Posted by R. Emmet Sweeney on March 28, 2017
To view Putney Swopeclick here.
In 1969 Robert Downey Sr. waited outside a screening of Putney Swope (1969) at the Cinema II in NYC to see if the film was still working as intended. As reported by Stephen Mahoney in Life magazine: “Two couples emerge. A woman is tearing at a handkerchief. ‘Tasteless. An exhibition…Filth’, she stammers. Under the cowboy hat Downey’s face lights up with joy.” Mahoney’s article was entitled “Robert Downey Makes Vile Movies,” a takeoff on a particularly outraged review by the New York Daily News (“Vicious and vile, the most offensive picture I’ve ever seen.”). Putney Swope is a clattering joke-stuffed satire both hilarious and exhausting. It begins as a spoof of ad agency racism, and keeps widening its targets until it takes itself down, a circular firing squad of comedy. Downey wanted his audiences to leap out of their seats, preferably with shock and disgust, and so it includes a horny and despotic little person president, an office flasher and the takeover of an ad agency by black militants who get co-opted by the business they wanted to overthrow. No one gets away unscathed. Putney Swope is streaming on FilmStruck, along with four other Downey films.
Posted by Kimberly Lindbergs on March 9, 2017
Rosemary’s Baby (1968), which is streaming on The Criterion Channel at FilmStruck throughout the month of March, is rightly hailed as one of the best American horror films of the 1960s. It begins and ends with a mother’s lullaby but the unsettling story of Rosemary and Guy Woodhouse is anything but soothing. Mia Farrow and John Cassavetes star as a young married couple who move into an antiquated apartment building in New York with an unpleasant history. After reluctantly befriending some colorful and intrusive elderly neighbors (Ruth Gordon and Sidney Blackmer), the Woodhouse’s lives are gradually transformed into a Faustian nightmare.
Posted by R. Emmet Sweeney on February 28, 2017
Dušan Makavejev made his directorial debut with Man is Not a Bird (1965), a raucous portrait of a Yugoslav mining city currently streaming on FilmStruck as part of the Directed by Dušan Makavejev theme. Made with the full cooperation of the residents of Bor, an industrial town in eastern Serbia, the movie is filled with hypnotist acts, marriage breakdowns, circus routines and brief, bitter affairs. It is based on the real lives of people that Makavejev interviewed before shooting, while indulging the director’s love of the carnivalesque, injecting Makavejev’s absurdist humor into a film that, by subject matter anyway, inherits the tradition of the Communist social realist films of previous decades. But these worker-heroes, while awarded and celebrated by the local government, have made messes of their personal lives. Makavejev said that with this film he “was trying to explain that you can have global changes but people can still stay the same, unhappy or awkward or privately confused.”
Posted by Jill Blake on February 25, 2017
In the supernatural comedy I Married a Witch (1942), director René Clair serves up an irresistible potion consisting of revenge, sex, politics and romance. Based on the novel The Passionate Witch by author Thorne Smith, I Married a Witch stars Fredric March and Veronica Lake, an unlikely romantic leading couple if there ever was one. From the significant age gap between March and Lake, to tales of feuding and unprofessionalism on the set, to irreconcilable creative differences amongst the directorial and production staff, not to mention threat of censorship, the legend surrounding the troubled production has only added to the delightful curiosity that is I Married a Witch.
Posted by Kimberly Lindbergs on February 23, 2017
Life has been throwing me lots of curveballs lately and when I’m feeling low, I tend to gravitate towards what I like to call “comfort food films” and my comfort food tends to be classic horror films. During the cold winter months, cozying up on the couch with a warm beverage and a couple of creaky old black and white horror movies can make even the worse week seem manageable. Fortunately, I found exactly what I required streaming on The Criterion Channel of FilmStruck, The Haunted Strangler (1958) and Corridors of Blood (1958). Both of these low-budget British thrillers were directed by Robert Day and feature standout performances from William Henry Pratt aka the one and only Boris Karloff.
Posted by R. Emmet Sweeney on December 27, 2016
As 2016 staggers to a close, I am looking back at the pockets of film pleasure I enjoyed from the year that was. This season is clogged with lists, and here I offer another, though one more suited to the historically minded viewers of TCM and FilmStruck. It is a list of my favorite old movies that I viewed for the first time over the past twelve months. These came from all over – rare MoMA film prints, old Warner Brothers DVDs, and yes, from streaming titles on FilmStruck. It’s an eclectic grouping of arts high and low, from all over the world. I hope it points you in some different cinema directions in 2017, or at least diverts your attention from current events for a few minutes. So prematurely, let me wish you all a Happy New Year, and I hope you’ll continue reading our little blog in the year to come.
Posted by R. Emmet Sweeney on December 20, 2016
Placido (1961) takes place over the course of one chaotic Christmas Eve night as a provincial Spanish town desperately tries to prove its Christian charity. It is a ferociously funny black comedy about performative morality, in which the homeless are used as props to stroke the middle classes’ ego. It is directed by Luis Garcia Berlanga (The Executioner) with intricately orchestrated long takes in which a chorus of self-serving characters negotiate the social corridors of Franco’s Spain. With its rhythmic rapid-fire dialogue and cutting use of caricature, it reminded me most of Preston Sturges (and the small town misunderstandings of The Miracle of Morgan’s Creek (1944)). Placido is now streaming on The Criterion Channel of FilmStruck, along with four other Berlanga features.
Posted by Kimberly Lindbergs on November 17, 2016
Modern malaise and alienation are two themes that Michelangelo Antonioni (L’Avventura , La notte , L’eclisse ) returned to repeatedly throughout the 1960s. In Red Desert (1964), which is currently streaming on FilmStruck and available on DVD and Blu-ray from Criterion, these ideas find expression in Italy’s postwar industrial landscape and in Monica Vitti’s large eyes. Vitti was Antonioni’s muse throughout much of the decade and Red Desert provided the Roman beauty with one of her best and most iconic roles in the form of Giuliana, a woman who is desperately and deeply alone. Giuliana is married to a wealthy and providing man; they have a lovely child, many friends and even more acquaintances. Despite this, she is unable to connect with people and her surroundings. Giuliana’s isolation has plunged her into an all-consuming depression triggering bouts of paranoia that she cannot express in words so she has retreated inward. Her eyes are her only voice and they are dark, bottomless pools of emotion pleading for warmth and sympathy in a world that is often cold and incredulous.
Posted by R. Emmet Sweeney on August 30, 2016
Chimes at Midnight (1966) and The Immortal Story (1968) were the last two fiction features that Orson Welles completed. Still to come would be the self-reflective essays of F For Fake (1973) and Filming Othello (’78), as well as the perpetually promised to-be-finished projects like The Other Side of the Wind (1970-’76), but Chimes at Midnight and The Immortal Story mark an endpoint. Both deal with aging, obsolete men living outside of their times, belonging to previous epochs. In Chimes, Welles’ Falstaff is a ruddy-cheeked representative of the Merrie England torn asunder by the War of the Roses, while his “Mr. Clay” in The Immortal Story is a wealthy Macao merchant who lives inside his account books, completely cut off from the world outside. Chimes at Midnight is the capstone to Welles’ extraordinary career, while The Immortal Story is a dream-like coda. Today both have been released in essential DVD and Blu-ray editions from Criterion. Chimes at Midnight has never had a satisfactory home video release in the United States until now, subjugated to dupey transfers and muddy audio (always blamed on the original production circumstances, which required extensive dubbing, but the dialogue is crisp and clear on the Criterion disc). Both releases are causes for celebration, and Chimes has pole position for home video release of the year.
Posted by R. Emmet Sweeney on August 16, 2016
“In general I am not interested in the events themselves but in what happens afterwards. Not the departure, but the return.” – Jean Cayrol
In Muriel, or The Time of Return (1963), the repressed past infiltrates the present like a fungal growth slowly inching across the frame. A pre-World War II lover and a ghostly memory from Algiers fill the gaps in the lives of the Aughain family of Boulogne-sur-mer, a sleepy, emptied out seaside town just waiting to be possessed. Alain Resnais’ follow-up to Last Year at Marienbad (’61), Muriel has a materialist, tactile sense of place, established through rapid montages of everyday objects, whereas Marienbad’s amorphous no-place was shot with languorous long takes. The shift can be attributed to his collaborators, moving from nouveau roman author/filmmaker Alain Robbe-Grillet on Marienbad to Jean Cayrol on Muriel. Cayrol was a poet and concentration camp survivor who had provided the text for Resnais’ Night and Fog. He has these characters bear the physical weight of history, something that slows their steps and hunches their backs, and this lurch can now be seen on Blu-ray from the Criterion Collection.
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