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Letter from an Unknown Woman

This devastating romantic melodrama is Max Ophüls’ best American picture — perhaps because it seems so European? It’s probably Joan Fontaine’s finest hour as well, and Louis Jourdan comes across as a great actor in a part perfect for his screen personality. The theme could be called, ‘No regrets,’ but also, ‘Everything is to be regretted.’

Letter from an Unknown Woman


Olive Signature

1948 / B&W / 1:37 flat Academy / 87 min. / Street Date December 5, 2017 / available through the Olive Films website / 29.98

Starring: Joan Fontaine, Louis Jourdan, Mady Christians, Marcel Journet, Art Smith, Carol Yorke, Howard Freeman, John Good, Leo B. Pessin, Erskine Sanford, Otto Waldis, Sonja Bryden.

Cinematography: Franz Planer

Film Editor: Ted J. Kent

Original Music: Daniele Amfitheatrof

Written by Howard Koch from a story by Stefan Zweig

Produced by John Houseman

Directed by Max Ophüls

A young woman’s romantic nature goes beyond all limits, probing the nature of True Love.
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Video Essay. Under His Skin: "Raw Deal"

  • MUBI
The 26th entry in an on-going series of audiovisual essays by Cristina Álvarez López and Adrian Martin. Mubi is showing Anthony Mann's Raw Deal (1948) October 26 - November 25, 2017 in the United States as part of the double feature Anthony Mann Noirs.Few film critics intend the same thing when they invoke abstraction in cinema. For some, the reference is to the purity of abstract painting, and its extension into experimental cinema; for others, it points to those moments in otherwise narrative films (such as Michelangelo Antonioni’s) when plot and characters momentarily fall away, and textures or settings surge into the foreground. For some, abstract cinema is Stan Brakhage; for others, it’s particularly kooky action movies where nothing makes much logical sense and so “pure film” takes over. Watching the remarkable series of works forged by the collaboration of director Anthony Mann and cinematographer John Alton—including T-Men (1947), Raw Deal
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Review: Synapse Films’ Suspiria 4K Restoration is a Dazzling Work of Art

  • DailyDead
The first time I ever saw Dario Argento’s Suspiria, I was very young—somewhere between eight and ten (I’m gettin’ old, so my memories are fuzzy from time to time). Regardless of whatever exact number that age might have been, I just know I was definitely too damned young, because Suspiria shattered my budding cinematic sensibilities and screwed with my tender psyche in ways that would stick with me for my entire life. It’s a movie I’ve spent a long time loving, which means I’ve been patiently waiting for Synapse’s restoration of the landmark giallo film from one of Italy’s premier Maestros of Horror.

And after three arduous years (for Synapse, not for me, obviously), the 4K restoration version of Suspiria has finally arrived, and it is absolutely well worth the wait. Not only is watching every single frame like bearing witness to a work of art,
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1 of the Greatest Actors of the Studio Era Has His TCM Month

1 of the Greatest Actors of the Studio Era Has His TCM Month
Ronald Colman: Turner Classic Movies' Star of the Month in two major 1930s classics Updated: Turner Classic Movies' July 2017 Star of the Month is Ronald Colman, one of the finest performers of the studio era. On Thursday night, TCM presented five Colman star vehicles that should be popping up again in the not-too-distant future: A Tale of Two Cities, The Prisoner of Zenda, Kismet, Lucky Partners, and My Life with Caroline. The first two movies are among not only Colman's best, but also among Hollywood's best during its so-called Golden Age. Based on Charles Dickens' classic novel, Jack Conway's Academy Award-nominated A Tale of Two Cities (1936) is a rare Hollywood production indeed: it manages to effectively condense its sprawling source, it boasts first-rate production values, and it features a phenomenal central performance. Ah, it also shows its star without his trademark mustache – about as famous at the time as Clark Gable's. Perhaps
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Remembering Unusual Post-wwii Novel That Led to 2 Movie Adaptations: One 'Straight,' One 'Gay'

Remembering Unusual Post-wwii Novel That Led to 2 Movie Adaptations: One 'Straight,' One 'Gay'
Crime novel The Blank Wall by Elisabeth Sanxay Holding. While her husband is away during World War II, housewife Lucia Holley – the sort of “Everywoman” who looks great in a two-piece bathing suit – does whatever it takes to protect the feeling of “normality” in her bourgeois, suburban household. The Blank Wall is a classic depiction of an attempted cover-up being much more serious than the actual crime. Sound bites: Remembering the classic crime novel 'The Blank Wall' and its two movie adaptations – 'The Reckless Moment' & 'The Deep End' Crime novel writer Elisabeth Sanxay Holding (1889–1955) is not a name familiar to many, and yet Raymond Chandler described her as “the top suspense writer of them all. She doesn't pour it on and make you feel irritated. Her characters are wonderful; and she has a sort of inner calm which I find very attractive.” Holding has been identified as “The Godmother of Noir” and, more
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Cult Horror, Film Noir, and Sci-Fi Movies Tonight on TCM: Ulmer Remembered

Edgar G. Ulmer movies on TCM: 'The Black Cat' & 'Detour' Turner Classic Movies' June 2017 Star of the Month is Audrey Hepburn, but Edgar G. Ulmer is its film personality of the evening on June 6. TCM will be presenting seven Ulmer movies from the mid-1930s to the mid-1960s, including his two best-known efforts: The Black Cat (1934) and Detour (1945). The Black Cat was released shortly before the officialization of the Christian-inspired Production Code, which would castrate American filmmaking – with a few clever exceptions – for the next quarter of a century. Hence, audiences in spring 1934 were able to witness satanism in action, in addition to other bizarre happenings in an art deco mansion located in an isolated area of Hungary. Sporting a David Bowie hairdo, Boris Karloff is at his sinister best in The Black Cat (“Do you hear that, Vitus? The phone is dead. Even the phone is dead”), ailurophobic (a.
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The Scar

Director Steve Sekely’s hardboiled film noir leans heavily on the talents of star-producer Paul Henreid and camera ace John Alton — the three of them whip up the best gimmick-driven noir thriller of the late ‘forties. Strained coincidences and unlikely events mean nothing when this much talent is concentrated in one movie. It’s also a terrific show for star Joan Bennett, who expresses all the disappointment, despair and angst of a noir femme who knows she’s in for more misery.

The Scar (Hollow Triumph)


Kl Studio Classics

1948 / B&W / 1:37 flat Academy / 83 min. / Street Date April 18, 2017 / available through Kino Lorber / 29.95

Starring: Paul Henreid, Joan Bennett, Eduard Franz, Leslie Brooks, John Qualen, Mabel Paige, Herbert Rudley, George Chandler, Robert Bice, Henry Brandon, Franklyn Farnum, Thomas Browne Henry, Norma Varden, Jack Webb.

Cinematography: John Alton

Film Editor: Fred Allen

Original Music: Sol Kaplan

Written by Daniel Fuchs from a
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Beauty vs Beast: Witchy Women

Jason from Mnpp here, tackling one of my favoirte movies of all-time for this week's edition of "Beauty vs Beast" -- unless it's Halloween-time I mostly try to lean away from horror films for this series but I gotta make an exception this week, for Wednesday marks the 40th anniversary of Dario Argento's fairy-tale giallo Suspiria getting released in Italy. I love that the movie came out just in time for Valentine's Day - with its lurid reds (not to mention a character being stabbed directly in the heart) it feels tremulously appropriate for the season.

It's also a timely moment to celebrate the movie because as you might've heard A Bigger Splash and I Am Love director Luca Guadagnino is currently right this minute in the process of remaking the film, with a starry cast including Tilda Swinton and Dakota Johnson and Chloe Grace Moretz. Oh and Jessica Harper,
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Video Essay. Master of Perspective: Fritz Lang's "Scarlet Street"

  • MUBI
The eighteenth entry in an on-going series of audiovisual essays by Cristina Álvarez López and Adrian Martin. Mubi will be showing Fritz Lang's Scarlet Street (1945) from December 30, 2016 - January 28, 2017 in the United States. In Fritz Lang’s masterpiece Scarlet Street (1945) it is never simply a matter of characters seeing or not seeing something important—although that can furnish the first, basic level of the intrigue. It is also a matter of what people really understand of what they see—which, in turn, has much to do with what they, consciously or unconsciously, project onto what is before their eyes. So, while the film is full of moments where its central figure, the ‘poor sap’ Chris Cross (Edward G. Robinson), has his eyes averted, or doesn’t hear someone creeping behind his back, it also explores his willful blindness: he looks at Kitty (Joan Bennett) and sees an innocent angel where,
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It Came From The Tube: This House Possessed (1981)

What would happen if you crossed Demon Seed, Burnt Offerings, and The Legacy? You’d end up with a pretty confusing six hour horror movie I’d imagine, so scratch that. But what would happen if you took those same elements, made it a TV movie, and threw in The Hardy Boys’ Parker Stevenson for good measure? Well, then you’d be watching This House Possessed (1981), a supremely goofy, sublimely entertaining movie of the week that’s low on scares but high on smiles.

Broadcast on Friday, February 6th, 1981 as part of The ABC Friday Night Movie, This House Possessed was up against the CBS juggernaut The Dukes of Hazzard/Dallas, and NBC offered up…oh never mind. We were all watching the Dukes and the Ewings, okay? Is that what you want to hear? Fine. But I suppose there had to be some people who were repulsed at the
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Humphrey Bogart in We’Re No Angels Saturday Morning at The Hi-Pointe

We’Re No Angels (1955) plays on the big screen at St. Louis’ fabulous Hi-Pointe Theater this weekend as part of their Classic Film Series. It’s Saturday, December 3rd at 10:30am at the Hi-Pointe located at 1005 McCausland Ave., St. Louis, Mo 63117. Admission is only $5. Other Christmas films in December are It’S A Wonderful Life at 10:30am 12/10 and White Christmas at 10:30am 12/17 and Die Hard at midnight 12/23.

“We came here to rob them and that’s what we’re gonna do – beat their heads in, gouge their eyes out, slash their throats. Soon as we wash the dishes.”

Humphrey Bogart, Peter Ustinov and Aldo Ray are the motley trio of convicts who escape from Devil’s Island prison just before Christmas in the festive 1955 comedy We’Re No Angels. They look for places to steal from and stumble across a store run by kindly but bumbling Felix
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Dark Shadows: Castmembers Reuniting for Halloween and 50th Anniversary

Dark Shadows fans are getting a Halloween treat. In honor of the show's 50th anniversary, several of the original castmembers are reuniting later this month in Hollywood.Created by Dan Curtis and developed by Art Wallace in 1966, the gothic soap centered on the lives of the wealthy Collins family. Soon, the series introduced more supernatural elements, like that of Barnabas Collins (Jonathan Frid), a 175-year-old vampire who wakes up in the present day. The cast also included Joan Bennett, Louis Edmonds, Nancy Barrett, Thayer David, and John Karlen.Read More…
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Suspiria remake adds three more to its cast

Tony Sokol Oct 4, 2016

Chloe Moretz, Dakota Johnson and Tilda Swinton are all joining the remake of Dario Argento's Suspiria...

“Bad luck isn't brought by broken mirrors, but by broken minds”. And a new generation of horror fans will get their brains broken in the upcoming remake of Dario Argento’s atmospheric giallo classic Suspiria.

Frenesy Film Company and Mythology Entertainment. the companies behind the new movie, have announced that Chloe Moretz will co-star with Dakota Johnson, Tilda Swinton and Mia Goth in the upcoming thriller.

Suspiria will be directed by A Bigger Splash’s Luca Guadagnino. The screenplay is being written by David Kajganich. The film will be distributed and produced by Amazon Studios.

The original 1977 Suspiria, which was written by Argento and Dario Nicoladi, told the story of a young American ballet dancer, played by Jessica Harper, who gets accepted at a prestigious dance academy in Germany. Shortly after she enrolls,
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The Disney Renaissance’s Little Woman: Katharine Hepburn’s Imprint on Belle

  • MUBI
Few questions feel as stale as the following: Is the Disney Princess feminist? It's become profoundly boring to scavenge for an answer, so common is this refrain that arises each holiday season since Peggy Orenstein’s barnstorm of an essay. It will no doubt be a talking point upon the release of Moana later this year. The "Disney Princess" has congealed into a homogenous, lumpen unit of capitalist excess, so much that each character’s particular idiosyncrasies often become obscured in such discussions.Belle, the heroine of Kirk Wise and Gary Trousdale’s Beauty and the Beast (1991), is a headstrong bibliophile with a peripatetic mind; she spends the beginning of the film longing to be elsewhere. “There must be more than this provincial life,” she screams in the film’s opening number, which economically introduces us to the townspeople who fawn over her. Belle, voiced by Paige O’Hara, occupies
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Dark Shadows: The Horror Soap Opera Debuted 50 Years Ago

Sink your teeth into this. Fifty years ago today, ABC debuted the gothic soap opera Dark Shadows.

Created by Dan Curtis and developed by Art Wallace, the drama centered on the lives of the wealthy Collins family. Soon, the series introduced more supernatural elements, like that of Barnabas Collins (Jonathan Frid), a 175-year-old vampire who wakes up in the present day. The cast also included Joan Bennett, Louis Edmonds, Nancy Barrett, Thayer David, and John Karlen.

Read More…
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La chienne (1931)

It's the time-honored tale of the cuckolded lover, his heartless woman and 'the other guy,' told in terms that Émile Zola would endorse. Jean Renoir's first full-length talkie is a little masterpiece of social observation and indifference to sentimental niceties. Michel Simon is terrific as the clerk who has a tough time with illicit love. La chienne Blu-ray The Criterion Collection 818 1931 / B&W / 1:19 flat full frame / 96 min. / available through The Criterion Collection / Street Date June 14, 2016 / 39.95 Starring Michel Simon, Janie Marèse, Georges Flamant, Magdeleine Bérubet, Roger Gaillard. Cinematography Theodore Sparkuhl Film Editor Marguerite Renoir Written by Jean Renoir, André Mouézy-Éon from the book by Georges de la Fouchardière Produced by Pierre Braunberger, Roger Richebé Directed by Jean Renoir

Reviewed by Glenn Erickson

We American film students learned about Jean Renoir's La chienne only in the context of its remake. It's an earlier version of the book by Georges de la Fouchardière, that was also adapted for Fritz Lang's 1945 noir Scarlet Street. Renoir's film has never been readily available here in the States, an oversight now corrected with Criterion's new Blu-ray. The good news is that the French restoration of this tale of vice and virtue is beyond good -- the movie looks absolutely new. The even better news is that the movie is a revelation, the equal of Renoir's Boudu Saved from Drowning. This is the kind of movie that might suffer in a bad presentation -- the ability to soak up its atmosphere and detail makes all the difference. Yes, the title does translate as The Bitch, a straight-up vulgarism. The story parallels most of the same events of the Lang version. A puppet theater prologue tells us that story has no moral, no lesson to be learned. Company cashier clerk Maurice Legrand (Michel Simon) is a meek, henpecked husband and a Sunday painter. Maurice's wife Adèle (Magdaleine Bérubet) harangues him about her beloved first husband, to whom he'll never measure up; work colleagues make fun of the meek Maurice behind his back. Late at night Maurice meets Lucienne Pelletier (Janie Marèse), who he does not realize is the sometime-prostitute of Dédé (Georges Flamant), a vain, brutish punk who takes the money she squeezes from the men she meets and beds. He beats her for good measure, but she seems to enjoy it. Maurice has soon installed Lucienne in a love nest. He tells Adèle that he's thrown his paintings away, but instead puts them on the walls of Lucienne's apartment. She and Dédé have the mistaken impression that Maurice is rich, but he keeps her by stealing money from his wife, and eventually, the office safe. Then something unusual happens. Dédé tries to sell Maurice's paintings as the work of Lucienne, and has success. She is soon signing his paintings as a supposedly well-known American artist named Clara Wood. Critic Langelard (Alexandre Rignault of Eyes without a Face) promotes 'Clara's' art because she offers him sexual favors. Dédé makes much better money pimping Lucienne in the art world, than he did on the street. Far too naturalistic, 'earthy' and sordid for anything Hollywood might have produced in 1931, Renoir's La chienne turns a 'way of all flesh' tale into a sharp criticism of society. The milquetoast Maurice Legrand is too naïve to realize that he's being had by Lucienne, a femme fatale well versed in hooking wealthy, vulnerable clients. Lucienne herself is a romantic fool, hopelessly in love, or lust, with a man who treats her like dirt. The more abuse Dédé dishes out, she just comes back for more. When Maurice declares his desire to take Lucienne away, she laughs in his face without a shred of sympathy or basic respect. Stories like this do not have happy endings, and La chienne's main task is to imply that the art world is as big a racket as prostitution. 'Clara Wood's' paintings become big sellers because Dédé pimps Lucienne to a critic willing to praise them for sex. The art dealer and the critic collude to tout 'Clara's' paintings to new clients, one of whom we see getting quality time with the artist as well. As director Renoir was of course the son of the famous painter Auguste Renoir, it's easy to see a personal connection in the critical view of Art as a business. Renoir used live location audio, adding greatly to the film's realism. As there was not as yet any audio mixing for French films, the tracks are beautifully miked to pick up ambient sounds. We even hear the clacking of Lucienne's shoes on the cobblestoned streets. Theodor Sparkuhl's night exteriors are every bit as sophisticated as later low-key, deep focus work in '30s poetic realism and '40s film noir. The rain we see in some scenes may be real as well. The film isn't about crime and retribution, but the grand ironies of 'the oldest story,' a foolish love that leads to murder. The tale turns comic when Maurice has to deal with a man from Adèle's past, who turns up unexpectedly and then figures in the even more ironic ending. The three main characters are just terrific. Michel Simon is a very different character than his bohemian Boudu from the following year. The actor is also far thinner than we're used to seeing him, in films made just a few years later. Janie Marèse is as dangerous a female as ever hooked a man. Lucienne's unreasoning, limitless love for Dédé makes her pure poison for a defenseless fellow like Maurice. Georges Flamant also demonstrates great skill as a thorough, unrepentant louse. Comparing La chienne with Lang's Scarlet Street sets the difference between the humanist and determinist filmmakers in strong relief. Both Renoir and Lang see the events as an unstoppable consequence of human nature, but Renoir's view is much warmer. Maurice lives in a full spectrum of human interaction, even if most people take him for a fool. But he's essentially a warm and accepting person, and his one moment of violent rage is fully understandable. When all is said and done, with his life ruined, Maurice can still laugh at the absurdity of it all. Life goes on, somehow. Lang's version is a chilly noir thesis that makes its innocent hero (Edward G. Robinson) a more innocent victim, not only of Joan Bennett's cheap tart, but of his employers and society itself. His rich boss doesn't even have to hide the fancy woman he keeps on the side, whereas Robinson's wife keeps him around mainly to wash dishes. As one expects from Lang, the plot twists are sharper, wickedly ironic and cruelly merciless. Lang doesn't believe in 'live and let live'.' Haunted by what he's done, his poor hero goes insane. Life does not go on. Renoir's film has a music theme under the titles but I believe the rest of its music is organic, always with a source in the scenes. The beautifully filmed murder takes place with a ballad singer entertaining in the street. Unable to protest when his wife compares him unfavorably to her first husband, the long-lost soldier, Maurice instead sings a mocking children's song about a soldier who went to war and didn't come back. [When we screened La chienne, my wife jumped up immediately at the sound of the song. It has a nearly identical Spanish counterpart, "Mambrú Se Fue A La Guerra." Mambrú went to war, and if he comes back it'll only be at Easter and Christmas. Most likely, it'll be never. To my mind it's a great children's song because it reflects the reality of war glory. There's the Sunday Savant culture lesson for you.] The Criterion Collection's Blu-ray of La chienne is simply terrific -- it looks much better than many expensively restored American movies from this year. The producer must have kept the picture and audio masters in perfect conditions. The rich images display a modulated granularity that heavy digital processing would surely have removed. Being from 1931 the sound does carry a light surface noise. The extras explain that a few lines recorded on location are weak, but I didn't notice as I of course was reading the English subtitles. It's a welcome disc indeed. Christopher Faulkner hosts the 25-minute overview featurette. He covers the love triangle that developed among the actors during filming, and the sad fate of the film's star Janie Marèse. Faulkner places the film in Jean Renoir's career, explaining that in the 1920s the director was often adjudged a dilettante. He had to prove himself before the producers would let him do a sound feature. Here in its entirety is Renoir's short (50 minute) film On purge bébé from the same year, a talkie Renoir was obliged to film to prove he could handle sound. The title translates as Baby's Laxative -- it's a comedy from a play by George Feydeau, about a manufacturer of chamber pots whose son is constipated! Michel Simon is a visitor to the house, where Baby's parents carry on a marriage squabble suitable for a music hall farce. Playing a small supporting part is a young Fernandel. On purge bébé must have been kept in the same magic film can as the main feature, for it is fully restored and just as perfect. Jean Renoir offers one of those introductions filmed for French TV in the early '60. Much rarer is a 90-minute 1967 TV show hosted by Jacques Rivette, in which both Jean Renoir and Michel Simon reminisce about their careers and La chienne. The precise, informative insert essay is by Ginette Vincendeau; and the attractive cover art is by 'Blutch.' Criterion's disc producer is Elizabeth Pauker. On a scale of Excellent, Good, Fair, and Poor, La chienne Blu-ray rates: Movie: Excellent Video: Excellent very surprisingly so Sound: Excellent Supplements: Introduction to the film from 1961 by director Jean Renoir, New interview with Renoir scholar Christopher Faulkner, New restoration of On purge bébé (1931), Jean Renoir le patron: 'Michel Simon' a 95-minute 1967 French television program featuring a conversation between Renoir and Simon, directed by Jacques Rivette, Essay by film scholar Ginette Vincendeau. Deaf and Hearing-impaired Friendly? Yes; Subtitles: English Packaging: Keep case Reviewed: June 12, 2016 (5139chie)

Visit DVD Savant's Main Column Page Glenn Erickson answers most reader mail:

Text © Copyright 2016 Glenn Erickson
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Father of the Bride

This is one of Spencer Tracy and Elizabeth Taylor's best, written and directed by the classy MGM team of director Vincente Minnelli and writers Frances Goodrich & Albert Hackett. It inspired a decade's worth of TV family sitcoms and set the benchmark for weddings for generations. Great fun and solid sentiment without mugging or exaggeration. Father of the Bride Blu-ray Warner Archive Collection 1950 / B&W / 1:37 flat Academy / 93 min. / Street Date May 10, 2016 / available through the WBshop / 21.99 Starring Spencer Tracy, Elizabeth Taylor, Joan Bennett, Don Taylor, Billie Burke, Moroni Olsen, Melville Cooper, Leo G. Carroll, Rusty Tamblyn, Tom Irish, Frank Cady, Carleton Carpenter. Cinematography John Alton Film Editor Ferris Webster Original Music Adolph Deutsch Written by Frances Goodrich, Albert Hackett from the novel by Edward Streeter Produced by Pandro S. Berman Directed by Vincente Minnelli

Reviewed by Glenn Erickson

There's almost no point in reviewing Father of the Bride, as one doesn't need insights,
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Remembering Oscar-Winning Gwtw Art Director Menzies

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
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Golden Globes: 25 Things You Didn't Know About the Awards Ceremony

  • Moviefone
For a night known as Hollywood's most notorious open-bar gala, the Golden Globes ceremony remains shrouded in mystery.

Most viewers probably don't even know who presents it (the Hollywood Foreign Press Association), how many voting members it has (only about 90), or what qualifies them to pass judgment on movies and television. Yet movie fans and awards mavens continue to take the Globes seriously as a precursor to the Academy Awards, since some of the Globe honorees will indeed go on to win Oscars. With Ricky Gervais set to reprise his hosting duties this weekend, here are 25 things you need to know about the Globes.

1. Founded in October 1943 by eight foreign-market journalists, the Hollywood Foreign Press Association (then called the Hollywood Foreign Correspondents Association) held its first awards ceremony the following spring, as a luncheon at 20th Century Fox. Instead of trophies, the winners took home scrolls.

2. The next year, the
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Remembering Actress and Pioneering Woman Producer Delorme: Unique Actress/Woman Director Collaboration

Danièle Delorme: 'Gigi' 1949 actress and pioneering female film producer. Danièle Delorme: 'Gigi' 1949 actress was pioneering woman producer, politically minded 'femme engagée' Danièle Delorme, who died on Oct. 17, '15, at the age of 89 in Paris, is best remembered as the first actress to incarnate Colette's teenage courtesan-to-be Gigi and for playing Jean Rochefort's about-to-be-cuckolded wife in the international box office hit Pardon Mon Affaire. Yet few are aware that Delorme was featured in nearly 60 films – three of which, including Gigi, directed by France's sole major woman filmmaker of the '40s and '50s – in addition to more than 20 stage plays and a dozen television productions in a show business career spanning seven decades. Even fewer realize that Delorme was also a pioneering woman film producer, working in that capacity for more than half a century. Or that she was what in French is called a femme engagée
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