Posted by Kimberly Lindbergs on December 22, 2011
Last week I included Marcus Hearn’s latest book, The Hammer Vault: Treasures From the Archive of Hammer Films, in my two part list of Favorite Film Related Books of 2011. This week I got the opportunity to ask the author a few questions about his new book as well as discuss Hammer’s enduring legacy. The studio best known for its gothic horror films has continued to gain new fans and produce new movies including THE WOMAN IN BLACK, which is scheduled to be released in February of 2012.
Posted by Kimberly Lindbergs on December 1, 2011
Controversial film director Ken Russell passed away suddenly this week at the age of 84. Russell has long been considered the bad boy of British cinema or the original ‘enfant terrible’ of the empire, but for almost as long as I can remember he’s been one of my favorite filmmakers.
I was introduced to his work as a young pre-teen after stumbling across TOMMY (1971) playing on television one balmy afternoon. His visionary rock opera based on the music of The Who rocked my world and I was immediately drawn to his work, which I found imaginative, thoughtful, incredibly creative and just damn fun to watch. Russell was unconventional, indebted to romanticism and a true British visionary in every sense of the word. During his long career behind the camera he was also a punching bag for film critics. Many of them didn’t appreciate the subversive nature of his work and often regarded his films as confusing uncouth spectacles that were unworthy of recognition and financial support. But you might not know that if you’ve read all the critical praise Russell’s received since his death. Film critics, much like art critics, often ignore their greatest talents until they leave this world so we’re left embracing ghosts. And the shimmering spectre of Ken Russell will be haunting us for a very long time. He was an incomparable presence and his death has left a gapping hole in the cinematic landscape that can’t be filled. Instead of writing one more obituary detailing the man’s fascinating life and making note of his extraordinary body of work, I thought I’d let Russell speak for himself. The following are some of the director’s best quotes borrowed from Altered States: The Autobiography of Ken Russell, which was originally published in 1989.
Posted by Kimberly Lindbergs on October 13, 2011
On the surface, Kevin Billington’s VOICES (1973) is an unusual supernatural thriller involving ghosts and a haunted house but if you take the time to look beyond its spooky exterior you might be surprised by what you find there. This fascinating horror film has a rich history that first took shape in 1953.
Posted by Kimberly Lindbergs on September 22, 2011
“Though I wait for thee a thousand years, through waiting will I love thee yet the more. And though I fill an ocean with my tears, my joy will thus be greater than before. And this my prayer for evermore will be, that in the end thou will come back to me.”
Autumn officially arrives tomorrow. It’s my favorite time of year and I eagerly look forward to cooler temperatures and longer nights. As summer gives way to fall my appetite for things that go bump in the night becomes almost insatiable and nothing’s quite as satisfying as a good ghost story. I’ve been reading a lot of spooky Victorian tales lately, which inspired me to revisit Bernard Knowles’ supernatural thriller, A PLACE OF ONE’S OWN (1945).
When I first watched A PLACE OF ONE’S OWN a few months ago I wasn’t fully engaged with the film and it didn’t leave much of an impression on me. I knew I had to watch it again before I shared my thoughts on it and I’m so glad I took the time to reconsider this fascinating little British movie.
Posted by Kimberly Lindbergs on March 3, 2011
Are human beings inherently cruel or do we learn cruelty by example? Does our genetic makeup dictate our personalities at birth or are we shaped by numerous circumstances including our environments and upbringing? To borrow the title of a current popular song, are we “born this way” or are we more complex creatures than our personal DNA map might suggest? The nature vs. nurture debate has been going on for centuries and many films have attempted to tackle it head on. One of the best examples of this is Peter Brooks’ extraordinary film adaptation of William Golding’s Lord of the Flies (1963), which argues that people are savages at heart and in the right circumstances we’re all likely to turn on one another. Another film, which I recently had the opportunity to watch, champions the other side of the argument. John Mackenzie’s haunting film adaptation of Giles Cooper’s radio play UNMAN, WITTERING AND ZIGO (1971) questions the example set by Lord of the Flies and suggests that we’re taught savage behaviors, which could manifest in acts of violence.
Posted by Kimberly Lindbergs on December 16, 2010
Every year I try to compile a list of my favorite new DVD releases. These lists tend to focus on films from the ’60s and ’70s since they’re my favorite film eras. This year I decided to expand my view a little and disregard limitations so I could share a varied list of all my favorite DVD releases with Movie Morlock readers. This list is far from complete since I haven’t had the opportunity to see every new DVD that was released but I hope it will encourage a few people to seek out these films. Many of the movies on my list were released on DVD for the first time last year so they’ve been hard to see unless you own them on video or caught them playing on television. So without further ado, here’s some of my favorite DVD releases from 2010 listed alphabetically for easy reference.
Posted by Kimberly Lindbergs on December 2, 2010
During the holiday months I like to browse the shelves at my local bookstore to see what film related books publishers have released in anticipation of the “season of sharing.” This year I spotted many of the usual suspects; a couple of oversized glamour photo books featuring glossy pictures of Hollywood legends from the ‘40s and ‘50s as well as biographies of some highly acclaimed directors and celebrities. What I didn’t expect to see was Marcus Hearn’s latest book, The Art of Hammer: The Official Poster Collection From the Archive of Hammer Films. Recently I’ve been mourning the loss of Hammer starlet Ingrid Pitt and director Roy Ward Baker who helmed some of the studios best productions including Quatermass and the Pit (1967) and Dr Jekyll & Sister Hyde (1971). Coming across Hearn’s book was a much-welcomed surprise and an unexpected treat for this Hammer fan and movie poster admirer.
Posted by Kimberly Lindbergs on September 16, 2010
In an unfortunate coincidence I watched Clive Donner’s coming of age sex farce Here We Go Round the Mulberry Bush for the first time last week and a few days later I learned that Clive Donner had passed away on September 6th due to complications from Alzheimer’s disease. The British director was 84 years old at the time of his death and he hadn’t worked for some time but his early films are fondly remembered by many for their sense of humor and abundant style. Clive Donner helped usher in the swinging sixties with movies like the hugely successful adult comedy What’s New Pussycat? (1965), the music-fueled drama Some People (1962), the class-conscious comedy Nothing But the Best (1964) as well as the colorful social satire Here We Go Round the Mulberry Bush (1967).
Posted by Kimberly Lindbergs on May 27, 2010
A few weeks ago I wrote about Anthony Mann’s last film A Dandy in Aspic, which features Laurence Harvey in one of his best roles. At the time I expressed how much I liked Harvey even though many critics are quick to dismiss him. His reputation has been badly tarnished over the years thanks to shoddy journalism that often focuses on his run-ins with other actors or his sex life. It’s a shame that the negative press surrounding Harvey often outweighs the good but he’s had some notable defenders. When Harvey befriended a costar such as Elizabeth Taylor, Frank Sinatra or John Wayne, those friendships often lasted a lifetime.
I’ve always thought Laurence Harvey was an interesting actor who was occasionally miscast in roles that he seemed ill-fitted for. He was born in Lithuania and raised in South Africa so when he arrived in Britain in 1946 to study acting he was the odd man out. Harvey also openly flaunted his bisexuality at times, which seemed to bother a lot of his colleagues. He was eager to be taken seriously as a British actor but he wasn’t British and many of his costars never let him forget it.
Posted by Moira Finnie on October 21, 2009
Gladys Cooper was a bit of a snob.
Not in the usual social way that you may infer from that remark, but as a working woman she had an attitude that hers was a job, like any other, a way of making a very good living at times. Sometimes it meant acting in The Letter, or The Last of Mrs. Cheyney, or even Peter Pan at the age of 35. She was unacquainted with idleness, revelations of inner torment, and too many expressions of emotion off stage, taking pride in her toughness and the pleasure she derived from her work and her family. Wearing Molyneux gowns and hawking some bloody face cream with her name on it was all part of the game, giving her an independence that very few women of her time would ever know. It also gave her a chance to do much more than the average woman as well–including bringing up her children, helping her extended family and friends, and having some very good times indeed traveling and indulging her greatest pleasure of creating a comfortable home wherever she was at the time.
At other, more meager times, being an actress was a discipline to be endured and “gotten on with” rather than analyzed or draped in much mystery. As a result of this refreshing no-nonsense attitude and the fact that she was her own producer for so many years when she ran her Playhouse in London, challenging plays and classical roles were not in her background as they were for her contemporaries Sybil Thorndike and Edith Evans. Her fellow actress, Dame Edith once confessed envy of her peer, commenting that she used to stand in the wings just to watch her face under the lights on stage, transfixed by Cooper‘s youthful beauty that was, she claimed, essentially unphotographable but “enough to stop a bus”.
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