5 items from 2017
“Am I decent?” They said that Ginger Rogers gave Fred Astaire sex appeal, but the teaming of Astaire and Rita Hayworth is something else. Columbia’s 1941 release is a weak service comedy until the dancing starts, at which point it becomes one of the better musicals of the year – and the breakout vehicle for Ms. Hayworth.
You’ll Never Get Rich
1941 / B&W/ 1:37 flat full frame / 89 min. / Street Date April 18, 2017 / Available from the Twilight Time Movies Store 29.95
Cinematography: Philip Tannura
Art Direction: Lionel Banks
Film Editor: Otto Meyer
Original Music: Cole Porter
Produced by Samuel Bischoff
Produced and Directed by Sidney Lanfield
Freed from his Rko contract in 1939, Fred Astaire never signed another long-term deal. He instead jumped from studio to »
- Glenn Erickson
Robert Keeling Apr 25, 2017
Saluting the movie characters who make an impression, the minute they appear on the screen...
One thing that unites all of cinema’s most iconic characters is that they were able to make a memorable first impression. Whether it’s bursting onto the scene in a flurry of noise or slowly skulking their way into shot, there’s a fine art to ensuring a character makes an instant impact on screen. An iconic entrance is not just about a momentary impact however, it can also emphasise a character’s importance and help to cement their influence over the rest of the movie.
There are any number of contributory factors that can be blended together in order to make an entrance truly memorable. These include the accompanying music, the choice of camera shot, the »
Get in touch to send in cinephile news and discoveriesNEWSMichael Ballhaus (second from right) on the set of Martin Scorsese's The DepartedMichael Ballhaus, the great German cinematographer whose innovative work connects Rainer Werner Fassbinder to Martin Scorsese, has died at the age of 81.Goodness, could it be true, The Lost City of Z director James Gray and Brad Pitt finally teaming up? And for a sci-fi? Indeed: the film, titled Ad Astra, will be shooting this summer.Recommended VIEWINGKathryn Bigelow has been attached to several projects following the success and controversy of Zero Dark Thirty, and now we have a first look at her next feature, Detroit, set during 1967 riots in the city. It will be in cinemas this summer.The teaser trailer for Joachim Trier's Thelma, possibly headed to premiere at the Cannes Film Festival. We spoke to Trier about his English language debut, Louder Than Bombs, »
With the new release of Mildred Pierce, the Criterion Collection appears to be solidifying a trend over the past couple years of providing a showcase for some of the greatest female actors from Hollywood’s Golden Age. Since late 2014, stars like Claudette Colbert (It Happened One Night, The Palm Beach Story), Rita Hayworth (Gilda, Only Angels Have Wings) and Rosalind Russell (His Girl Friday) have made their first appearances in the Collection, in what can be considered career-defining roles. These additions seem to be addressing a notable blind spot for Criterion. As impressive as their reach has been in bringing many of the most iconic women from the past hundred years of world cinema to the forefront, the continuing absence of silver screen legends like Bette Davis, Olivia de Havilland, Greta Garbo and Elizabeth Taylor, just to name a few, seems like a lingering oversight, a problem yet to be »
- David Blakeslee
In Scenic Routes, Mike D’Angelo looks at key scenes, explaining how they work and what they mean.
In the real world, making an entrance is something that you have limited control over. The people you’re hoping to wow may not be where you expected them to be; even worse, they may not see what you wanted them to see. In a movie, however, a director can painstakingly craft our initial view of a character, creating the precise impression that he or she desires. Often, this involves strategically hiding the actor at first, the better to whet our appetites. One option is simple, sustained absence—let others talk the character up for a while, then engineer an abrupt, striking introduction. (Rita Hayworth hair-tossing her way into the frame in Gilda qualifies; so does the moment in The Third Man when a beam of light cast from a window across »
- Mike D'Angelo
5 items from 2017
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