Abbott and Costello never received the critical respect they deserved in the comedy world; they were considered too low-brow. Yet, for me back when I was in Junior High School, The Abbott and Costello Show, a mainstay on New York City’s WPIX-TV channel 11, along with The Honeymooners, was must-see TV. It’s lost in my own little file cabinet of mental history how many times I watched those episodes. I do know my mother never understood the repeated viewings as she would ask over and over again, “haven’t you seen this already?” Yes, was my answer, they’re funny. She would walk away shaking her head. Continue reading
For me, the 1950’s can be considered as one of the best decades in film. With films like Sunset Blvd, From Here to Eternity, North by Northwest, Strangers on a Train, All About Eve, Rear Window (Hitchcock again!), On the Waterfront, Touch of Evil, High Noon, and so many others how could it not be? However, with the introduction of television in more and more American homes during this decade comedy seemed to have hit a bump in the road. There were not as many comedies, and they generally were not as funny as in the past. Of course, there were exceptions, Some Like it Hot is one of the greatest sound comedies. One thing that you will notice is that some of the films on the list are musical comedies. A style that at this point in time, television still could not emulate.
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 package that 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
Storm Warning is not a perfect film, however, more than 60 years after its release, it still has the power and social significance to resonate with us today. Ronald Reagan reveals shades of the politician he would become later, and both Ginger Rogers and Doris Day in her first dramatic role, are admirable in the roles of sisters caught in a doomed triangle. Continue reading
In a 1993 interview with The New York Times, Martin Scorsese talks about the influence Murder by Contract had on the then teenager. “It’s an example of an American B-movie that is 100 times better than the film it played with on a double bill.” He then went on to explain, “The film it was playing with when I saw it was ‘The Journey,’ by Anatole Litvak, with Yul Brynner. That film had nice color, but when ‘Murder by Contract’ came on the screen, it was surprising and lean and purposeful, and not like anything my friends and I had seen. Afterward, we talked about it on the street for days. When I saw it again years later, I was overwhelmed by the severity of the style, which was dictated by the budget.” Scorsese later said in the interview how he put a clip from the film in ‘Mean Streets, ‘ but he had to remove it out of the final cut of the film because it was too long. Continue reading
One of the earliest films depicting Wyatt Earp, Doc Holiday and the gunfight at the OK Corral was a 1932 work called Law and Order. While the character’s names were changed, the film told the tale, fictitious as it was, of the infamous Tombstone shootout. Since the making of that film there have been numerous others detailing, correctly or incorrectly, generally more the latter, the story of the battle between the Earp Brothers and the Clanton’s’ at the OK Corral. In 1939, there was Frontier Marshal with Randolph Scott as Earp and Cesar Romero as Doc Holiday. According to Jon Tuska in his 1976 tomb on the Western film (The Filming of the West), it was this script that was given to John Ford and was used as the basis for his My Darling Clementine. Continue reading
Nicholas Ray’s films were filled with anti-heroes. Characters who were disillusioned with life. Outsiders in a system they could not or would not fit into or accept. Protagonist Dix Steele fits the mole perfectly. For Humphrey Bogart, playing Dix, was a stretch. This was not the typical Bogart character we were used to seeing. Whether on the right or wrong side of the law, Bogart’s characters were generally calm, cool and in control (The Maltese Falcon, Casablanca). As Dix, we are watching the flip side. A man who is always on edge: cynical, moody and ready to explode at the slightest moment. As a screenwriter, like Joe Gillis in Sunset Blvd., he knew where on the Hollywood pecking order he stood…way down at the bottom. He despised the Hollywood machine, considering most in the industry hacks or as he says, “popcorn salesmen.” Continue reading