7 items from 2017
By Todd Garbarini
Mark Robson’s 1957 film Peyton Place celebrates its 60th anniversary with a special screening at the Royal Theatre in Los Angeles. The film, which runs 157 minutes, stars Lana Turner, Lee Philips, Lloyd Nolan, Arthur Kennedy, Russ Tamblyn, Terry More, and Hope Lange.
Please Note: Actress Terry Moore is currently scheduled to appear at the screening as part of a Q & A regarding the film and her career.
From the press release:
Part of our Anniversary Classics series. For details, visit: laemmle.com/ac.
Peyton Place (1957)
60th Anniversary Screening
Wednesday, July 12, at 7:00 Pm at the Royal Theatre
Q & A with Co-Star Terry Moore
Laemmle Theatres and the Anniversary Classics Series present a 60th anniversary screening of 'Peyton Place,' the smash hit movie version of Grace Metalious’s best-selling novel. The film earned nine top Academy Award nominations, including Best Picture, Best Director, and Best Adapted Screenplay. »
- email@example.com (Cinema Retro)
Born on December 17,1923, C.O. ‘Doc’ Erickson was living in Las Vegas when he died from heart complications, according to The Gersh Agency.
Erickson began his career at Paramount Pictures, serving as production manager on five Alfred Hitchcock films during the mid-to-late 1950s, including Rear Window, To Catch A Thief, The Trouble With Harry, The Man Who Knew Too Much and Vertigo.
He went on to serve as production manager on Joseph L Mankiewicz’s There Was A Crooked Man and also spent three years supervising film production for Brut Productions.
Other producer-production credits include 55 Days At Peking, [link »
Longtime motion picture producer and executive C.O. “Doc” Erickson, who worked on Alfred Hitchcock’s movies along with “Chinatown,” “Blade Runner,” and “Groundhog Day,” died Wednesday in Las Vegas due to heart complications. He was 93.
He began his career at Paramount Pictures, serving as production manager on five Hitchcock films: “Rear Window” (1954), “To Catch a Thief” (1955), “The Trouble with Harry” (1955), “The Man Who Knew Too Much” (1956), and “Vertigo” (1958).
He left Paramount to become John Huston’s associate producer on “The Misfits” (1961), “Freud” (1962), and “Reflections in a Golden Eye” (1967). He was production manager on Joseph L. Mankiewicz’s “There Was a Crooked Man…” (1970).
Celebrities Who Died in 2017
Erickson spent three years supervising film production for Brut Productions and later became associated with Robert Evans on “Chinatown” (1974), “Players” (1979), “Urban Cowboy” (1980), and “Popeye” (1980). Other producer/production credits include “55 Days at Peking” (1963), “Magic” (1978), “Blade Runner” (1982), “Nicholas and Alexandra” (1971), “Fast Times at Ridgemont High” (1982), “The Lonely Guy” (1984), “Stuart Saves His Family” (1995), and »
- Dave McNary
C.O. “Doc” Erickson, a production manager on several Alfred Hitchcock and John Huston films who went on to produce such films as Chinatown, Blade Runner, Fast Times at Ridgemont High and Groundhog Day, died Wednesday in Las Vegas of heart complications. He was 93. Born December 17, 1923 in Kankakee, Il, Erickson began his career at Paramount Pictures, serving as production manager on Hitchcock’s 1950s films Rear Window, To Catch a Thief, The Trouble with Harry, The Man Who… »
Get in touch to send in cinephile news and discoveries. For daily updates follow us @NotebookMUBI.NEWSBlind DetectiveThe San Francisco Museum of Modern Art will hosting what we believe—and correct us if we'r wrong—is the first significant retrospective in the United States of the great Hong Kong genre director Johnnie To.Recommended VIEWINGFor one more day only Gabe Klinger's Double Play: James Benning and Richard Linklater, a 2013 documentary about two directors on different ends of American independent cinema, will be available to watch for free on Vimeo.A lovely collaboration between Thai auteur Apichatpong Weerasethakul (Uncle Boonmee Who Can Recall His Past Lives) and Japanese composer (and sometimes actor) Ryuichi Sakamoto on the video for a track on his new album, async. Related: the director and composer are holding a short film competition stemming from the album. Critics Christopher Small and James Corning have lately been contributing excellent video essays to the Notebook on such directors as William Friedkin, John Carpenter, and Ernst Lubitsch. For Fandor, they've made another excellent directorial dive, in this case into the contradictory cinema of Hollywood comedy director Leo McCarey.Kirsten Dunst and Elle Fanning shoot "Girls Gone Wild 1863" behind the scenes of Sofia Coppola's The Beguiled. Warning: risqué ankle footage!Recommended Reading
The new issues of Cahiers du cinéma (out now) and Cinema Scope (coming soon) both focus on the just-completely Cannes Film Festival and have Robert Pattinson in the Safdie brothers' Good Time on the cover. Cahiers editor Stéphane Delorme has written a scathing, and to our eyes accurate, assessment of the festival, which we're reading in (please excuse us) adapted Google translation:The program of the Official is truly a program, in the programmatic sense: it has encouraged a certain type of hateful, hollow and pretentious cinema which is becoming sadly the cinema of our time.... In this context, two small wonders emerged: Good Time by the Safdies and The Day After by Hong Sang-soo... Dumont, Garrel, Claire Denis, everyone would have deserved the Palme. Authors in an insolent form that are renewed (musical comedy, sex, comedy) and who still know what it means to stage, edit, plan.This week the great American actress Gina Rowlands celebrated her 85th birthday, and Sheila O'Malley has written an excellent article on her and some of her key performances for RogerEbert.com:Rowlands' work has a way of creating anxiety in viewers. The boundary line between character and actress is obliterated; or, it was never there in the first place. Her work is so unlike what we see from most other actresses (even very good ones) that it's unnerving to watch.Alfred Hitchcock on the set of RopeAmerican Cinematographer has republished an essential 1967 interview with "The Cameraman's Director," Alfred Hitchcock:Q: Do you feel that lighting is perhaps the most important single element in the creation of cinematic mood?
A: Motion picture mood is often thought of as almost exclusively a matter of lighting, dark lighting. It isn’t. Mood is apprehension. That’s what you’ve got in that crop-duster scene. In other words, as I said years and years ago, I prefer “murder by the babbling brook.” you’ve got some of that in The Trouble With Harry. Where did I lay the dead body? Among the most beautiful colors I could find. Autumn in Vermont. Went up there and waited for the leaves to turn. We did it in counterpoint. I wanted to take a nasty taste away by making the setting beautiful. I have sometimes been accused of building a film around an effect, but in my sort of film you often have to do that if you want to get something other than the cliche.We think it's safe to say that Twin Peaks: The Return, despite being 7 episodes and nearly as many hours in, remains a mystery. We're hosting on-going and in-depth recaps of the episodes as they premiere, and at Filmmaker magazine Michael Sicinski has proposed five ideas about David Lynch and Mark Frost's new...thing:This transfer of violent energy is connected to the Black Lodge [...] but more significantly it is related to the program before us. Lynch is warning us that Twin Peaks is not background TV, and that in certain respects it is dangerous stuff. Sorry, young lovers. You need to watch that glass box carefully, because you’re strapping in for the long haul.EXTRASSome jaw-dropping analysis by Jean-Luc Godard on the relationship between film and television, courtesy of critic Max Nelson.From the Filmadrid festival, a meeting of two great figures in the film world: scholar Laura Mulvey and filmmaker Jonas Mekas.Confirming the sense of humor of Robert Bresson (he who put Chaplin's The Gold Rush and City Lights as his favorite films) is this photo of the perhaps the greatest of all filmmakers riding the donkey that appeared in his masterpiece Au hazard Balthazar. »
The book was raw & dirty, and did you read what that girl did with that guy on page 167? Racking up a stack of Oscar nominations, Peyton Place became one of the big hits of its year, launched the careers of several young actors, and proved that Hollywood could pasteurize most any so-called un-filmable book. Lana Turner is the nominal star but the leading actress is Diane Varsi, in her film debut.
1957 / Color / 2:35 widescreen / 157 min. / Street Date March 14, 2017 / Available from the Twilight Time Movies Store 29.95
Cinematography William Mellor
Film Editor David Bretherton
Original Music Franz Waxman
Produced by Jerry Wald
Directed by Mark Robson
What’s this, »
- Glenn Erickson
Article by Jim Batts, Dana Jung, and Tom Stockman
Alfred Hitchcock’s Vertigo screens at St. Louis’ fabulous Hi-Pointe Theater this weekend as part of their Classic Film Series. It’s Saturday, March 11th at 10:30am at the Hi-Pointe located at 1005 McCausland Ave., St. Louis, Mo 63117. The film will be introduced by Harry Hamm, movie reviewer for Kmox. Admission is only $5
This gives us a perfect excuse to re-run this top ten list so here, according to We Are Movie Geeks, are Alfred Hitchcock’s ten best films:
Frenzy, Hitchcock’s next to last feature film from 1972, represented a homecoming of sorts since it was the first film completely shot in his native England since his silents and early ” talkies ” in the 1930’s. By dipping into the then somewhat new territory of serial killers, he took full advantage of the new cinema freedoms and truly earned his ‘ R ‘ MPAA rating. »
- Tom Stockman
7 items from 2017
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