TCM's Pride Month Series Continues with Movies Somehow Connected to Lgbt Talent

Turner Classic Movies continues with its Gay Hollywood presentations tonight and tomorrow morning, June 8–9. Seven movies will be shown about, featuring, directed, or produced by the following: Cole Porter, Lorenz Hart, Farley Granger, John Dall, Edmund Goulding, W. Somerset Maughan, Clifton Webb, Montgomery Clift, Raymond Burr, Charles Walters, DeWitt Bodeen, and Harriet Parsons. (One assumes that it's a mere coincidence that gay rumor subjects Cary Grant and Tyrone Power are also featured.) Night and Day (1946), which could also be considered part of TCM's homage to birthday girl Alexis Smith, who would have turned 96 today, is a Cole Porter biopic starring Cary Grant as a posh, heterosexualized version of Porter. As the warning goes, any similaries to real-life people and/or events found in Night and Day are a mere coincidence. The same goes for Words and Music (1948), a highly fictionalized version of the Richard Rodgers-Lorenz Hart musical partnership.
See full article at Alt Film Guide »

TCM Remembers Lovely and Talented Brunette of Studio Era

Frances Dee movies: From 'An American Tragedy' to 'Four Faces West' Frances Dee began her film career at the dawn of the sound era, going from extra to leading lady within a matter of months. Her rapid ascencion came about thanks to Maurice Chevalier, who got her as his romantic interested in Ludwig Berger's 1930 romantic comedy Playboy of Paris. Despite her dark(-haired) good looks and pleasant personality, Dee's Hollywood career never quite progressed to major – or even moderate – stardom. But she was to remain a busy leading lady for about 15 years. Tonight, Turner Classic Movies is showing seven Frances Dee films, ranging from heavy dramas to Westerns. Unfortunately missing is one of Dee's most curious efforts, the raunchy pre-Coder Blood Money, which possibly features her most unusual – and most effective – performance. Having said that, William A. Wellman's Love Is a Racket is a worthwhile subsitute, though the
See full article at Alt Film Guide »

We Got an Answer to the Girls Finale Question No One Was Asking

We Got an Answer to the Girls Finale Question No One Was Asking
Sunday’s Girls finale tied up some key loose ends concerning Hannah and her new miniature male sidekick. But we did have one crucial question regarding her newborn son that the farewell didn’t answer: What’s little Grover’s middle name?

Related Girls Finale Recap: So, Did Hannah Finally Grow Up? Grade the Episode!

Ok, so maybe it’s not “crucial,” in any sense of the word. But it was bugging us, so we reached out to star/creator Lena Dunham (via HBO) to see if such an answer even exists. And we quickly learned that it does. Even
See full article at »

Rushes. Orson Welles on Netflix, Malick Speaks, Michael Mann on "Heat" & "Collateral," Classic Takedowns

  • MUBI
Get in touch to send in cinephile news and discoveriesNEWSJohn Huston, Orson Welles and Peter Bogdanovich on the set of The Other Side of the WindWe're still holding our breath, but it looks like we may all get to see Orson Welles' beleaguered film project The Other Side of the Wind, to be released in some fashion by Netflix.The Tribeca Film Festival, running April 17 - 30, has announced its full lineup. Robert Osborne, Turner Classic Movies host and defacto representative in the United States for the appreciation of older films, has died at the age of 84. With his passing, the number of venerable, welcoming advocates for classic cinema is dropping precariously low.Recommended VIEWINGThe proof is the pudding: Director Terrence Malick actually participated in a public, recorded conversation! He was at SXSW to promote his new film, Austin-set Song to Song, and took place in a discussion with Richard Linklater
See full article at MUBI »

Urban Hymn | 2015 Tiff Review

  • ioncinema
Can a Song Save Your Life?: Caton-Jones’ Modest Return to Filmmaking

Scottish film director Michael Caton-Jones had a very prolific filmography in the 1990s thanks to films like Memphis Belle (1990), Rob Roy (1995), and The Jackal (1997). It’s been nearly a decade since he’s tackled a feature film, following the dismally received Basic Instinct 2 in 2006. He’s returned to the UK for Urban Hymn, a modest character study set against the 2011 North London riots. Emotionally effective and featuring a trio of genuinely unfussy performances, the familiar trajectory too often settles for superficial examinations of its characters, hobbling them of the necessary interiority to make them more than one-dimensional archetypes. Despite this, those appreciative of feel-good narratives should take note considering the effortless dynamic of its leading actors.

Jamie (Laetitia Wright) and Leanne (Isabelle Laughland) are two disenfranchised young women in their late teens, orphans with violent histories
See full article at ioncinema »

Oscar Winner Went All the Way from Wyler to Coppola in Film Career Spanning Half a Century

Teresa Wright and Matt Damon in 'The Rainmaker' Teresa Wright: From Marlon Brando to Matt Damon (See preceding post: "Teresa Wright vs. Samuel Goldwyn: Nasty Falling Out.") "I'd rather have luck than brains!" Teresa Wright was quoted as saying in the early 1950s. That's understandable, considering her post-Samuel Goldwyn choice of movie roles, some of which may have seemed promising on paper.[1] Wright was Marlon Brando's first Hollywood leading lady, but that didn't help her to bounce back following the very public spat with her former boss. After all, The Men was released before Elia Kazan's film version of A Streetcar Named Desire turned Brando into a major international star. Chances are that good film offers were scarce. After Wright's brief 1950 comeback, for the third time in less than a decade she would be gone from the big screen for more than a year.
See full article at Alt Film Guide »

Join The Academy on Sept 9th for Young Frankenstein 40th Anniversary Screening

The Academy of Motion Picture Arts and Sciences will present a 40th anniversary screening of “Young Frankenstein” with special guests Mel Brooks, Cloris Leachman, Teri Garr and executive producer Michael Gruskoff on Tuesday, September 9, at 7:30 p.m. at the Academy’s Samuel Goldwyn Theater in Beverly Hills. Film historian Leonard Maltin will introduce the comedy classic and host a live onstage discussion with Brooks, Leachman, Garr and Gruskoff.

Young Frankenstein,” Brooks’s 1974 homage to the Golden Age of monster movies, features a large ensemble cast including Leachman, Garr, Gene Wilder, Peter Boyle, Marty Feldman, Madeline Kahn, Kenneth Mars and Gene Hackman. It earned Oscar® nominations for Adapted Screenplay (Wilder, Brooks) and Sound (Richard Portman, Gene Cantamessa).

Additional Academy events coming up in September at the Bing Theater in Los Angeles are listed below, with details at

“Let There Be Fright: William Castle Scare Classics”

See full article at »

‘Machinal’ Theater Review: Rebecca Hall Wins by Losing It in Her Broadway Debut

  • The Wrap
If Theodore Dreiser had been a woman and that woman wrote the novel “An American Tragedy” as a play, you’d have Sophie Treadwell’s 1928 drama, “Machinal.” Or something very much like it. “Machinal,” which opened Thursday in a Roundabout Theater revival at the American Airlines Theater, is receiving its first Broadway revival. The original 1928 production is notable for providing a very young Clark Gable with his Broadway debut. This 2014 staging is notable for giving Rebecca Hall her stunning Broadway debut and proving that “Machinal” is an arresting and not some old chestnut that deserves to be cracked open only.
See full article at The Wrap »

Mindy Newell: 60

  • Comicmix
Yes, this past Thursday I hit the big 6-0. Yeah, yeah, I know a woman isn’t supposed to reveal her age, but just who the hell would I be fooling? Not my family. Nor any of my friends. Not even those who read my comics back in the 80s and 90s and care to do a little homework and math – Iirc, the New Talent Showcase issues included bios by all the tyros whose work appeared in that book. Mine lists my birthday. And as long as I talking about that bio, for the record I was not particularly inspired by Star Wars or – with absolutely no disrespect intended, and I’m not saying I don’t love their work – to George Lucas, Steven Spielberg, Gerry Conway, or Doug Moench. This is how I remember it happened.

Joey Cavalieri (who wrote the bios) asking me who my favorite writers were.
See full article at Comicmix »

Cannes Film Review: ‘The Immigrant’

Cannes Film Review: ‘The Immigrant’
Cementing himself as the great classicist of his generation, James Gray turns back the clock to 1921 in “The Immigrant,” a romantic tale that cuts to the very soul of the American experience. This rich, beautifully rendered film boasts an arrestingly soulful performance from Marion Cotillard as a Polish nurse-turned-prostitute for whom the symbolic promise of Ellis Island presents only hardship. Her travails unfold at a pace that will frustrate today’s attention-deficit audiences, limiting this Weinstein Co. acquisition’s popular prospects. Give it 20 years, however, and “The Immigrant” is sure to hold up far better than its modish competition, an ambitious yet imperfect cinematic classic with the heft and heart of great literature.

From the American canon, novels like Theodore Dreiser’s “Sister Carrie” offer charitable accounts of the lures and snares big-city life posed on single working women of the early 20th century. Such influences suggest a radical shift
See full article at Variety - Film News »

A Place in the Sun – review

George Stevens's meticulously observed 1951 version of Theodore Dreiser's massive 1925 novel An American Tragedy is back in cinemas to accompany the BFI South Bank's retrospective of Montgomery Clift, who plays the small-town social climber opposite Elizabeth Taylor as the beguiling upper-class object of his ascent. Clift competed with his close friend Marlon Brando for the title of finest actor of his postwar generation, and he chose to work with the best directors around (Hawks, Stevens, Zinnemann, Huston, Wyler, Hitchcock, Mankiewicz), invariably playing outsiders in conflict with their surroundings, looking for a home, a dream, a place in the sun but never finding it. He died in 1966 at the age of 45, destroyed by alcohol, drugs, a terrible car accident and guilt over his homosexuality. Clift's sensitive face and eyes revealed his inner torment, and his best performance, perhaps, was as the tormented peacetime soldier in From Here to Eternity, one
See full article at The Guardian - Film News »

A Place in the Sun – review

Every second of this noir masterpiece is gripping, and the chemistry between Montgomery Clift and Elizabeth Taylor is utterly thrilling

Noir suspense merges with romantic tragedy in this stunning 1951 movie adapted from the Theodore Dreiser novel. It features two of the most beautiful people in movie history, Montgomery Clift and Elizabeth Taylor. They are almost like reflections of each other; when they kiss, something incestuous and thrillingly forbidden throbs out of the screen. Clift plays George Eastman, a poor but personable young man who lands a job in his wealthy uncle's business. He begins dating Alice (Shelley Winters), who works on the factory floor, but then falls madly in love with Angela Vickers (Taylor), a beautiful socialite who is part of his uncle's smart set. His connections and luck encourage George to believe in his destiny, and that old encumbrances must be shrugged off. Clift perfectly shows how bewildered, earnest,
See full article at The Guardian - Film News »

Film Review: 'A Place in the Sun' (BFI rerelease)

  • CineVue
★★★★★ Remembered primarily for its passionate love story, the consensus over the years has been that 1951's A Place in the Sun toned down the social commentary of Theodore Dreiser's American Tragedy, focusing instead on the central relationship. Watching the film over 60 years since its initial theatrical release, it would appear that accepted critical wisdom has undersold this astonishing picture. While the romance is indeed achingly beautiful and played out with remarkable maturity, A Place in the Sun's searing indictment of the American Dream, tinged with both anger and regret, makes it one of the best films to come out of 50s Hollywood.

Read more »
See full article at CineVue »

Giveaway - Win tickets to the Montgomery Clift season at BFI Southbank

Throughout February, BFI Southbank is presenting a season of films starring American actor Montgomery Clift, including such classics as A Place in the Sun, From Here to Eternity, I Confess, The Misfits and Red River, and to celebrate we're offering three readers the chance to win a pair of tickets to a film of their choosing.

Charismatic and insightful, Montgomery Clift bought a potent sensitivity to his portrayals which make him the most modern of Hollywood legends. He shared the screen with Katherine Hepburn, Marlon Brando and Elizabeth Taylor; was directed by John Huston, Alfred Hitchcock and Vittoria De Sica; and brought to life the writings of Tennessee Williams, Theodore Dreiser and Arthur Miller. A troubled psyche and tragic personal life shortened his career, yet there’s still much to celebrate.

Along with the aforementioned films, the season also includes Freud, The Heiress, Raintree County, The Search, Suddenly, Last Summer,
See full article at Flickeringmyth »

Already Famous | Review

  • ioncinema
Kind of a Big Deal: Michelle Chong’s Choppy Directorial Effort Skirts By on Charm

The multi-talented Michelle Chong, a notable Singaporean host and television actress, dons screenwriter, director, and lead actress hats for her debut, Already Famous, an ironically titled character study about going against the odds to pursue your dreams. Chong, who’s already famous in her native country due to her presence in comedy shows like “The Noose,” and “Black Rose,” makes for a likeable and wholly watchable screen presence, so it’s unfortunate that the bloated pacing, generic storyline and cloyingly repetitive soundtrack hamper her natural charm and charisma. Distracting flourishes aside, this dreams-do-come-true story is as overworked as it’s ever been, not to mention stupendously unrealistic, as it was even by the time of Theodore Dreiser’s 1900 novel, Sister Carrie. Yet there’s an engaging mechanism at the center of her film, and there
See full article at ioncinema »

The Master – a masterclass in film

The Master confirms Paul Thomas Anderson as the only American film-maker of his generation who could be mistaken for a junior member of Hollywood's golden age

Hollywood's prestige season is upon us and, despite a parade of heavy hitters, including Steven Spielberg's Lincoln and the Wachowski-Tykwer adaptation of David Mitchell's Cloud Atlas, no potential Oscar winner is more ambitious – or more likely to provoke discussion regarding its meaning and intent – than Paul Thomas Anderson's sixth feature, The Master.

Anderson's subtly disorienting, deeply engrossing study of the symbiotic relationship between charismatic cult leader Lancaster Dodd, magnificently played by Philip Seymour Hoffman, and his disturbed follower Freddie Quell, indelibly embodied by Joaquin Phoenix, is a panoramic chamber drama. Punctuated by persistent close-ups, it's an extended two-shot epic in its sweep.

The first production to avail itself of the great clarity afforded by 65mm in the 16 years since Kenneth Branagh's Hamlet,
See full article at The Guardian - Film News »

‘Mad Men,’ A Conversation (Season 5, Episode 4, ‘Mystery Date’)

‘Mad Men,’ A Conversation (Season 5, Episode 4, ‘Mystery Date’)
AMC Scene from “Mad Men.”

Editor’s note: Every Sunday after the newest episode of “Mad Men,” lawyer and Supreme Court advocate Walter Dellinger will host an online dialogue about the show. The participants include Columbia University history professor Alan Brinkley, Stanford Law Professor Pam Karlan, and Columbia theater and television professor Evangeline Morphos. Dellinger will post his thoughts shortly after each episode ends at 11 p.m., and the others will add their commentary in the hours and days that follow.
See full article at Speakeasy/Wall Street Journal »

Chloë Grace Moretz in Carrie Remake?

Asa Butterfield, Chloë Grace Moretz, Hugo Chloë Grace Moretz, has been formally invited to play the shy-but-don't-mess-with-her high-school student in Kimberly Peirce's Carrie for MGM / Screen Gems according to Moretz, last seen opposite Asa Butterfield in Martin Scorsese's Best Picture Oscar nominee Hugo, is also known for playing Aaron Johnson's sidekick in Kick-Ass and the girl vampire in Matt Reeves' Let Me In. She turned 15 last Feb. 10. Based on Stephen King's 1974 bestselling horror novel, Carrie was first made into a movie in 1976. Adapted by Lawrence D. Cohen and directed by Brian De Palma, the sleeper hit about a homely teenager with deadly telekinetic powers helped to propel Sissy Spacek to movie stardom and resurrected the career of former 1950s Universal player Piper Laurie, both of whom were nominated for Academy Awards. (Both Spacek and Laurie lost to actresses featured in Sidney Lumet's
See full article at Alt Film Guide »

Sundance 2012. Lauren Greenfield's "The Queen of Versailles"

  • MUBI
Lauren Greenfield's The Queen of Versailles, which opened Sundance's Us Documentary Competition on Thursday "is like a Theodore Dreiser novel for our time, infused with the vivid, vulgar spirit of reality TV," writes Salon's Andrew O'Hehir. "It often had the sold-out Eccles Center howling, but also has elements of profound tragedy and allegory."

Kenneth Turan sets up the tale of David and Jackie Siegel in the Los Angeles Times: "Jackie was the 43-year-old former beauty queen with an engineering background; David was her 74-year-old husband, father of her seven children and the founder, president and chief executive of Westgate Resorts, at the time the largest privately owned time-share entity in the world. And then there was the House. Not the 26,000-square-foot Florida house they currently lived in. Oh, no. This was a new residence, modeled on Versailles, a 90,000-square-foot mega-mansion with 10 kitchens, 30-plus baths and a closet so big
See full article at MUBI »

Interviews: Actresses Millie Perkins, Diane Baker of ‘The Diary of Anne Frank’

Chicago – The year was 1959, and the film was “The Diary of Anne Frank,” based on the 1955 Pulitzer Prize winning stage play, which in turn was adapted from the famous diaries of a young girl hiding from Nazi occupiers in WWII Holland. Two actresses, Millie Perkins (Anne) and Diane Baker (her sister Margot), made their movie debuts in this renowned film.

The director of “The Diary of Anne Frank,” the celebrated George Stevens, led a nationwide search for the lead teenage actress to portray Anne, after Audrey Hepburn, Natalie Wood and Susan Strasberg (Anne in the original play) passed on the role. The film won Academy Awards for Best Supporting Actress (Shelley Winters), Best Art Direction and Best Cinematography, and was also nominated for Best Picture and Best Director.

Millie Perkins and Diane Baker were participating in the “Hollywood Celebrities and Memorabilia Show” in September when they talked to
See full article at »
An error has occured. Please try again.

See also

Credited With | External Sites