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3 items from 2014


Movie Poster of the Week: Ernst Lubitsch’s “Broken Lullaby” and Other Auteurs Gone Wild

21 March 2014 6:18 PM, PDT | MUBI | See recent MUBI news »

Above: Swedish one sheet by Gösta Åberg for Broken Lullaby (Ernst Lubitsch, USA, 1932).

This rather unusual Swedish design, a mélange of various type and illustrative styles, is a poster for one of Ernst Lubitsch’s lesser known and most atypical films: Broken Lullaby (a.k.a. The Man I Killed). A dark film about a French soldier tormented by the memory of a German soldier—and fellow musician—whom he killed in Wwi, it screens this weekend and next in New York at Anthology Film Archives as part of "Auteurs Gone Wild," a tantalizing series programmed by Notebook contributor David Phelps.

The series includes nine refreshingly less-than-obvious works—all on 35mm—by such canonical figures as Hitchcock, Chaplin, Cukor, Capra, Lang and Von Sternberg. Phelps has chosen to shine a light on these authors’ least representative films: films that have been overlooked because they don’t fit the mold, because »

- Adrian Curry

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Program Notes Gone Wild

20 March 2014 11:36 PM, PDT | MUBI | See recent MUBI news »

A 9-film series of not-quite-classics (on 35mm), "Auteurs Gone Wild" runs at Anthology Film Archives from March 20-30, 2014; what follows are the director's cut of the program notes (with production stills of the auteurs themselves, mid-wild)—

***

If the Hollywood auteurs were the ghosts in the studio machine, what would they look like exorcised? Rather than author, the word "auteur" might have referred to a kind of rhetorician working within genre codes that, once decoded, would only reveal his own commentary on them. But what would happen if this auteur cleared his throat, managed a sip of water, and tried speaking in his own tongue? Typically, the critics who had authored the auteur as a placeholder and retroactive justification for their own generic interpretations would have to snub such attempts to break out of genre molds to go strange, personal places. For the irony is that these works, kind of laboratory »

- David Phelps

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‘The Dark Corner’, while fun, contends with a mixed bag of qualities

7 March 2014 12:00 PM, PST | SoundOnSight | See recent SoundOnSight news »

Dark Corner

Written by Bernard C. Schoenfeld and Jay Dratler

Directed by Henry Hathaway

USA, 1946

Bradford Galt (Mark Stevens) is a private investigator with a modest office in Manhattan. His only help is in the shape of his trusty and charismatic receptionist Kathleen (Lucille Ball). One evening after a day’s work, Brad convinces Kathleen to spend the evening with him, not too difficult a feat given that she fancies her employer. When perusing the games at a carnival, it comes to their attention that a tough-looking man dressed in a shiny white suit (William Bendix) is tailing them. One thing leads to another (including an attempt on Brad’s life) until the private dick gets his tail to fess up his employer. It turns out Brad’s former partner and now lawyer Tony Jardine (Kurt Kreuger) is keeping tabs on him. What neither Brad nor Tony know, however, is »

- Edgar Chaput

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3 items from 2014


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