17 items from 2014
Director Robert Fuest’s grisly black comedy is a sumptuously produced bit of pulp hokum as well as a gruesomely satiric salute to the career of its star, Vincent Price. Our genial anti-hero plays Anton Phibes, a crazed physician seeking revenge on the doctors who (he believes) allowed his wife to die in the aftermath of a car accident. This 1971 film is a riff on 1949’s like-minded "Kind Hearts and Coronets" in which a number of eccentric characters are gleefully extinguished in the most garish manner possible. The picturesque supporting cast of victims includes Joseph Cotten, Terry-Thomas and Hugh Griffith. »
- Trailers From Hell
Director Robert Fuest’s grisly black comedy is a sumptuously produced bit of pulp hokum as well as a gruesomely satiric salute to the career of its star, Vincent Price. Our genial anti-hero plays Anton Phibes, a crazed physician seeking revenge on the doctors who (he believes) allowed his wife to die in the aftermath of a car accident. This 1974 film is a riff on 1949’s like-minded Kind Hearts and Coronets in which a number of eccentric characters are gleefully extinguished in the most garish manner possible. The picturesque supporting cast of victims includes Joseph Cotten, Terry-Thomas and Hugh Griffith.
The post The Abominable Dr. Phibes appeared first on Trailers From Hell.
- TFH Team
Orson Welles wrote, directed and co-starred in “Touch of Evil” in 1958, at the end of what might be considered film noir’s golden era. It was right at the end of Welles’ golden era, too. He had been packing on the pounds by this point in his career, and was also drinking too much. In fact, the most exercise he got in the whole decade was a three-minute-twenty-second tracking shot.
Welles’ massive girth in “Touch of Evil” is actually more the result of padding and makeup than actual weight gain, but it wouldn’t be long before he’d be doing his own stunts. As spokesman for Paul Masson wines a decade or so later, he didn’t need the help of the makeup department to look like a guy who could put an all-you-can-eat buffet out of business.
Break out the Paul Masson for a “Cheers” to the lineup! »
- Randy Fuller
Reading about a rare film “find” is one thing: seeing it is another. The National Film Preservation Foundation is now streaming the long-lost Orson Welles Mercury Theatre footage of Too Much Johnson. Shot in New York City in 1938, it was part of Welles’ high-concept revival of an 1894 play featuring a young Joseph Cotten and other Mercury actors. This footage has intrigued Welles buffs for years, but it was said to have been lost in a house fire decades ago. Imagine how exciting it must have been to discover 10 reels of the original work print last year in a warehouse in Pordenone, Italy! Film scholars owe a debt of thanks to the Cineteca del Friuli and Cinemazero, which took...
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- Leonard Maltin
Richard Lester’s directing career has had a rather tortured epilogue. His last completed film was the dreadful, unloved Return of The Musketeers (1989), during the making of which his long-time friend and troupe-member Roy Kinnear died after a freak accident. To add insult to injury, the Comic-Con crowd has been burning Lester in effigy ever since Richard Donner’s cut of Superman II was released in 2006. Donner had been fired as director of the 1980 sequel half way through filming and Lester was hired to finish the job. Since the release of the Donner cut, expressing a preference for the original, jokier version is rather like suggesting that Cesar Romero was a better Joker than Heath Ledger.
I do wonder sometimes whether the fanboys realise what an important, highly influential and iconoclastic director they’re dismissing when they’re kicking sand into Lester’s face. Martin Scorsese would certainly correct them (sternly, »
- Cai Ross
Continuing our series in which writers reveal the movie stars and characters they emulate, Martin Pengelly attempts to persuade us why Moore's determination to look on the bright or ridiculous side makes him an existential hero for our times
Rowan Righelato: why I'd like to be Robert De Niro
Xan Brooks: why I'd like to be Joseph Cotten
Continue reading »
- Martin Pengelly
Palais des Festivals at the 2013 Cannes Film FestivalPhoto: RopeofSilicon.com The 2014 Cannes Film Festival begins in just two days and since I won't be able to attend this year I still wanted to do something Cannes-related. I started looking back over the years of the festival, which is celebrating its 67th edition this year. I considered going back and reviewing 15-16 films from a specific year in the past, but I thought of it too late. I then started looking over the history of past winners, and while I realize I haven't seen even half of the Cannes Film Festival winners I thought it would be fun to take a look at a list of the top ten I had seen, assuming readers could add their thoughts in the comments, suggesting some titles I have not yet seen or those you believe belong in the top ten. As we all know, »
- Brad Brevet
1. The term "gaslight." The Ingrid Bergman thriller "Gaslight" -- released 70 years ago this week, on May 4, 1944, wasn't the original use of the title. There was Patrick Hamilton's 1938 play "Gas Light," retitled "Angel Street" when it came to Broadway a couple years later. And there was a British film version in 1939, starring Anton Walbrook (later the cruel impresario in "The Red Shoes") and Diana Wynyard.
Still, the glossy 1944 MGM version remains the best-known telling of the tale, with the title an apparent reference to the flickering Victorian lamps that are part of Gregory's (Charles Boyer) scheme to make wife Paula (Bergman) think she's seeing things that aren't there, thus deliberately undermining her sanity in order to have her institutionalized so that he'll be free to ransack the ancestral home to find the missing family jewels.
This version of Hamilton's tale was so popular that it made the word "gaslight"into a verb, »
- Gary Susman
Michael Cimino's Heaven's Gate remains one of the biggest box office bombs of all time but has become more and more recognized as an achievement by many film fans and critics over the 34 years since it was released. The movie even garnered a Criterion edition which is not typically granted to bad movies. Featuring a sprawling cast that includes Kris Kristofferson, Christopher Walken, Isabelle Huppert, Jeff Bridges, John Hurt, Sam Waterston, Brad Dourif, Joseph Cotten, Geoffrey »
- Alex Maidy
By Mark Pinkert
* * *
In the first episode of “Talking Movies,” The Hollywood Reporter lead awards analyst, Scott Feinberg, joins us to discuss Carol Reed’s noir classic, The Third Man (1949), starring Joseph Cotten and Orson Welles. Why is this a must-see noir film? Does it fit neatly into genre archetypes? How does this film deal with the aftermath of World War II and how did the war influence other films at the time? Listen to these topics and many more in Episode 1 of “Talking Movies.”
~ “Talking Movies” is a podcast series covering classic films from the 20th century. Our first guest co-host is Scott Feinberg, the lead awards analyst for The Hollywood Reporter and the founder/editor-in-chief of ScottFeinberg.com.
Listen to the podcast…
- Mark Pinkert
As we spend a month looking at the great Stanley Kubrick, we can also look at the filmmakers who were clearly influenced by Kubrick. “Kubrickian” films tend to exercise incredible control of the camera, are extremely ambitious, tend to deal with much weightier themes, and always maintain a sense of mystery, like a there’s an invisible fog always hovering over the film. This list could be sharply focused on about five directors working today but, though a number of these filmmakers appear in this list of 40, we’re spreading the wealth a bit. Let’s get to it.
40. Watchmen (2009)
Directed by Zack Snyder
What makes it Kubrickian? It’s surprisingly cold and detail-oriented, unlike most of Zack Snyder’s other work (well, detail-oriented in a positive way). Watchmen is based on the acclaimed graphic novel of the same name by David Gibbons and Alan Moore, about a desolate alternative »
- Joshua Gaul
Directed by Alfred Hitchcock
As if his British films weren’t evidence enough of his talent, Alfred Hitchcock made quite the impression when he came to Hollywood in 1940. His first picture in the states, Rebecca, was nominated for Best Picture at the 1941 Academy Awards. So was his second, Foreign Correspondent, also released in 1940. While Rebecca would ultimately win, many – then and now – consider the achievement as belonging more to producer David O. Selznick than to the director. This is not without some justification. Though Rebecca bears more than a few notably Hitchcockian touches, between the two features, Foreign Correspondent looks and feels more appropriately like Hitchcock’s previous and later works. The Criterion Collection, recently very kind to Hitchcock on Blu-ray, now gives this latter feature a suitably well-rounded treatment, with a documentary on the film’s visual effects, an »
- Jeremy Carr
Criterion adds another illustrious Alfred Hitchcock title to the collection this month with Foreign Correspondent, which followed hot on the heels of Rebecca in 1940, the beginning of the director’s American period. Though not a perfect film, it does register as one of his most unfairly overlooked films, even as it shows various signs of outside tampering as a film belonging very much to the period in which it was made. Though suffering from the effect of too many cooks in the writing kitchen, it’s a title as filled with plot twists as it is wit, as well as Hitchcock’s signature elaborate set pieces.
Opening with a dedication to the bravery of those foreign correspondents and others that risk their lives in war time, we enter into the realm of a Us newsroom where frustration is running high at the lack of actual coverage worthy news filtering in from the correspondents. »
- Nicholas Bell
Alfred Hitchcock's Foreign Correspondent is exactly the kind of film that benefits from a Criterion Collection release. I don't consider this to be one of Hitch's "best", but at the same time it's got the elements that make his films fascinating, and, most importantly, entertaining. And Criterion always does a great job bringing a focus to some of Hitchcock's less discussed gems. Add to that, Foreign Correspondent carries an additional weight as a result of its place in history as a propaganda film, emphasized most in Joel McCrea's speech at the end of the film amid the bombing of London, warning those back in the U.S. just what exactly Germany was up to. The scene was added after filming had already wrapped, just over a month before the film would actually hit theaters. Following Rebecca, Foreign Correspondent was Hitchcock's second American feature. Both would be nominated for »
- Brad Brevet
Cinema history has a few great double-up years: 12-month periods in which a classic filmmaker had not one but two great films. Mel Brooks may be the most notorious, releasing two of the best comedies of all time in 1974 (“Blazing Saddles” & “Young Frankenstein”) and Steven Spielberg has arguably done it a few times, inarguably in 1993 (“Jurassic Park” & “Schindler’s List”) and he would double-up again in 2002 (“Minority Report” & “Catch Me If You Can”) and 2011 (“Tintin” & “War Horse”).
One of the most-often forgotten double-up years was Alfred Hitchcock’s first year as an American filmmaker — 1940, which saw the premiere of “Rebecca” in April and “Foreign Correspondent” in August. The former has been a Criterion inductee for years and the latter joins the most important club in Blu-ray/DVD history this week in a finely-transferred and wonderfully accompanied release.
“Rebecca” has the higher historical pedigree, largely because it’s less dry »
- firstname.lastname@example.org (Adam Fendelman)
Happy birthday to the glamorous Kim Novak, who is 81 today. It’s impossible to think of Novak without remembering her shock blonde super-coif in Vertigo (not to mention the way she werrrrrked Edith Head‘s form-sucking pencil skirts), and thus, it’s impossible to think of Novak without remembering the great female roles in Hitchcock movies. Here are my picks for the 10 best.
This is sort of a gonzo first pick, but give it up: The Lady Vanishes rules and Dame May Whitty, with all her grandmotherly charms, is just a subversive ol’ hoot as the bad-ass spy who sets up the intrigue of the story. This is the kind of role Margaret Rutherford would win an Oscar for. You underestimate the depth of how much she kicks ass.
Is it wild? Oh, yes. Is it sometimes a little embarrassing? »
- Louis Virtel
Robert Osborne is used to interviewing screen legends, but now he knows how it feels to sit in the other chair.
As Turner Classic Movies begins its 20th-anniversary year, its principal host -- who was an actor before he became a Hollywood columnist and historian -- recounts how his career began and progressed in a new "Private Screenings" special at 8 p.m. Et/5 Pt Monday (Jan. 6). Alec Baldwin, who hosted the Saturday-night TCM film series "The Essentials" with Osborne from 2009 to 2011, asks the questions.
"It never occurred to me," the ever-genial Osborne tells Zap2it of becoming a "Private Screenings" guest. "Way back, Dwayne Hickman [the former star of TV's 'The Many Loves of Dobie Gillis'] said, 'You know, you come into everybody's living room every night, and they don't know you. They like you, but they don't know much about you. Sometime, you should do a documentary about yourself.'
"I think that was even before we had a 'Private Screenings' franchise, »
17 items from 2014
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