karchow, Lien Deyers, Eberhard Leithoff, Rudolf Platte. Cinematography Otto Baecker, Werner Bohne, Günther Rittau Art Direction Otto Hunte Film Editor Wolfgang Becker Original Music Hans-Otto Borgmann Written by Rolf E. Vanloo Produced by Alfred Zeisler Directed by Karl Hartl
Reviewed by Glenn Erickson
The Hardy Encyclopedia of Science Fiction still teases Sci-fi fans that want to see everything listed in its pages. Thankfully, videodisc companies catering to collectors make possible the sale of titles that might never show up on some (authorized) streaming service. Video disc has brought us the original Der Schweigende Stern and Alraune from Germany, and I hope to someday see good copies of Kurt Siodmak and Karl Hartl's F.P. 1 Does Not Answer and the Harry Piel Sci-fi trilogy An Invisible Man Roams the City, The World Unmasked (an X-ray television camera) and Master of the World (a robot with a death ray). I've read about Karl Hartl's 1934 Gold for at least fifty years, since John Baxter's Science Fiction in the Cinema told us (not quite correctly) that its final reel had been borrowed for the conclusion of Ivan Tors' 1953 Sci-fi picture The Magnetic Monster. As it turns out, Kino is releasing both movies in the same week. Sometimes referred to as the Nazi Metropolis, Hartl's Gold is a follow-up to the director's very successful F.P.1. Does Not Answer, a spy thriller about a fantastic airport in the mid-Atlantic called Floating Platform One. Both pictures were filmed in simultaneous foreign versions to maximize the box office take. The German original of F.P. 1 starred matinee idol Hans Albers (The Blue Angel) Sybille Schmitz (Vampyr) and Peter Lorre, while a concurrent French version used Charles Boyer, Danièle Parola and Pierre Brasseur. A third English version starred Conrad Veidt, Jill Esmond and Donald Calthrop. The French version starred Brigitte Helm in the same role, but star Hans Albers reportedly rebelled at making two movies for the price of one. According to reports, the exceedingly expensive Gold was in production for fifteen months. We can see the cost immediately in the enormous main set for the 'atomic fracturing' machine built to transmute lead into gold. Otto Hunte and Günther Rittau designed and filmed special effects for Metropolis and the impressive set is very much in the same style. Off the top of my head I can't think of any technical apparatus quite so elaborate (and solid-looking) built for a film until the 1960s and Ken Adam's outlandish settings for UA's James Bond films. Writer Rolf E. Vanloo had worked on the silent classic Asphalt and is the sole writer credited on the popular Marlene Dietrich vehicle I Kiss Your Hand, Madame. His screenplay for Gold is tight and credible, even if its theme is even more simplistic than -- and somewhat similar to -- that of Thea von Harbou for Metropolis. Scientist Werner Holk (Hans Albers) aids the visionary Professor Achenbach (Friedrich Kayßler) in testing what looks like an electric atom smasher. The experiment: to turn lead into gold. The 'Atomic Fracturer' explodes, killing the old genius, whose work is discredited. Holk barely survives, thanks to a blood transfusion from his faithful girlfriend Margit Moller (Lien Deyers). When agents for the fabulously wealthy Englishman John Wills (Michael Bohnen) contact Holk, he realizes that the experiment was sabotaged. Werner allows himself to be taken to a fabulous yacht and from there to a Scottish castle, where, hundreds of feet under the ocean, Wills has constructed his own, far larger atom smasher with plans stolen from Achenbach. Split between his need for revenge and a desire to prove the dead Achenbach's theories, Holk goes through with the experiment. Wills' daughter Florence (Brigitte Helm), a gorgeous playgirl, is attracted to the German visitor, Holk finds that the workers' foreman, Schwarz (Rudolf Platte) is of a like mind on economic issues. But Wills' engineer Harris (Eberhard Leithoff) is jealous of Holk's talent, and cannot be trusted. Gold begins by repeating the 'big money hostile takeover of science' theme from Fritz Lang's Frau im mond: a pioneering German scientific exploit is siezed by an unscrupulous international business entity. The unspoken message is that the weakened Germany is being cheated in the world economy because it lacks the resources to exploit its superior technology. The avaricious John Wills makes big financial decisions all day long. There's no gray area in this conflict, as Wells murders, steals and spies on people to get what he wants. We've seen his ruthless agents wreck Achenbach's original, modest experiment. This 'England plays dirty' theme mirrors Germany's bitterness toward England for at least the better part of a century of colonial, naval and financial competition. Versailles and WW1 aren't mentioned, but that had to be on the minds of the audience as well: Germany innovates and works hard, but is consistently handed a raw deal. The scenes with the sleek, fascinating Brigitte Helm would be better if they went somewhere; her Florence does what she can to entice Herr Holk but withdraws when he declares his love for his faithful girl back home, the one whose life blood now flows in his veins. 'Das Blut' cannot be dishonored, even if Holk is half convinced that Wills is going to have him murdered after the giant machine starts turning out Gold by the ton. Act Two instead becomes a conflict between Big Capitalism and the lowly-but-virtuous Working Man. Down in the underground warren of tunnels (another Metropolis parallel) Wills' Scottish workforce of sandhogs and technicians side with Holk against their boss. After a preliminary test yields a tiny bit of gold, we get the expected montages of worldwide economic panic, standard material in socially oriented sci-fi as diverse as La fin du monde and Red Planet Mars. Wells plans to grow rich by flooding the world with his artificially produced gold, a strategy that will have to be explained to me. Gold is the world's standard of value precisely because it's rare; it can't be printed up like money. Thirty years later, the surprisingly sophisticated scheme of Auric Goldfinger is to increase the value of his stash of gold bullion by rendering America's gold reserves radioactive, and therefore worthless. If scarcity raises the value of the element, making more should do the opposite. (On the other hand, what about artificial diamonds? Is there any correspondence there?) [I'm acutely aware that discussing the subject matter of movies mainly points up how much I don't know, about anything but movies.] The Incredible Holk convinces the mob of workers that he represents their interests better than the greedy John Wills. The idea that rich English capitalists need to be rejected in favor of honest German morality is the only real message here. It's as simple as the 'heart mediating between the hands and the brain' slogan of Metropolis, but with a slightly arrogant nationalism added. The lavishly produced Gold was filmed on a series of truly impressive sets, including Wills' enormous Scottish mansion. But the giant setting for the climax, deep in a mine under the ocean floor, is the stuff of core Sci-fi. Millions of volts of electricity are harnessed to transmute lead into Gold. That's got to be a heck of an electricity bill; factor in the other enormous overhead costs and we wonder if Wills will ever turn a profit. The special effects for this sequence are sensational. The enormous apparatus is suspended on huge oversized porcelain insulators. The giant glass tubes atop the specimen stage are apparently visualized with mattes and foreground miniatures. But the camera pans and trucks all over the hangar-sized set; it all looks real, with bolts of electricity flashing like crazy. It's a dynamic special effect highlight of the 1930s. The actors sell the conflict well. Beefy Hans Albers sometimes looks like George C. Scott. He exudes personal integrity and a calm force of will. Lien Dyers is as wholesome here as she was wantonly sexualized six years earlier in Fritz Lang's Spies. Michael Bohnen is more than convincing as a powerful man trying to corner all business on an international scale. Although mostly in for decoration, Brigitte Helm is a sophisticated dazzler. Those penciled eyebrows remind us that she had become the Marlene Dietrich that didn't go to Hollywood. Although she did have offers, Helm wanted to stay in Germany. The Nazification of the film industry and the appalling political climate motivated her to leave for Switzerland in 1935, abandoning her career. Although the gist of Gold fits in with Josef Goebbels' National Socialist propaganda aims, the movie doesn't attack England directly. Ufa may have held hopes of foreign distribution. The one man in Scotland that Holk knows he can trust is the captain of Wills' yacht, a fellow German. Nine years later, Josef Goebbels' anti-British version of Titanic would make a German the single ethical person in authority on the doomed ocean liner. The fellow is constantly badmouthing the craven captain and the venal English ship owner. When Hans Albers finishes this movie with a ten-cent moral about love being the only real treasure, the show seems plenty dumb. But that amazing special effect set piece is too good to dismiss so easily. Gold is a classic of giddy '30s science fiction. The Kino Classics Blu-ray of Gold (1934) is a good encoding of the Wilhelm Murnau Stiftung's best copy of this once-rare item. The print we see is intact and with has good audio, but the contrast is rough. It shifts and flutters a bit, especially in some scenes in the middle. I did notice that the final special effects sequences looked better than much of the rest of this surviving print. But the parts of the movie repurposed for The Magnetic Monster look better on that 1953 science fiction film than they do here. In his book Film in the Third Reich David Stewart Hull explains that when the occupation forces reviewed the recovered German films, they ordered this one destroyed. They were concerned that the Alchemy / Atomic Fracturing machine might have some connection to Germany's wartime nuclear program. So how could Ivan Tors have bought the footage from Ufa, if the U.S. Army had seized it? I have a feeling - just idle speculation -- that it might have been obtained in a special deal made through government connections. Since the image looks much better on The Magnetic Monster, Ivan Tors might even have cut up Gold's only existing printing element to make his movie. After finally seeing Gold, one more thing impresses me besides the grandiose special effects. It's sort of a 'brain-drain' movie. In the '30s, Germany had a reputation for the best precision engineering in the world. Werner Holk is semi-kidnapped to serve John Wills' greedy science project, which was pirated from Germany in the first place. Also in awe of German scientific prowess is Brigitte Helm's Florence. The playgirl finds Werner Wolk's brilliance and clarity of mission irresistible. He's both smarter and more ethical than her father. Holk just stands there looking like he's posing for a statue, and Florence is carried away. Ms. Helm is terrific, but it would be nice if her character had a more central role to play in the story. On a scale of Excellent, Good, Fair, and Poor, Gold (1934) Blu-ray rates: Movie: Very Good Video: Fair + This may be a rare surviving print. Sound: Good - Minus Supplements: none Deaf and Hearing Impaired Friendly? Yes; Subtitles: English Packaging: Keep case Reviewed: June 10, 2016 (5137)
Visit DVD Savant's Main Column Page Glenn Erickson answers most reader mail: email@example.com
Text © Copyright 2016 Glenn Erickson
- Glenn Erickson
The Locarno Film festival will fete U.S. “King of the B’s” Roger Corman, who is expected to attend and hold an on-stage conversation at the Swiss fest dedicated to indie and cutting-edge cinema.
Corman, who is 90, has agreed to make the trek to Locarno as guest of honor of the fest’s Filmmakers Academy, which provides training for young directors. The festival, now in its 69th edition, runs from Aug. 3 to 13.
The tribute to Corman will comprise screenings of his 1962 school desegregation drama, “The Intruder,” starring William Shatner as a rabble-rousing racist, and 1964’s “The Masque of the Red Death,” based on a short story by Edgar Allen Poe, top-lining Vincent Price.
“As director and screenwriter, [Corman] made a long series of films whose low-budget model combined principles of quality and popular appeal in unprecedented ways,” the fest said in a statement.
“And through his auteur approach he reinvented the world of genre filmmaking, »
- Nick Vivarelli
Review by Adrian Smith
When I Love Lucy debuted on American television in 1951, nobody could have suspected that it would become one of the most beloved shows of all time. Across six seasons Lucille Ball and her real-life husband, Cuban band leader Desi Arnaz, shared their lives with millions. At the time it was the most watched show in the United States, and undoubtedly helped fuel TV set sales during the decade. It has also been repeated constantly since, and sold around the world. Now, almost sixty years since the final episode, it is possible to go back and view it all from the beginning.
Keeping their own names helped further blur the line between the show and reality in the minds of the audience, and watching Desi and Lucy every week felt like you were spending time with real friends. For the most part the situations played out in »
- firstname.lastname@example.org (Cinema Retro)
Nicolas Roeg's bizarre blend of high drama, searing sex and over-the-top brutality waited a year, only to be given a tiny American release. It then dropped out of sight. We're now in a better position to appreciate the show's great actors - especially Theresa Russell, the boldest and bravest actress of the 1980s. Eureka Blu-ray Twilight Time Limited Edition Small>1983 / Color / 1:85 widescreen / 130 min. / Ship Date May 10, 2016 / available through Twilight Time Movies / 29.95 Starring Gene Hackman, Theresa Russell, Rutger Hauer, Jane Lapotaire, Mickey Rourke, Ed Lauter, Joe Pesci, Helena Kallianiotes, Corin Redgrave, Joe Spinell, Frank Pesce, Timothy Scott. Cinematography Alex Thomson Production Designer Michael Seymour Film Editor Tony Lawson Original Music Stanley Myers Written by Paul Mayersberg from a book by Marshall Houts Produced by Jeremy Thomas Directed by Nicolas Roeg
Reviewed by Glenn Erickson
- Glenn Erickson
By John M. Whalen
Cornell Woolrich is a writer whose work was much loved and cherished by fans of film noir. The Internet Movie Database lists 102 credits for him for both film and TV shows—titles including “Rear Window,” “The Bride Wore Black,” “The Night Has a Thousand Eyes,” “Black Angel,” “Fear in the Night,” and “Phantom Lady,” He didn’t write any screenplays that I know of. The films and TV shows were all adapted from a prolific output of stories written under his Woolrich and William Irish pseudonyms, and under his real name, George Hopley.
While Raymond Chandler, Dashiell Hammett, and James M. Cain make up the Big Three in noir fiction, Woolrich carved out a special niche for himself. Chandler, and Hammett wrote about tough guy heroes who usually overcame the web of evil they encountered. Cain’s heroes weren’t always so lucky, but at least »
- email@example.com (Cinema Retro)
Banished by Josef Goebbels and threatened by the Reich, the creative core of the German film industry found itself in sunny Los Angeles, many not speaking English but determined to carry on as writers, directors and actors. More than simply surviving, they made a profound impact on Hollywood moviemaking. Cinema's Exiles: From Hitler to Hollywood DVD-r The Warner Archive Collection 2009 / B&W / 1:37 flat Academy / 117 min. / Street Date April 12, 2016 / available through the WBshop / 21.99 Cinematography Joan Churchill, Emil Fischhaber Film Editor Anny Lowery Meza Original Music Peter Melnick Written, Produced and Directed by Karen Thomas
Reviewed by Glenn Erickson
Cinema's Exiles: From Hitler to Hollywood is the perfect docu to introduce people to the way film and world history are intertwined... and also to generate interest in older movies and classic cinema. Instead of a story about the making of movies, it's about a fascinating group of filmmakers forced to abandon »
- Glenn Erickson
An exercise in dizzy disorientation, this Cornell Woolrich crazy-house noir pulls the rug out from under us at least three times. You want delirium, you got it -- the secret words for today are "Obsessive" and "Perverse." Innocent Robert Cummings is no match for sicko psychos Peter Lorre and Steve Cochran. The Chase Blu-ray Kino Classics 1946 / B&W / 1:37 flat Academy / 86 min. / Street Date May 24, 2016 / available through Kino Lorber / 29.95 Starring Robert Cummings, Michèle Morgan, Steve Cochran, Peter Lorre, Lloyd Corrigan, Jack Holt, Don Wilson, Alexis Minotis, Nina Koschetz, Yolanda Lacca, James Westerfield, Shirley O'Hara. Cinematography Frank F. Planer Film Editor Edward Mann Original Music Michel Michelet Written by Philip Yordan from the book The Black Path of Fear by Cornell Woolrich Produced by Seymour Nebenzal Directed by Arthur D. Ripley
Reviewed by Glenn Erickson
As Guy Maddin says on his (recommended) commentary, the public domain copies of this show were »
- Glenn Erickson
Team Experience is at the Tribeca Film Festival. Here's Jason on "A Kind of Murder" and "Always Shine"
I know it's blasphemy in these parts to speak ill of Mad Men (cue 90% of you automatically clicking away in disgust) but I could never really get into it because it felt too slavishly obsessed with 60s posturing - I love Mid-Century Design as much as the next Eero Saarinen disciple but I couldn't ever see the forest for the tulip chairs. That said, the new Patricia Highsmith adaptation A Kind of Murder (from the 1954 book The Blunderer, kind of a suburban copycat criss-cross of Strangers on a Train) makes Mad Men seem positively restrained in its period affectations - how you manage to turn a walking talking charm like Patrick Wilson into a walking talking turtleneck I'll never figure.
The turtlenecks! The martini glasses! The heavy salmon drapes and stone fireplaces! »
Since any New York cinephile has a nearly suffocating wealth of theatrical options, we figured it’d be best to compile some of the more worthwhile repertory showings into one handy list. Displayed below are a few of the city’s most reliable theaters and links to screenings of their weekend offerings — films you’re not likely to see in a theater again anytime soon, and many of which are, also, on 35mm. If you have a chance to attend any of these, we’re of the mind that it’s time extremely well-spent.
“Welcome to Metrograph: A-z” brings George A. Romero‘s greatest zombie picture, Day of the Dead, on Friday. Saturday includes Abbas Kiarostami‘s Close-Up, Robert Bresson‘s The Devil, Probably (also playing on Sunday), and Coming Apart; Sunday, see the Maggie Cheung-led Comrades: Almost a Love Story.
“Three Wiseman” offers two Wisemans: High School and Titicut Follies. »
- Nick Newman
It's an All Star monster rally -- Lon Chaney Jr.!, John Carradine!, Bela Lugosi!, Basil Rathbone!, Tor Johnson! -- with Akim Tamiroff in there pitching as well. It's considered a must-see picture, and this HD presentation is nothing to sniff at. Added bonus: a Tom Weaver commentary. The Black Sleep Blu-ray Kl Studio Classics 1956 / B&W / 1:85 widescreen / 82 min. / Dr. Cadman's Secret / Street Date March 22, 2016 / available through Kino Lorber / 29.95 Starring Basil Rathbone, Akim Tamiroff, Lon Chaney Jr., John Carradine, Bela Lugosi, Herbert Rudley, Patricia Blake, Phyllis Stanley, Tor Johnson, Sally Yarnell, George Sawaya. Cinematography Gordon Avil Film Editor John F. Schreyer Original Music Les Baxter Written by John C. Higgins, Gerald Drayson Adams Produced by Howard W. Koch Directed by Reginald Le Borg
Reviewed by Glenn Erickson
Older monster kids know that the 1956 chiller The Black Sleep existed for years only through stills in Famous Monsters magazine. We saw tantalizing »
- Glenn Erickson
Hello, readers! Welcome back for the next installment of our monthly feature here at Daily Dead, “Deadly Dialogue: A Conversation on Cinema”, where we’ll be catching up with notable folks from the horror and sci-fi genres—both in front of and behind the camera—to discuss the films that inspired them to become the artists they are today.
For over 30 years now, Robert Englund has been a beloved fixture in the horror genre due to his timeless performance as the iconic Freddy Krueger throughout eight Nightmare on Elm Street films (including Freddy vs. Jason) as well as numerous roles in countless other notable films during his illustrious career. When asked about what initially inspired his love of cinema, he talked about his Encino childhood and how his fascination with 20,000 Leagues Under the Sea first captured his imagination.
I was going to be a theater actor. That was my dream. »
- Heather Wixson
The pedigree of John Huston's "The Maltese Falcon" doesn't need to be explained. It's one of the greatest film noir pictures ever made, one of Humphrey Bogart's best movies too, and there are really not enough superlatives to laud the Oscar-nominated movie. If you've seen the movie, chances are it's been on home video, or if you're lucky, you managed to capture a repertory screening at some point. But there's good news today as the movie is celebrating it's 75th anniversary this year, and a big screen return is in the works. Read More: 16 Literary Detectives Who Sleuthed Onto The Big Screen Fathom Events and Turner Classic Movies are bringing "The Maltese Falcon" to over 650 screens on February 21st and 24th. On those dates you'll be transported to San Francisco to chase the stuff that dreams are made of, and watch Bogart effortlessly square off against Peter Lorre and Sydney Greenstreet. »
- Kevin Jagernauth
Back in September, X-Men: Apocalypse director Bryan Singer took to his Instagram page to announce his next project, 20,000 Leagues Under the Sea. The news came as quite a surprise to most fans, but the director reiterated that he isn't abandoning the X-Men universe. We never heard any further updates since then, but today Deadline reports that the director has now closed his deal with 20th Century Fox, which has given 20,000 Leagues Under the Sea a green light for a fall production start. Here's what the director had to say in a statement, confirming some of the original characters from Jules Verne's novel.
"I'm incredibly excited to be working with my friends at Fox, with whom I've had such a long and fruitful relationship. Ever since I was a boy and first discovered the 1870 Jules Verne novel, I have dreamt of retelling this classic story. Without revealing too much, it »
I Hate wine! Seriously, no kidding, I cannot drink it, smell it and I don’t like to talk about it. The origin of this distaste for fermented grape juice? It was when I was in the Navy (there he goes again!) I was on liberty in Brindisi, Italy (Bill remembers!) We were in a restaurant on a bright, sunny Italian Sunday afternoon. We ordered food and wine. The wine came in pitchers, not bottles. I don’t recall the food ever arriving, don’t remember leaving the restaurant, going back to the ship, none of that, complete blackout.
Literally one minute in the restaurant, the next lying face down in my rack strangling on my own sick. I won’t go into any more sordid details, I’ll spare you that. Sufficient to note I was in trouble with the Navy, had gotten horribly sick on a liberty boat, »
- Sam Moffitt
William Cameron Menzies. William Cameron Menzies movies on TCM: Murderous Joan Fontaine, deadly Nazi Communists Best known as an art director/production designer, William Cameron Menzies was a jack-of-all-trades. It seems like the only things Menzies didn't do was act and tap dance in front of the camera. He designed and/or wrote, directed, produced, etc., dozens of films – titles ranged from The Thief of Bagdad to Invaders from Mars – from the late 1910s all the way to the mid-1950s. Among Menzies' most notable efforts as an art director/production designer are: Ernst Lubitsch's first Hollywood movie, the Mary Pickford star vehicle Rosita (1923). Herbert Brenon's British-set father-son drama Sorrell and Son (1927). David O. Selznick's mammoth production of Gone with the Wind, which earned Menzies an Honorary Oscar. The Sam Wood movies Our Town (1940), Kings Row (1942), and For Whom the Bell Tolls (1943). H.C. Potter's Mr. Lucky »
- Andre Soares
Being one of the top character actors of American film and television must be the ultimate double-edged career sword.
On the one hand, if you’re good — and the late Ed Lauter was one of American cinema’s great character actors — you work all the time. On the other hand, as Lauter told Shock Cinema magazine back in 2010, “Sometimes people don’t know my name. They’ll say, ‘Oh, yeah! There’s that guy! You were in … Jesus Christ … you were in … in …’ So, in a way it’s good — and in a way it’s bad.”
Lauter was not alone in his plight. He and his fellow character actors who consistently deliver the goods have been a mainstay of American cinema since the days of the Hollywood’s “stock players,” a moniker that devalues the work of great performers from Hattie McDaniel to Peter Lorre, from Sidney Greenstreet to »
- Steven Gaydos
18 items from 2016
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