One for all, and all for one!

FOUR MUSKETEERS, THE, Frank Finlay, Michael York, Richard Chamberlain, Oliver Reed, 1974.

To view The Three Musketeers click here.

To view The Four Musketeers click here.

Director Richard Lester was born in Philadelphia, Pennsylvania but he made some of the best British films of the 1960s. Inspired by Buster Keaton and Jacques Tati, he developed an acute funny bone and an appreciation of the absurd that allowed him to work side-by-side with bastions of British comedy such as Spike Milligan and Peter Sellers. Lester’s sense of humor also appealed to The Beatles who personally selected the expat director to record the band’s exploits in A Hard Day’s Night (1964) and Help! (1965). This music-fueled double feature introduced the Fab Four to audiences around the world and revealed how quirky, lively and charismatic the band could be on and off the stage. In both films, Lester aptly spotlighted the mop-tops playful camaraderie as they challenged authority, outwitted ostensible villains and used teamwork to right perceived wrongs.

By presenting The Beatles as a group of countercultural champions, the director laid the groundwork for many of his future films which included reinterpreting legends (Robin and Marian [1976], Butch and Sundance: The Early Days [1979]) and superheroes (Superman II [1980], Superman III [1983]). But outside of The Beatles movies, the best example of Lester’s appreciation for comical heroes can be found in The Three Musketeers (1974) and its impromptu sequel, The Four Musketeers (1974) currently streaming on FilmStruck.

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Let’s Go Slumming with Ugly, Dirty and Bad (1976)

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To view Ugly, Dirty and Bad click here.

Of the major names in the film world who passed away in 2016, one that got overlooked a bit, at least among Americans, was Ettore Scola. A tricky guy to pin down over the course of his career, Scola was largely regarded as a comedy director but also showed a strong proficiency with everything from period dramas to surreal fantasies. FilmStruck is exposing audiences to more of his work with a collection of his key works, many of which have been hard to see in English-friendly editions for quite some time. Among these is Ugly, Dirty and Bad (1976), originally titled Brutti, sporchi e cattivi (a play of sorts on the Italian title of Sergio Leone’s The Good, the Bad and the Ugly [1966]). This earthy, hilarious and often disturbing portrait of life in the shantytowns along the outskirts of Rome is the type of stuff you never see in travelogues or glossy films about the Eternal City.

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Die Laughing: Carry On Screaming! (1966)

CARRY ON SCREAMING, Joan Sims, Tom Clegg, 1966

To view Carry On Screaming! click here.

“The usual charge to make against the Carry On films is to say that they could be much better done. This is true enough. They look dreadful, they seem to be edited with a bacon slicer and the comic rhythm jerks along like a cat on a cold morning. But if all these things were more elegant, I don’t really think the films would be more enjoyable: the badness is part of the funniness.”
– Critic Penelope Gilliatt, “In praise of Carrying On” from a 1964 issue of The Observer

FilmStruck has made a batch of the Carry On films available for streaming and if you’re unfamiliar with these British comedies it’s a great opportunity to become acquainted with one of the U.K.’s most popular film franchises. Beginning with Carry On Sergeant in 1958, director Gerald Thomas and producer Peter Rogers teamed up with a rotating cast of regulars to make an impressive 31 films before the series ended in 1992 with Carry On Columbus. During their 34-year run, the Carry On films never won any awards and were typically dismissed by critics but they were beloved by audiences who appreciated how these funny farces satirized respected British institutions such as the military, law enforcement and the medical establishment. The Carry On franchise also regularly lampooned popular films such as the James Bond series with Carry On Spying (1964) and 20th Century-Fox’s big-budget Cleopatra epic in Carry On Cleo (1965).

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Heaven Can Wait (1978): Here Comes Mr. Grusin

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To view Heaven Can Wait click here.

It’s funny how film scores go through stylistic transformations every decade, and how you can almost always pinpoint the year a film was made (within a year or two) based on the music you hear. Case in point: Dave Grusin, whose sound was so omnipresent in the 1970s and 1980s you can barely throw a rock at a movie theater without hitting a poster from one of his titles. Here at FilmStruck we’re tipping our hats to Mr. Grusin, whose distinct sound isn’t something you hear too often in theaters anymore—which is a loss for us all. One of his most infectious and upbeat works, Heaven Can Wait (1978), is a prime example of the Grusin soundtrack and boasts one of his most memorable themes, though incredibly, it wouldn’t have an album release in any format until 2013 when it finally hit CD paired up with another of his unreleased scores, Racing with the Moon (1984). I’m still waiting for someone to put out his majestic score for My Bodyguard (1980), too, but you can’t have everything!

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Jeffrey (1995): Love in the ’90s Is Paranoid

JEFFREY (1995)

To view Jeffrey click here.

There’s something special about the wave of LGBT-friendly indies that swept into theaters in the mid-1990s, and it’s not hard to see why. Rapid changes were starting to take place in a community driven to fiery activism by the catastrophic onslaught of AIDS in the previous decade, and the news was becoming far more outspoken about relevant issues in that watershed year of 1994, when the United States started observing LGBT History Month and the military initiated its controversial “Don’t Ask, Don’t Tell” policy. Filmmakers followed suit, with everyone from Hollywood to the most budget-constrained indies offering a wide variety of voices in films like The Adventures of Priscilla, Queen of the Desert (1994), Beautiful Thing (1996), Philadelphia (1993), The Celluloid Closet (1995), Happy Together (1997), Bound (1996), The Incredibly True Adventures of 2 Girls in Love (1996), Broadway Damage (1997), Chasing Amy (1997) and As Good as It Gets (1997). Not all those films have held up to scrutiny over the years, but when seen together and as part of the entire decade’s output, you could make a very strong case for the 1990s as the most vital one in the history of LGBT cinema. [...MORE]

Mad Men & Women: Good Neighbor Sam (1964)

GOOD NEIGHBOR SAM (1964)

To view Good Neighbor Sam click here.

In case you haven’t noticed, FilmStruck is spotlighting the lovely Romy Schneider with their Icons: Romy Schneider theme that brings together 17 of her films made between 1955 and 1980. A few of the highlights include Sissi (1955), which rocketed the Austrian actress to stardom, Boccaccio ’70 (1962), The Trial (1963) and That Most Important Thing: Love (1975) discussed by my fellow Streamline contributor Nathaniel Thompson last week. Today, I would like to draw your attention to Good Neighbor Sam (1964), a light-hearted 1960s sex farce that satirizes the wacky world of advertising. Good Neighbor Sam is notable for providing Schneider with her first starring role in Hollywood and it was also one of many films that inspired the critically acclaimed Mad Men (2007-2015) series.

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Have a Coca-Cola Kid and a Smile

THE COCA COLA KID, Eric Roberts, 1985, (c) Cinecom International/courtesy Everett Collection

To view The Coca-Cola Kid click here.

As a child of the 1980s, I grew up watching all of those movie review shows where two critics faced off and compared notes about the latest releases, from the biggest blockbusters to the tiniest indie art house offerings. Siskel and Ebert were the gold standard here, of course, but there were plenty of others to get a broader range of opinions… and if a movie got called out as a “stinker” or “dog” of the week, I made sure to put it on my must-see list to find out what made them so angry. In the process I heard about lots of films I’d never have any hope of seeing on the big screen – things like Liquid Sky (1982), Pauline at the Beach (1983) or My American Cousin (1985), which weren’t exactly the kind of thing an underage kid could easily go see.

Then there was something called The Coca-Cola Kid(1985), which looked really odd and fascinating based on the few clips that showed up on TV; every reviewer seemed to tag it with words like “sexy” and “zany,” a kind of racier Aussie cousin to something like The Gods Must Be Crazy (which was shot in 1980 but didn’t hit the U.S. until 1984) or Local Hero (1983). So I added The Coca-Cola Kid to my future watchlist and went on my usual movie-devouring way. Meanwhile VHS was really exploding, and it was much, much easier to rent foreign films down the street (plus they didn’t usually have MPAA ratings!)—a real boost for any young cinephile. It wasn’t long before some scouring exposed me to the films of Dušan Makavejev, the taboo-smashing Yugoslavian provocateur behind such groundbreaking films as WR: Mysteries of the Organism (1971) and Love Affair, or the Case of the Missing Switchboard Operator (1967). (And yep, you can see those and plenty more right here on FilmStruck as part of the “Directed by Dušan Makavejev” theme.) [...MORE]

Still Money After All These Years: Swingers Two Decades Later

SWINGERS (1996)

To view Swingers click here.

That’s right, Swingers is twenty years old. Ouch.

Anyone who’s been in Los Angeles for more than a day or two can tell you it’s impossible to go anywhere without meeting people who want to be in “the business.” It’s a charming trait of the city when you first move here and try to make new friends, as you sort out who’s on the level about their ambitions versus those who are, well, completely full of it. No film captures that feeling better than Swingers, a semi-autobiographical film from 1996 that put several names on the map including writer and star Jon Favreau (whose experiences when he moved to L.A. inspired the script), director Doug Liman (who went the indie route to keep the writer and his friends attached) and a supporting cast including an almost unsettlingly young Vince Vaughn, Ron Livingston and Heather Graham. [...MORE]

A Look at the Short Films of Harold Lloyd

NEVER WEAKEN (1921)

To view Just Neighbors click here, to view Billy Blazes, Esq. click here and to view Never Weaken click here.

As I prepare for this year’s TCM Classic Film Festival in Hollywood, I am revisiting the films of some of the actors and actresses whose work is being featured at the annual event. With a wide variety of events available at each time slot, it’s impossible to attend all the screenings, special presentations and interviews that I’d like to see. I don’t have any complaints, though, as there’s rarely a bad choice to be made. Like in years past, there will be a silent film presentation with live accompaniment. In previous years, I’ve seen Girl Shy (1924), The General (1925) and City Lights (1931). This year, the TCM Classic Film Festival is featuring Harold Lloyd’s 1928 comedy Speedy with live accompaniment by the extraordinary Alloy Orchestra. Any event featuring the Alloy is not to be missed, so I will be enthusiastically lining up for this screening on the closing night of the festival. Since I don’t want to watch Speedy this close to seeing it in a theatre with an appreciative audience, I decided to revisit some of Lloyd’s other work in preparation. Although I much prefer Lloyd’s feature-length films such as Safety Last (1923), Why Worry? (1923), Girl Shy (1924) and The Freshman (1925), I’ve selected three of my favorite short films featuring Lloyd that are currently available on The Criterion Channel of FilmStruck.

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Adolescent Adventure: The World of Henry Orient (1964)

WORLD OF HENRY ORIENT, THE (1964)

To view The World of Henry Orient click here.

FilmStruck has been singled out as a great resource for film aficionados but it also includes exceptional family friendly entertainment that can provide younger viewers with an eye-opening introduction to classic and foreign cinema. From Charlie Chaplin’s silent antics as the lovable Tramp in The Kid (1921) to the colorful Japanese fantasy film Jellyfish Eyes (2013), subscribers will discover a wide range of films available for all-ages. One stand out example is The World of Henry Orient (1964), a charming and extremely funny coming-of-age drama directed by George Roy Hill that is currently streaming as part of the “Female Friendships” collection.

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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.