The Victors has had a long history. Released in 1963, it was quickly pulled and edited, then released back out to the public. Since then the film has been hard to find and when it has been available, there have been multiple edited versions. It’s been a film I have been wanting to see for many years. Recently, a local cable station showed the film on Memorial Day (I wrote this a few months ago and never published it) giving me the chance. Which version I have no idea, but it did not disappoint. 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
Brian De Palma admittedly has been tapping into Alfred Hitchcock since his earliest works going back as far as Murder a la Mod in 1968. However, many other filmmakers have drawn inspiration from or just plain copied the master of suspense over the years including Henri-Georges Clouzot (Diabolique), Jonathan Demme (Last Embrace), Francois Truffaut (Mississippi Mermaid), David Fincher (Panic Room), D.J. Caruso (Disturbia) and Woody Allen (Match Point) just to name a few. It’s difficult to make a suspense film without leaning at least a bit on the master. De Palma’s second foray into Hitchcock’s world came in 1973 with Sisters. After a series of low budget independent films: the previously mentioned Murder a la Mod, The Wedding Party, Greetings and Hi Mom! De Palma signed up with Warner Brothers to make the social satire, Get to Know You Rabbit. Creatively and financially it was a dud. Continue reading
Long before video became the standard home format for movies taken by family of loved ones, friends, and maybe even of some gory accidents you happen to come across that may make it on the local news, there were 8mm home movies. One of my uncles was the first in the family to have an 8mm camera which he purchased around the time of the birth of their first child and my cousin. We lived near each other and subsequently I made it on to the grainy screen in quite a few of the 50 foot reels. While most of the movies were dedicated to family there were a couple of minutes of celluloid my uncle shot that had nothing to do with family. This was way back in the 1950’s and they were dismantling the 3rd Avenue El, the last of the above ground subways to run in Manhattan. My uncle shot some footage and its amazing footage to watch of a New York City now long gone. 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
The pounding beat of Billy Haley’s Rock Around the Clock as the screen darkens got teens of the day up and dancing in the aisles. Theater owners in various cities throughout the country were nervous. Some theaters shut off the sound system during those opening credits fearing teens would quickly get out of control. Censors, parents groups, religious groups and law enforcement all had their say in speaking out against the film. One censor in Memphis, called the film, “the vilest picture I have ever seen in twenty six years as a censor.” Rock Around the Clock was original released in mid-1954 by Haley as a B-side to the song Thirteen Women (And the Only Man in Town). It was not until director Richard Brooks wanted the song for the film’s opening and closing credits that it rocked to the top of the charts selling more than two million copies. Rock Around the Clock was not the first rock and roll record, nor was it the first hit. It was the first to hit number one on the record charts. Its social impact was massive, helping pave the way for another southern boy, a sexy, better looking boy than the chubby, curly twirled haired Haley, to explode on to the national scene. Despite the film’s opening and closing credits filled with the early rock classic most of the soundtrack is jazz. Continue reading
Twenty Four Frames was started eight years ago this month. It wasn’t much and as I looked back at some of the post I wrote back then they came across as pretty bad. I’ve grown, me thinks, as has the blog. As sort of a small celebration, for lack of a better term, I have come up with a list of films I am calling 8 by 8 by 8. Eight years, eight lists and eight films on each lists. The films are not in any particular order, but they do represent some of my favorites in each group. Some of the films selected could have easily fell into two categories. For example, A Face in the Crowd which I included in my Journalism/Media category could easily fit into the politics group. The same could be said for All the President’s Men. I wanted to listed a different film in each category, so I resisted the temptation of repeating.