8 items from 2014
Is there a more enduring image in American movies of youthful idealism giving the finger to “plastic” adult conformity than the final moments of “The Graduate?” And yet, as the wedding usurper Benjamin Braddock (Dustin Hoffman) and his runaway bride Elaine (Katharine Ross) make their victory run from a Santa Barbara cathedral on to a passing city bus, an air of uncertainty still clouds the proceedings, as elation gives way to reality, and the beaming smiles on both characters’ faces drop back into puzzled, where-do-we-go-from-here stares.
That wonderfully jaundiced sense of life’s triumphs sitting on a knife’s edge of tragedy, and of the lies we willingly tell ourselves, ran through so much of Mike Nichols’ work that it was tempting to think it was a natural consequence of having been born Jewish in pre-War Nazi Germany, fleeing to the U.S. (without speaking English) at age 7, and somehow »
- Scott Foundas
Famed director Mike Nichols passed away yesterday at the age of 83. One of the few artists to have earned Oscar, Tony, Emmy and Grammy accolades, Nichols will be remembered by Turner Classic Movies (TCM) with a three-film tribute on Dec. 6, featuring Who’s Afraid of Virginia Woolf? (1966), The Graduate (1967) and Carnal Knowledge (1971). TCM Remembers Mike Nichols — Saturday, Dec. 6 (All Times Et) 8pm: Who’s Afraid of Virginia Woolf? – starring Elizabeth Taylor, Richard Burton, Sandy Dennis and George Segal 10:30pm: The Graduate – starring Dustin Hoffman, Anne Bancroft, Katharine Ross, Murray Hamilton, William Daniels and … Continue reading →
The post TCM to remember Mike Nichols with film tribute appeared first on Channel Guide Magazine. »
- Jeff Pfeiffer
When city couple Walter and Joanna move to a peaceful New England backwater, they discover that the women cater to their husbands' every need without question. It's almost like they're made to order or something... Butch and Sundance writer William Goldman delivers a strong adaptation of Ira Levin's chilling bestseller, with Katharine Ross and Paula Prentiss starring alongside director Bryan Forbes' own wife, former washing-up icon Nanette Newman. »
James Garner movies on TCM: ‘Grand Prix,’ ‘Victor Victoria’ among highlights (photo: James Garner ca. 1960) James Garner, whose film and television career spanned more than five decades, died of "natural causes" at age 86 on July 19, 2014, in the Los Angeles suburb of Brentwood. On Monday, July 28, Turner Classic Movies will present an all-day marathon of James Garner movies (see below) as a tribute to the Oscar-nominated star of Murphy’s Romance and Emmy-winning star of the television series The Rockford Files. Among the highlights in TCM’s James Garner film lineup is John Frankenheimer’s Monaco-set Grand Prix (1966), an all-star, race-car drama featuring Garner as a Formula One driver who has an affair with the wife (Jessica Walter) of his former teammate (Brian Bedford). Among the other Grand Prix drivers facing their own personal issues are Yves Montand and Antonio Sabato, while Akira Kurosawa’s (male) muse Toshiro Mifune plays a »
- Andre Soares
Here’s how rough Hollywood can be on older women: In the new comedy Tammy, Susan Sarandon is cast as Melissa McCarthy’s grandmother, despite the fact that only 24 years separate them in age. This isn’t the first time an actress has seemed way too young to sire her screen kin (in one classic case, Anne Bancroft was only eight years older than her The Graduate screen-daughter Katharine Ross), and it’s not even the most egregious example in Tammy, where McCarthy also cast the 11-years-older Allison Janney as her mother. This sort of thing happens all the time to actresses — once they reach a certain age, it's like they're filed away in a folder simply marked "old" — and it’s a problem their male counterparts rarely have to contend with. To prove it, we’ve rounded up some recent examples of age-inappropriate casting, then imagined what would happen »
- Kyle Buchanan
Cinema has a habit of putting us through a bout of emotional turbulence dependent on genre: quite understandably, horror films scare whilst comedy films make you laugh (if the film is successful in their intentions, mind). But every so often, there is one element which rears its head, regardless of genre, that is best deployed in the final scene… ambiguity. Capable of both blindsiding an audience or simply confusing them, opting to shroud a film’s climax with a cloak of uncertainty is a brave filmmaking decision, and one that can break everything that has come before it.
Below, I count through six examples of how an ambiguous final scene can prove an undoubted success, opening the ending up to countless interpretations that will be mulled over forever more.
And hey – be careful out there…
Let’s kick off with The Graduate (1967)
- Jacob Stolworthy
Well, we’ve finally reached the summit: the 10 most definitive romantic comedies of all time. Unlike the other sections of this list, there is not a movie here that approaches “bad.” As always, some are better than others, despite the order. But one thing is for sure: if you plan to have a rom-com binge-a-thon soon, this is where you start, no questions asked. In fact, after reading this, you should go do that and report back.
courtesy of reverseshot.com
10. Some Like It Hot (1959)
What’s funnier than men dressing in drag? Depends on who you ask. It’s Billy Wilder again with a fictional story of two musicians – Joe (Tony Curtis) and Jerry (Jack Lemmon) – who witness the St. Valentine’s Day massacre in Chicago and leave town. But, since the mob has ties everywhere, they need to disguise themselves as best they can: as women in an »
- Joshua Gaul
'If I'm wrong, I'm insane. If I'm right, it's worse': in conspiracy films – from Rosemary's Baby to State of Play – solving the crime does not bring peace. Michael Newton investigates a rich cinematic genre
Some believe that JFK was shot by his driver, some that Bobby Kennedy was killed by one of his guards; some believe the world is ruled by a Yale fraternity, some by lizard-aliens in disguise; some believe that Obama is a Communist mole; some that, back in 1966, Paul McCartney died. These notions are, at best, deluded; but as potential pitches for an as yet unmade Hollywood movie, they might just secure the contract. For, in movies, you can believe that the moon shots were faked, or that men are replacing their wives with compliant robots, or that space shuttles are firing earthquake-inducing weapons, or that the world itself is a delusion – and in each case you could be proved right. »
- Michael Newton
8 items from 2014
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