5 items from 2012
Directed by Joseph H. Lewis
An argument can be made that almost every movie made is, in some fashion or another, about obsession. Individuals are always obsessing over some things, namely their top interests. However stimulating and healthy some might be, several others carry the potential to be downright vile. The 1950, Joseph H. Lewis directed Gun Crazy, as the title suggests, is very clearly about an obsession, unsubtly so in fact. Loving guns might, might, make one a police officer, or a guard, or a marine, or any field in which guns are, let us say, put to good use, sort of. Being so fascinated with fire arms is a double-edged sword, mind you. The tool’s predominant utility is to kill, after all. With such dire consequences linked with the weapon, »
- Edgar Chaput
A master of suspense, Hitchcock delights in toying with his audience, repelling and luring his viewers into the scene of a crime – and nowhere more audaciously than in Rope
Rope isn't Hitchcock's best film, but it's one of his most audacious. With this movie, the master of suspense turns a nail-biting setpiece into a full-length feature, and shows us the ugly flipside of the violent thrillers that made his name. Murder in the movies is usually more about motive than consequence. The bad guys have it coming, and killers are much more interesting before they start repenting their crimes. But Rope rejects that formula by taking inspiration from a real-life murder, a particularly cold-hearted one, and rubbernecking on its aftermath.
- Pamela Hutchinson
Farley Granger "didn't fear the homoerotic subtext of either of the films he did for Hitchcock," writes Farran Nehme in the run-up to the For the Love of Film III Blogathon. "Mind you, in his autobiography Granger says he spent years disappointing critics and interviewers when asked about discussions with Hitchcock about just what was going on between Rope's two main characters: 'What discussions? It was 1948.' That didn't mean, though, that Granger himself and co-star John Dall were clueless." And as for Strangers on a Train (1951): "Given a role of ambiguous morality, he increases the questions about the character, rather than trying to emphasize the good-Guy qualities."
Charles Lyons for Filmmaker on Annette Insdorf's Philip Kaufman: "The first book-length assessment of Kaufman's oeuvre, which will reach 14 films when Hemingway and Gellhorn premieres on HBO in May [it also screens Out of Competition at Cannes], Philip Kaufman is a shrewd and very readable study. »
Some of you may know that I'm, erm, protective when it comes to Anthony Perkins, the single most gorgeous-and-fragile-and-complex-and-intelligent star of the past hundred (thousand) years. But guess what? Hollywood understands my fearsome love, because it officially cast W.E.'s James D'Arcy, a total Perkins doppelganger with the same brooding vulnerability, as the man himself in Alfred Hitchcock and the Making of Psycho, an adaptation of Stephen Rebello's juicy behind-the-scenes look at The Master of Suspense's most famous film. Not to brag, but I called D'Arcy's resemblance to Perkins way back in August. He's Perkins + a soupcon of Patrick Wilson. Sold.
As previously announced, Hitchcock will be played by Anthony Hopkins, his wife Alma by Helen Mirren, and the cool Janet Leigh by Scarlett Johansson. I'm down with Hopkins and Mirren, but the Johansson casting strikes me as a bit off. This leads me to today's topic: Which »
Passes Now on Sale Now for Four-Day Festival,
Coming to Hollywood April 12-15, 2012
Liza Minnelli, Joel Grey, Debbie Reynolds and “Baby Peggy” Diana Serra Cary, along with film noir leading ladies Peggy Cummins, Rhonda Fleming and Marsha Hunt are the latest stars scheduled to appear at the 2012 TCM Classic Film Festival.
Also announced today, the festival will feature the North American premiere of a new 75th anniversary restoration of Jean Renoir’s powerful Pow drama Grand Illusion (1937), widely regarded as one of the greatest films ever made. And the Mont Alto Motion Picture Orchestra will provide a live musical accompaniment for a screening of the silent Douglas Fairbanks fantasy-adventure The Thief of Bagdad (1924).
Minnelli and Grey are slated to join TCM’s own Robert Osborne to kick off the four-day, star-studded event with a gala opening-night world premiere screening of the 40th anniversary restoration Cabaret (1971), the film for which the »
- Michelle McCue
5 items from 2012
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