Along with Martin Scorsese, Roman Polanski, Brian DePalma, Arthur Penn, Francis Ford Coppola, John Frankenhiemer and Woody Allen, Sidney Lumet was one of the filmmakers from the period roughly beginning in the late 1950’s through the late 1970’s that shaped and formed my love of cinema. With the imminent demise of the studio system, that period was a significant turning point in American film. Overblown, over budgeted Hollywood productions and television would help end the Hollywood Studios stranglehold. A new order was on the horizon as were a new legion of filmmakers and Sidney Lumet was right in the mix. Continue reading
When Jimi Hendrix arrived back in the states from England, he along with his new backup musicians, Noel Redding and Mitch Mitchell, came back as rock stars. In Britain, The Jimi Hendrix Experience recorded a series of singles including, Hey Joe and Purple Haze. In 1967, the Experience came to America and really hit it big at the Monterey Pop Festival with Hendrix famously setting his guitar on fire. After the festival, the band went on tour with the headlining teen pop group, The Monkees, which Hendrix nicknamed, the Plastic Beatles. It was an odd pairing to say the least. The crowds were mostly fans of The Monkees, young teenybopper girls and their mothers. The site of the psychedelic rock threesome with their wild clothes, permed hair and hard rock music must have shocked the mothers in the audience out of this house dresses. They must of thought the group ranked to the left of obscene. Continue reading
Tab Hunter Confidential is an insightful and personal look at a man who despite the Hollywood system managed to find a path to inner peace and happiness. His honestly and sense of self come clearly through. The film is also an excellent look at the Hollywood system’s inner workings into the making of a star and the secrets that are buried. We learn how he was groomed for stardom as the clean cut, boy next door type. His face appeared on the cover of hundreds and hundreds of fan magazines. He dated beautiful starlets including Natalie Wood. He appeared in hit films and recorded number one charting records. Yet, Tab Hunter was not real. Continue reading
Photographer Bill Cunningham admits he is no artist. He is neither a commercial photographer like Bert Stern nor a documentarian such as Dorothea Lange. But what he does, he does well. Cunningham is a well-known photographer in the world of fashion but don’t pin that label him either. That’s not what he does. He emphatically says so himself. He says this though he has worked for Vogue, the original Details and currently works for The New York Times. Continue reading
Tomorrow night on the PBS American Masters series at 9PM (check local listing for exact time and date in your area), the premiere of a full length feature documentary on photographer Dorothea Lange. According to press releases “Dorothea Lange: Grab a Hunk of Lightening” will feature “newly discovered interviews and vérité scenes with Lange from her Bay Area home studio, circa 1962-1965, including work on her unprecedented, one-woman career retrospective at New York’s Museum of Modern Art (MoMA.” The film is produced, written and directed by Emmy award winning Dyanna Taylor, the granddaughter of Lange and her second husband Paul Schuster Taylor. Continue reading
Ever since the birth of Rock and Roll, behind the scenes there have always been the shooters, the camera guys with the long lens photographing the musical gods in action. From its earliest days, when William “Red” Robertson captured a young sensuous, gyrating Elvis Presley on a Tampa stage in 1955, to today’s photographers shooting our musical idols on stage and behind the scenes, rock and roll photographers have provided us with the moments we remember long after the show is over. In some cases, those behind the lens have become famous themselves like Bob Gruen, Lynn Goldsmith, Jim Marshall and Robert M. Knight. Continue reading
The first film I ever saw of William Castle’s was “13 Ghosts” back in 1960 at a local theater in Brooklyn called The Culver. Audience members were given viewers containing both a red filter and a blue filter that you would look through depending on if you wanted to see the ghosts or not after being prompted to do so by the movie. While it worked, the entire idea was not exactly state of the art special effects, even for 1960. But it was fun and “Spine Tingler: The William Castle Story” is even more fun and filled with memories, interviews and plenty of footage from Castle’s classic “B” filmography. For younger viewers and the uninitiated, terms like “Illusion-O,” “Percepto” and “Emergo” will be new but don’t worry it’s all engagingly explained.
Those familiar with only Castle’s horror films may be surprised to discover his earlier films and his association with Orson Welles. He was a second unit director for “The Lady from Shanghai.” Castle had purchased the screen rights to “If I Should Die Before I Wake” by Sherwood King, the source novel the film was based on, and asked Welles to pitch the story to Harry Cohn of Columbia with the idea Castle himself would direct. It didn’t work out that way though with Cohn deciding to go with Welles directing. Continue reading