Posted by Kimberly Lindbergs on January 7, 2016
In recent weeks, you might have heard about the upcoming Doctor Strange film currently scheduled for release in November of 2016. The news caught my attention because I’ve always liked the comic book character and the cast, which includes Benedict Cumberbatch, Mads Mikkelsen, Tilda Swinton and Chiwetel Ejiofor, is impressive. I mention all this because tonight TCM is launching their month-long spotlight on legendary production designer and director, William Cameron Menzies. Some classic film fans might balk at the idea of mentioning the upcoming Doctor Strange movie and William Cameron Menzies in the same paragraph but there are slender threads that connect the two thanks to Menzies’s creative contributions to Chandu the Magician (1932) airing this evening at 9:45 PM EST/6:45 PST.
Posted by Kimberly Lindbergs on December 3, 2015
Since I began writing for the Movie Morlocks five years ago I typically compile a blog post with summer reading suggestions or a list of favorite film related books released at the end of the year. This year I’ve had access to so many great books that I decided to compile two book lists.
My first was “Midsummer Reading Suggestions” where I covered The Lives of Robert Ryan, Sex, Sadism, Spain, and Cinema: The Spanish Horror Film, Orson Welles’s Last Movie: The Making of The Other Side of the Wind, So Deadly, So Perverse: 50 Years of Italian Giallo Films and Audrey (Hepburn) at Home: Memories of My Mother’s Kitchen along with other titles. What follows is my “Holiday Edition” where I share some of the best books (pictured above) that I’ve encountered since July. I hope both lists will encourage you to do some reading during the holidays or provide you with some shopping suggestions while you’re purchasing gifts for fellow film buffs.
Posted by Kimberly Lindbergs on October 22, 2015
On Sunday Oct. 25th and Wednesday Oct. 28th, classic horror fans are in for a real cinematic treat. Turner Classic Movies in association with Fathom Events and Universal Pictures Home Entertainment will be bringing DRACULA (1931), along with its Spanish language equivalent, back to the big screen. This Dracula double feature will be shown at selected theaters across the country and is accompanied by an introduction from TCM host Ben Mankiewicz. Tickets can be purchased online at the Fathom Events website.
Tod Browning’s DRACULA is rightly hailed as a horror classic while the Spanish version directed by George Melford was assumed lost and went largely unseen by modern audiences following its initial release until it was restored and distributed on home video in 1992. Both films were shot at the same time using the same sets but with different casts, which was a typical practice by studios in the early 1930s. Their goal was to appeal to international audiences eager to see new-fangled sound films in their own language. The idea quickly went out of favor due to the high cost of producing multiple movies but the Spanish language version of DRACULA is one of the best examples we have of this popular practice.
Posted by Richard Harland Smith on March 28, 2014
I was watching THE CORPSE VANISHES (1942) again recently and I forgot to laugh. I understand that laughter is the proper response because just about every critic — even the ones predisposed to horror, to Bela Lugosi, and to the inconsistent charms of Poverty Row cinema — tell us that the movie is no good, that Lugosi is no good in it, that the celluloid used to make it would have been better used for guitar picks, and that the only proper response is yuks. Ask most people in their 30s and 40s if they’ve ever seen THE CORPSE VANISHES and they’re likely to tell you “Yeah, that was one of the best MYSTERY SCIENCE THEATRE 3000s ever!” [...MORE]
Posted by Richard Harland Smith on November 30, 2012
As the boxer Sonny Liston used to say, “Life a funny thing.” If you squint real hard you can see, to the right of Robert Osborne and below the goldenrod banner that reads “Movie Morlocks Bloggers,” my name and the movie title DRACULA’S DAUGHTER (1936). I’ll be introducing the film tonight on TCM, sitting right there in the red chair, like you see all sorts of famous people do, and talking Universal horror and vampire movies, and gesturing with my hands, like an Italian. I was one of four Movie Morlocks chosen earlier this year to represent the writers for the TCM blog as official guest programmers, each of us charged with picking a movie that means the most to us. It wasn’t a hard choice on my part. Tonight’s broadcast completes a circuit that sparked for me nearly 40 years ago, when I was a young weirdo of 12 or so, late night TV showed tons of old movies, and life still held no end of boundless mystery. [...MORE]
Posted by Richard Harland Smith on October 12, 2012
For my admittedly singular tastes, the vampire bat (there are other kinds?) is as essential a herald of Halloween as the old witch, the black cat, the Jack-o-lantern, and the scarecrow. As a kid, I loved the sudden appearance of a flapping vampire bat and the bigger and more leathery the beastie the better. Take this barrel-like example from Hammer’s BRIDES OF DRACULA (1961) — it’s like a rumpy Manx with wings — but I love it, I want to hug it, I want to bring it home and ask my mom if I can keep it. I miss bats in horror movies. How did we ever get it into our heads that we could live without them? [...MORE]
Posted by Kimberly Lindbergs on July 5, 2012
I do a lot of reading all year long but during the summer months I tend to set aside some extra time to catch up with the books that have accumulated on my shelves. This is partially due to a habit I developed as a child. While other kids were outside playing and enjoying the bright sunshine I could often be found in my bedroom pouring over a good book. Even when my family would go on vacation I would always stick a book in my suitcase or duffel bag. For better or worse, many of my fondest childhood memories involve books that I read during the sweltering summer months while on camping trips and during long plane flights to visit grandparents. This summer I’ve started habitually reading some interesting non-fiction film related books so I thought I’d share some recent discoveries.
Posted by Richard Harland Smith on April 20, 2012
At the 2012 TCM Classic Film Festival last week I got to revisit Tod Browning’s DRACULA (1931) … and fall in love all over again. [...MORE]
Posted by Richard Harland Smith on April 6, 2012
The other day my 4 year-old son slapped a square of blue felt onto the top of his head and angled one corner down in line with the bridge of his nose. “Dad, look… I’m a vampire!” He had, of course, just approximated with devastating simplicity the classic “widow’s peak” that is synonymous with vampires of a certain vintage, going all the way back to Bela Lugosi in DRACULA (1931). Hey, wait a minute… Bela Lugosi’s Dracula didn’t have a widow’s peak. So where did this style come from? [...MORE]
Posted by Greg Ferrara on April 4, 2012
Recently on my stunningly exciting Twitter feed, I engaged in a conversation about actors in biopics with my previously mentioned friend Bill Ryan as well as with fellow blogger/film critic Farran Smith Nehme of The Self-Styled Siren and The New York Post. The topic, raised by me, was that certain actors didn’t fit well into certain biographical portrayals because despite their physical resemblance, the actor’s demeanor, intellect and personality all worked against him. The actor in this case in point is Rod Steiger in the movie W.C. Fields and Me. Steiger is made to look very much like Fields, sounds like Fields, walks like Fields and delivers lines originally delivered by Fields. Despite all of that, Rod Steiger, a very talented actor, just doesn’t work as Fields, regardless of how much or little he looks like him. Other times an actor nails the portrayal but looks so unlike the figure they’re portraying the performance gets lost among the brain fighting back with, “that doesn’t look like him at all!” When does one matter and the other not?
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