Some time back I wrote a post about Celluloid Comfort Food and one of the five films I mentioned was My Favorite Brunette. It’s always been a go-to film whether I was in some sort of funk or did not feel like watching anything new; I pretty much know the film by heart. Continue reading →
Motherhood can be a joyous thing; the miracle of birth, a child the result of a bond between two people. Watching the child grow and discover life can be heartwarming and reaffirming. Then again, the idea of a live organism, another person growing inside you, just might be a bit unsettling and disturbing as you watch your body change, and who knows what the child will be like. He/she could turn out to be a bright, upstanding member of the community. Then again, your little precious could turn out be another Al Capone or Jeffrey Dahmer or even worse.
Many films have focused on the dark side of motherhood: Psycho, Mildred Pierce, Mommie Dearest and most recently the current movie Tully. There are plenty of other films with motherhood gone wrong. Angela Lansbury in The Manchurian Candidateis one of the best bad mothers. On the other side of the fence are mothers who love too much; they are self-sacrificing and end up with a daughter like Veda in Mildred Pierce.
In the opening scenes of Seven Days in May we find picketers from both sides demonstrating outside the White House. Tempers are high. A riot breaks out, and the police come in attempting to break up what has turned into a free for all. Those divisive times were more than fifty years ago. It’s amazing how times have not changed. Today it is no different, tolerance and respect are in short supply. For many of us, emotions are driven by fear. We live in a period where Americans fear foreigners, terrorists, North Korea, Iran, Nuclear war and more. Fear drives irrational behavior. Continue reading →
As a photographer, I found this film more interesting than it arguably deserves to be. The photography studio, the darkroom, the Rolleiflex camera that Lila Crane’s mentor gives her as a gift is all nicely detailed. As part Columbia’s Bad Girls of Film Noir, the film’s inclusion in volume two is questionable. The first thing to point out this is not a film noir. Columbia’s long arm of credibility was at work including this in the box set. And compared to Night Editor, another film in the packagethat stars Janis Carter as one of the most evil femme fatale’s to ever grace the screen, making Lila Crane look like miss goody two shoes. Continue reading →
Brad Anderson’s new film, Beirut has been receiving mixed reviews. Some critics are calling it not accurate. That said, it remains one of the more intelligent and adult films released so far this year which means it will lose money and die a quick death at the box office. With no Marvel superheroes or bottom-feeder level comedy, the film has little to attract the majority of today’s audience. Continue reading →
The new HBO documentary, Elvis The Searcher, sets itself apart from so many other takes we have seen on the man. True, it is was authorized by the Presley estate, Priscilla Presley is one of the producers, and they do tread lightly on his “legal” drug use, and there is no mention of other women. That all said, the film takes a mostly honest look, a discourse, at Presley’s life and his place in the history of popular culture. Since his sad final years, his death and his afterlife, Elvis has become something of a laughing stock, known more for being a fat, pathetic, over the hill, jumpsuit wearing laughing point than the pop culture subversive artist he was. The documentary attempts to correct this by putting Elvis, his talent, his revolutionary influence back in its proper perspective. It’s also, intentionally or not, a look at the sad failure of the American Dream. Continue reading →
The 1930’s brought sound movies to the forefront. Along with it came the fast talking world of screwball comedies, the best of the Marx Brothers and much more. It was hard to limit this list to just ten. But that is the name of the game. The great film critic Andrew Sarris once described “screwball comedy as a sex comedy without the sex.”