Posted by Kimberly Lindbergs on April 27, 2017
To view Theatre of Blood click here.
In 1970 Vincent Price became discouraged by the state of his career. He was acting regularly, writing cookbooks, appearing on stage and in a variety of television programs while generously supporting the arts as a member of the Royal Society of Arts, the Arts Council of UCLA and the Fine Arts Committee of the White House, but he agonized over his reputation. According to his daughter Victoria Price and author of Vincent Price: A Daughter’s Biography, her father worried that he wasn’t taken seriously by his fellow actors due to his career choices. The lack of respect from his peers encouraged the 60-year-old actor to embrace the monstrous roles he had made famous. From mad doctors to witch hunters and a plethora of Poe villains and antiheroes, Price had perfected the role of a sympathetic scoundrel.
Posted by Kimberly Lindbergs on March 2, 2017
When Jane Birkin (Blow-Up , Wonderwall , La Piscine , Don Juan (or If Don Juan Were a Woman) , Je t’aime moi non plus , Death on the Nile , Evil Under the Sun , La Belle Noiseuse ), Boxes ) was getting ready to celebrate her 40th birthday in 1986 she confessed to filmmaker Agnès Varda that she had reservations about growing older. Varda, who was almost 60-years-old at the time, told Birkin that she was about to enter a wonderful phase in her life and asked if she could shoot a cinematic portrait of the actress, filmmaker, model and chanteuse that demonstrated her evolution. After some coaxing, Birkin agreed and together the two friends crafted the creative docudrama Jane B. par Agnès V. (1988) currently streaming on FilmStruck as part of The Masters: Agnès Varda collection.
Posted by Kimberly Lindbergs on January 26, 2017
Joan Bennett got her start in Hollywood as a lovely, demure, fair-haired ingénue but made her mark as a sexy, feisty, dark-haired femme fatale. Her transformation was atypical in Tinseltown where many natural brunettes such as Carole Lombard, Lana Turner, Marilyn Monroe and Jayne Mansfield, found success after becoming bottle blonds. Bennett’s makeover happened during the production of Trade Winds (1938), an amusing crime-drama where she plays a woman on the run from the law who is forced to change her appearance. She looked so striking as a brunette that she was inundated with fan mail after the film’s release and got approval from national hairdresser associations who publicly admired her exotic new ‘do. Critics disapprovingly compared her to Hedy Lamarr but according to the actress’s autobiography (The Bennett Playbill), she relished the idea of escaping the “bland, blond, innocent” image that had dogged her and the change of appearance brought about a newfound personal and professional confidence. Afterward Bennett became politically active, fell in love with producer Walter Wanger and began a creative partnership with director Fritz Lang that would forever alter the trajectory of her career.
Posted by Christian Pierce on December 5, 2016
Late in the fall of 1999, the British film Elizabeth, starring Cate Blanchett in her breakthrough role, was released to great critical acclaim. I couldn’t believe reviewers and critics touted a film that was so clearly flawed (can anyone say “the 180-rule” or “screen direction”). And, the hyperbole surrounding Blanchett accelerated as awards season grew closer. Echoes of “the best acting of the year” were everywhere. Blanchett was fine, but for me it was another example of that stiff-upper-lip style of acting that Hollywood has been enamored with since Charles Laughton won the Oscar for The Private Life of Henry VIII in 1934. As I reflected on America’s Anglophilia, I pondered what I thought might be the best acting of the year. It did not take me long to figure it out: It was A Martinez and Jacklyn Zemon in an episode of the ABC soap opera General Hospital.
Posted by Greg Ferrara on November 25, 2016
We all have performers or movies that grant us entry into genres, eras, or styles. Spencer Tracy was one of the actors who got me hooked into classic cinema. Boris Karloff hooked me into horror. And Yves Montand was the first international star I ever really knew. Like many stars appealing to a new generation, it was his later work that I saw first and precisely what interested me in seeing his earlier work. I didn’t take too much notice of him at first but as he began appearing in more and more of the movies I was watching on Saturday afternoons in my childhood, I began to wonder where this fine actor got his start. For Montand, it started with singing and live performing until he was discovered by Edith Piaf. For me, it started with Z (1969).
Posted by Kimberly Lindbergs on September 15, 2016
Everyone loves a good Hollywood tragedy. The violent murders of Sharon Tate and Sal Mineo generate more press and web articles than the body of work they left behind while the estates of Marilyn Monroe and James Dean continue to benefit from our endless fascination with early death by misadventure. For better or worse, we obsess over stories of fallen stars who died while they were still young and beautiful as well as those who died violently or wasted away in obscurity. Stories about celebrities who endure great personal and professional hardship but manage to survive and thrive into comfortable old age tend to sell fewer magazines. Tab Hunter’s story is a survivor’s story. It’s uplifting, empowering and intriguingly retold in Tab Hunter Confidential (2015), a new documentary directed by Jeffrey Schwarz that was recently released on DVD and Blu-ray. It is also currently streaming on Amazon and Netflix.
Posted by Kimberly Lindbergs on November 19, 2015
TCM’s evening programming tonight spotlights silent film star and original action hero Douglas Fairbanks. If you tune in you can catch him in The Good Bad Man (1916), The Half-Breed (1916), The Mark of Zorro (1920), The Thief of Bagdad (1924), The Black Pirate (1926) and The Private Life of Don Juan (1924) beginning 8PM EST and 5PM PST. Coincidentally, I recently finished reading a great new biography about Fairbanks titled The First King of Hollywood by author Tracey Gossel. The book is one of the best actor biographies I’ve read in recent years and provides an extensively researched, extremely thoughtful and informative look at one of the biggest Hollywood stars of the silent era.
I learned a lot about Fairbanks from Gossel’s book that I didn’t know before. One of the more memorable takeaways was discovering his progressive views on race that greatly impacted the films he made. I was also impressed by the depth of his lifelong friendship with Charlie Chaplin and disappointed to learn that his relationship with his son (Douglas Fairbanks Jr.) was so strained. In addition, it was a treat to discover how he expressed himself with the written word in passionate love letters to his wife and fellow screen icon, Mary Pickford. And I was even more surprised to learn that Fairbanks had written some inspirational self-help books in association with his friend and personal secretary, Kenneth Davenport.
Posted by Kimberly Lindbergs on June 25, 2015
You can catch Arlene Dahl in a number of films airing on TCM in July:
Arlene Dahl was a stunning redhead and a capable actress who I’ve enjoyed watching in a number of films including REIGN OF TERROR (1949), SCENE OF THE CRIME (1949), WOMAN’S WORLD (1954) and JOURNEY TO THE CENTER OF THE EARTH (1959). However, her most successful career was in the multibillion-dollar beauty industry where she started as a syndicated columnist offering advice on dieting, plastic surgery, make-up, fashion and the latest hairstyling trends. By 1954 she was managing her own line of lingerie and cosmetics under the Arlene Dahl Enterprises banner and in 1965 she published her first of many books titled Always Ask a Man: The Key to Femininity. Dahl’s book capitalized on her Hollywood credentials and dished out beauty tips along with suggestions on how women could best attract and keep their men.
With the women’s movement on the rise and the sexual revolution bubbling loudly under the surface of polite society, the mid-sixties was a challenging time. Especially for women like Arlene Dahl who had accepted her place, no matter how begrudgingly, in a society that often treated her like a second-class citizen. And although she had admirably managed to create a successful business for herself at a time when American women still weren’t allowed to get an Ivy League education, Dahl makes it clear in Always Ask a Man that she was no bra burning radical. Her antiquated ideas about womanhood are supported, and in some cases weakened, by a surprising number of male actors who are quoted throughout her book. These beloved film figures, including Cary Grant, Marlon Brando, Bob Hope, Richard Burton and Burt Lancaster, freely offered their thoughts on femininity and beauty to Arlene Dahl, which she undoubtedly hoped would help sell her book and boost her arguments. 50-years-later, many of the actor’s casual comments are cringe-inducing reminders of a bygone era while others are more thoughtful and enduring. As history, particularly Hollywood history, their observations on women in 1965 makes for fascinating reading so I decided to collect some of the more provocative quotes and share them here.
Posted by Kimberly Lindbergs on April 16, 2015
Next Tuesday (April 21st) TCM is celebrating the illustrious career of Sophia Loren with a tribute that includes three important TCM premieres beginning with the first U.S. television screening of HUMAN VOICE (La voce umana, 2014). This bittersweet 25-minute film is directed by Loren’s son Edoardo Ponti, and is based on the iconic Jean Cocteau play about a woman whose final telephone conversation with her lover reflects her despair over losing him. This is followed by THE GOLD OF NAPLES (L’oro di Napoli, 1954), an anthology that gave Loren one of her first starring roles; and the saucy comedy drama MARRIAGE ITALIAN STYLE (1964), made at the height of her reign as a leading screen goddess.
Some of my fondest childhood memories are the times I spent visiting with my Italian nonna or as I affectionately called her, “Nana.” Nana was my great grandmother who was born in the Piedmont region of Italy and arrived in America around 1915 when she was a young woman. Nana never learned how to speak fluid English and preferred her native tongue, which sounded like pure poetry to me. Unfortunately, this meant we couldn’t communicate very well due to my lack of Italian language skills but her warm eyes and welcoming smile spoke volumes. I can vividly remember watching Nana cook Italian meals for large family gatherings and the smells coming from her kitchen were always intoxicating. Although I didn’t know it at the time, my great grandmother was a culinary artist and she taught many of the women in my family how to cook.
My great grandmother passed away long before I became interested in cooking but I often wish she was still around to offer me some tips and advice. Instead, I’ve had to rely on cookbooks and cooking shows to learn the ins and outs of Italian cooking and I’ve recently found myself turning to the lovely Sophia Loren for advice. Loren is one of my favorite actresses and the curvaceous Italian beauty also happens to be an accomplished cook who wrote a number of successful cookbooks.
Posted by Kimberly Lindbergs on February 12, 2015
Tune into TCM on Febuary 20th to catch Oliver Reed in OLIVER! directed by his uncle, Carol Reed.
Feb. 13th marks what would have been Oliver Reed’s 77th birthday if he was still with us. Reed died in 1999 but he has long been one of my favorite actors so to honor his memory I decided to contact filmmaker Kent Adamson who worked with Oliver Reed in the 1980s and is friendly with the actor’s son (Mark). What follows is a lengthy Q&A where Kent generously shares his own recollections and thoughts about the actor’s life and career. I hope you’ll enjoy reading our exchange as much as I enjoyed taking part in it.
Streamline is the official blog of FilmStruck, a new subscription service that offers film aficionados a comprehensive library of films including an eclectic mix of contemporary and classic art house, indie, foreign and cult films.
Actors Alfred Hitchcock Bela Lugosi Bette Davis Boris Karloff British Cinema Buster Keaton Cary Grant Charlie Chaplin Citizen Kane Comedy Criterion Dracula DVD Elizabeth Taylor Film Film Noir FilmStruck Frankenstein Fritz Lang Hammer Horror Horror horror films Horror Movies Humphrey Bogart James Bond Joan Crawford John Ford John Huston John Wayne Joseph Losey MGM Movie movies Night of the Living Dead Orson Welles Peter Lorre Psycho Roger Corman Screwball Comedy Steve McQueen TCM The Exorcist Warner Archive Westerns