Photographer Robert Jones, along with film writer Dan Auiler (author of Vertigo: The Making of a Hitchcock Classic), and photographer Aimee Sinclair have compiled a stunning new book called Hitchcock’s California: Vista Visions from the Camera Eye.Years in the making, the book includes an informative and fascinating introduction by actor Bruce Dern and an afterward by Dorothy Herrmann, daughter of the late composer Bernard Herrmann. One of the highlights of the Dern introduction is when the actor writes about an absorbing short conversation that happened after he introduced Hitchcock to fellow film director, John Frankenheimer. For me, that short exchange that ensued is worth the admission.
Considered one of the founding fathers of hard-boiled fiction, if not the founding father, Dashiell Hammett is must reading for anyone interested in tough guy crime fiction. Detective fiction before Hammett came along the likes of Agatha Christie: conventional, polite detectives where few got their hands down and dirty were standard. Hammett changed all that. His Sam Spade was a cynical outsider who lived by his own personal code. The streets of crime were tough and Spade and other Hammett characters walked them with a new literary style. They called it “hard-boiled” and as The New York Times in their obituary, christened Hammett he was the dean of the “so called” hard-boiled school of detective fiction.
Hammett served in World War I, where he was rewarded by contracting tuberculosis. During his recovery, he met a nurse, Josephine Dolan, who became his wife. For a few years, Hammett became a Pinkerton…
The CMBA began in 2009 as a dream of Rick Armstrong who blogs as the Classic Film and TV Cafe. He was the organization’s first President and its guiding light. Today, there are close to 90 members and going strong.
This book contains 10 essays from celebrating how Butch Cassidy and the Sundance Kid and other films from 1969 bridged the Old And New Hollywood to how the Spanish Flu of 100 years ago affected the…
I am interviewed by Rick Armstrong of the Classic Film and TV Cafe. You can read the interview here!The Late Show and Other Tales of Celluloid Malice is available at Amazon as both an eBook and Paperback.
The studio is the enemy of the artist! – Norman Jewsion talking to Hal Ashby
When they talk about the great filmmakers of the 1970s, names like Martin Scorsese, Francis Ford Coppola, Robert Altman, Sidney Lumet, and Brian DePalma are always mentioned. Yet, none of these artists made as many great or important films within the decade as Hal Ashby (arguably Robert Altman did as many). Ashby’s 70s work included The Landlord, Harold and Maude, The Last Detail, Shampoo, Bound forby’s Glory, Coming Home, and Being There. All these works were made within that one decade. No other filmmaker of the period had as many excellent films within a ten year period.
Hal Ashby was a rebel with a cause. His work was filled with social commentary on racism, The Vietnam War, the ruling class, the military and more. He loved film and filmmaking more than anything else in life. He fought the fight to keep his work untouched by the corporate bad guys. In Amy Scott’S 2018 documentary, “Hal,” reflects the director’s roguish, anarchic and independent artistic nature. Ashby’s first claim to fame was as a film editor mostly working with director and good friend Norman Jewison on films like The Cincinnati Kid, The Russians Are Coming, The Russians are Coming, In the Heat of the Night, for which he won an Oscar, and The Thomas Crown Affair. But what Ashby wanted to do most was direct and he got his opportunity with The Landord, a film far ahead of its time. Sadly, Ashby’s run of excellent work did not extend into the 1980s. Plagued by rumors of cocaine use and fighting with studio heads both his artistic and personal health suffered. Ashby died of cancer in 1988 he was only 59 years old.
My new book, The Late Show and Other Tales of Celluloid Malice will be available on March 3rd. You can now pre-order the ebook on Amazon for immediate delivery on the publication date. A paperback edition will also be available.
Frankie Bosco’s running from the cops. He needs to hide. As he scurries along a busy street Frankie passes a movie theater showing two classic James Cagney gangster films. It’s perfect! He can hide in the theater until dark and things cool down. Undercover of the night would a better time to make his getaway. In the theater, Frankie’s safe for now or so he thinks!
I Ain’t So Tough is one of seven crime stories with a cinematic flavor included in my forthcoming collection, The Late Show and Other Tales of Celluloid Malice.
After recently hearing about this film, I was optimistic that I had found a gem for the holiday season, a film noir with a Christmas setting directed by one of the masters of dark cinema, Robert Siodmak. To say the least, it sounded intriguing. When the DVD arrived in the mail, I watched it that same night staying up later than I should, considering it was going to be rise and shine at 5AM the following morning.
With the title, “Christmas Holiday” and the two stars Gene Kelly and Deanna Durbin, on the surface this sounds like a festive holiday film along the lines of “White Christmas” or “Holiday Inn.” However, with Robert Siodmak directing you know you are not in for bright fluffy musical extravaganza. The film is more fascinating in spots than a first-class work overall. Sad to say the two leads…