It’s always a treat when you get the opportunity to discover a good film you never heard of before. I was totally unaware of this Robert Florey directed film when I saw it pop up on TCM’s schedule. It sounded interesting, so I set up my DVR to record. It turned out to be a real nice surprise.
Released during the Christmas season of 1933, The House on 56th Street had to be one of the last few films to be come out before the enforcement of the Production Code and all its many “Thou Shall Not’s” that would follow. It’s a good thing too because the film’s entire last act would have been marred had those devil censors got their oily hands on it. Continue reading →
My parents did not go to the movies too often, though when they did they generally took me along. Sure my Mom did take me to the Disney movies of the day like Tammy and the Bachelor, Dumbo and whatever other family fare was out there during the summer, but as a family, meaning my Dad came along, it was not too often. I can remember family viewings of The Bridge on the River Kwai, The King and I and a little gem called The Joker is Wild. I was only about nine years old at the time, yet the film had a memorable impact on me. What made it so unforgettable was Frank Sinatra. We didn’t have a record player at the time but our home was always filled with music on weekend mornings with the sounds of Jerry Vale, Nat King Cole, Perry Como and a lot of Frank Sinatra. There was a radio show on WNEW-AM called The Make Believe Ballroom with D.J. William B. Williams. Williams played a lot of what he called The Great American Songbook and tops on his list was Sinatra. I bring this all up because, as far as I can remember, The Joker is Wild was the first movie I ever saw with Frank and there is a certain scene where Sinatra, as Joe E. Lewis, is badly beaten up by some mobsters. This all happens off screen but you see the aftermath which resulted in a scarred face, a cut tongue and an amazed little kid in the theater. Continue reading →
Ozzie Nelson goes bonkers in Nick Ray’s drug induced destruction of a “perfect” 1950′s American family. James Mason is a well liked, though a self confessed, straight laced “dull” person, that is until he is diagnosed with a rare disease and the only known cure is the then new miracle drug cortisone. When he begins to abuse the medication, Ozzie, I mean Ed Avery, turns into an egotistical know it all, spitting out strange child rearing theories at a PTA meeting. At home, he brow beats his son, withholding meals until his homework is done correctly. From there his delusions only get worst, until one day, he pronounces God was wrong when he spared Isaac. Ed is even willing to surrender his family in a biblical sacrifice. In “Bigger Than Life,” Nick Ray tears down the walls of the phony 1950′s facade of white picket fences and elegant worry free suburban living. He also takes a hard look at the abuses of prescription drug use long before it was ever considered a problem. Continue reading →
I love old movie theaters. Ever since I began to have an interest in still photography I have been photographing theaters. It began in New York City back in the 1970’s. Back then, the theaters I photographed were not considered old, or classic. At the time, they were just the theaters where you went to see the latest new releases. Over the years, whenever I travel, I have always remained on the lookout for old theaters wherever I go. Theaters that have managed to survive the wrong arm of society’s law; old needs to be replaced. When we, my wife and I, moved to the Tamps Bay area in the late 1990’s we discovered the Tampa Theater. It’s a 1927 movie palace that was, and still is, actively showing current independent films, classic films as well as live shows. The building fortunately has been declared a landmark, so we should be able to enjoy its pleasures for years to come. In early 2008, we went to see “The Diving Bell and the Butterfly.” An art film, the Tampa Theater was the only place in town showing it at the time. On this particular occasion I took my camera and a tri-pod with the intent to photograph not only the outside, but the theater inside. I asked permission and management was gracious enough to allow me to shoot a few photos as long as I was not shooting during the showing of the film. Anyway, I took a series of shots both outside and in, some of which are shown here. Continue reading →
She’ll never win any “Best Mother of the Year” awards but Anjelica Huston as Lily Dillon in Stephen Frears THE GRIFTERS, based on Jim Thompson’s pulp fiction classic, gives a superb performance as one of the nastiest Mom’s on screen. After a scam gone wrong and her son Roy (John Cusack) gets beat up badly, she tells the ambulance medic “He’s gonna be alright ain’t he? If not, I’m going to kill you.” Yet, she has no problem stealing her boy’s money at the same time. Ah, motherly love.
With a screenplay by Donald Westlake, THE GRIFTERS is a great neo-noir and makes for an terrific alternative Mother’s Day flick.
Though written by Dudley Nichols, Rawhide is no Stagecoach. Still, the film is interesting despite the fact it never manages to rise above the norm. The setting is a stagecoach relay station in the middle of nowhere. Tyrone Power is Tom Owens, the son of the station’s owner, who has come west to take over the family business with old timer Sam Todd (Edgar Buchanan) teaching him the ropes. When the stage pulls in one day, among the passengers on board are Vinnie Holt (Susan Hayward) and her very young niece. Soon after, a Calvary patrol stops by warning everyone that four men have recently broken out of the state prison and are in the area. Due to the potential danger, and company regulations, the stage driver refuses to take Vinnie and the child any further. They are forced to remain at the relay station which turns out to be more of a danger than had she been allowed to continue on her journey with the stage. Continue reading →
The 1970’s were not a good time for romantic comedy, that is, until 1977 when Woody Allen, who had been making films since 1966 (What’s Up, Tiger Lily), released a little film called Annie Hall. Woody had been directing and writing films throughout the decade. They started off episodic and even visually sloppy; however, they all had one thing in common, they were funny. But with each film Woody’s visual style improved, he kept getting better and better. Then in 1977 came a giant leap. Continue reading →