Posted by Kimberly Lindbergs on October 29, 2015
I can’t let Halloween pass without talking about a Hammer film. They go hand-to-hand in my home and one of my favorites is Terence Fisher’s The Curse of the Werewolf (1961). The film features some sumptuous color photography, incredibly sophisticated make-up effects for its time and a powerful central performance from Oliver Reed. It also happens to contain many references to wine.
The Curse of the Werewolf begins with a hungry beggar (Richard Wordsworth) who arrives in a small 18th Century Spanish town while church bells ring out in celebration of a wedding. He immediately visits a local bar where the townspeople have gathered and are drinking wine in abundance from crude cups. When the beggar asks them to share their wine and food, he’s refused and told to visit the wedding party taking place at the home of a powerful nobleman appropriately named Marques Siniestro (Anthony Dawson). The local town’s people know just how sinister the nobleman truly is and suspect the beggar will suffer his wrath but they selfishly send him there anyway. Their heartlessness and lack of compassion for the poor man will eventually have a devastating effect on the whole community. Although this is a crimson colored film in more ways than one, The Curse of the Werewolf smartly stresses that the true horrors of the world are man-made even when they have supernatural connotations.
Posted by Kimberly Lindbergs on July 9, 2015
Female film composers are a rarity but there are some wonderful examples of talented women working behind the scenes who managed to flourish under the tight deadlines imposed by film studios while creating memorable music for the movies.
One of my favorite female composers is the late Elisabeth Lutyens who was born on July 9th in 1906. On the occasion of what would have been her 109th birthday if she had managed to live that long, I thought I’d celebrate her career in British horror films where Lutyens earned her “Horror Queen” moniker by composing some of the genre’s most innovative, accomplished and unsettling soundtracks.
Posted by Kimberly Lindbergs on July 2, 2015
When asked what my favorite film decade is I always mention the sixties. So what is it about the swinging sixties that I find so damn appealing? There are a plethora of reasons including the influx of foreign films that had begun to influence and inspire American filmmakers while avant-garde as well as pop art sensibilities began to flourish around the world. Long-held prejudices were being addressed in American cinema and black, Hispanic and Asian actors were able to find significant starring roles that broke racial barriers. The Hollywood studio system may have been on the decline but many of the best films produced during the decade were directed by old masters such as Alfred Hitchcock, Otto Preminger, Billy Wilder, John Huston, John Ford, John Sturges and Orson Welles who seemed to embrace change and created some of their most challenging and important work during this period.
I mention all this because myself and Millie De Chirico (the lovely TCM Manager of Programming) were recently asked to participate in Brain Saur’s Underrated ’65 project currently ongoing at his blog, Rupert Pupkin Speaks. Brian is an ardent supporter of classic film and you can always find interesting recommendations there as well as regular updates about new and upcoming DVD releases. I was happy to take part because I love sixties cinema and there are plenty of undervalued films from 1965 that deserve more attention and thoughtful consideration. So many that I had a hard time narrowing my list down to a mere Top 10 but that’s what I did and I thought it was worth sharing here.
Posted by Kimberly Lindbergs on May 14, 2015
Today (May 14th) TCM has programmed a batch of entertaining and inventive British science fiction films beginning with THE TUNNEL aka TRANSATLANTIC TUNNEL (1935) in the early morning hours of 5:45 AM EST/2:45 AM PST followed by FIVE MILLION YEARS TO YEAR aka QUARTERMASS AND THE PITT (1968), VILLAGE OF THE DAMNED (1961), THE COSMIC MONSTER aka THE STRANGE WORLD OF PLANET X (1958), THE GIANT BEHEMOTH aka BEHEMOTH, THE SEA MONSTER (1959), FIRST MEN IN THE MOON (1964), THESE ARE THE DAMNED aka THE DAMNED (1962), X THE UNKNOWN (1956), and SATELLITE IN THE SKY (1956). In an effort to entice viewers and rouse the imaginations of the most sedate classic film fans I thought I’d showcase some striking film poster art for these surprisingly imaginative films. The timid among us might be put off by the bold graphics, eye-popping layouts and outrageous claims they make but my fellow adventure seekers should relish the opportunity to dream bigger and embrace the improbable. So without further ado, I bring you British Science Fiction Films: A Poster Gallery.
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.
Posted by Kimberly Lindbergs on December 11, 2014
Today TCM is airing a batch of great fantasy and adventure films produced by Hammer starring some of the studio’s most memorable leading ladies including the exotic brunette beauty Martine Beswick in PREHISTORIC WOMEN (1967), blond bombshell, Ursula Andress in SHE (1965) and the ravishing redhead, Raquel Welch in ONE MILLION YEARS B.C. (1966). ONE MILLION YEARS B.C. is undoubtedly the most popular and widely seen film of the bunch thanks to a lucrative distribution deal with 20th Century Fox and financing from Seven Arts Productions that allowed Hammer to hire the up-and-coming Welch and procure the services of special effects maestro Ray Harryhausen. The bigger budget for ONE MILLION YEARS B.C. also allowed Hammer to shoot the film on the exotic Canary Islands where the rocky volcanic landscape and lush beachfronts made for a surprisingly believable primordial setting. The plot was based on the similarly titled 1940 Hal Roach film starring Victor Mature, Lon Chaney Jr. and Carole Landis that was nominated for a number of Academy Awards. The Hammer remake didn’t receive any award nominations but it did become the studio’s most commercially successful film and it made Raquel Welch an international star.
Posted by Kimberly Lindbergs on October 23, 2014
Hammer Films produced four Mummy movies between 1959 and 1971 and this coming Saturday (Oct. 25th) TCM is airing one of my favorites, Seth Holt’s BLOOD FROM THE MUMMY’S TOMB (1971). This unabashedly sexy horror extravaganza was the last Mummy movie produced by the ‘Studio that Dripped Blood’ and thanks to a great cast and some creative directing choices it turned out to be one of their best. But before it reached the screen the production was plagued by some serious setbacks that seemed to resemble the effects of a ‘mummy’s curse’ that’s often associated with doomed adventure seekers and tomb raiders. Was it just circumstance and bad luck or did something supernatural interfere with the making of the film? Read on to find out!
Posted by Kimberly Lindbergs on June 12, 2014
Posted by Kimberly Lindbergs on May 8, 2014
TCM is celebrating Mother’s Day (Sunday, May 11th) with a great program of classic films showcasing notable mothers. While looking over Sunday’s line-up I was surprised to spot NOW, VOYAGER (1942), which features Gladys Cooper as the incredibly cold and domineering mother of Bette Davis. Cooper won an Oscar nomination for her memorable performance and went on to play another overbearing mother in SEPARATE TABLES (1958) who torments poor Deborah Kerr. While considering Gladys Cooper’s portrayal of two heartless mothers I started thinking about other horrible movie moms that I’ve enjoyed watching over the years. Many good actresses have portrayed nurturing mothers who treasure their children but it takes incredible range, a lot of skill and a strong backbone to portray the kind of rotten mother that Gladys Cooper was so apt at playing. In honor of Mother’s Day I decided to pay tribute to a few of my other favorite bad movie moms. These women would never be nominated for a Mother of the Year Award but a few of them were nominated for an Academy Award.
Posted by Kimberly Lindbergs on July 25, 2013
He promised he’d buy me a fairing should please me,
British director Terence Fisher is best known for his work with Hammer Films but before he started making movies for the studio that dripped blood, Fisher edited and co-directed a number of films for Gainsborough Pictures. One of his most accomplished early directorial efforts is SO LONG AT THE FAIR (1950) starring a very young Jean Simmons and Dirk Bogarde. This absorbing thriller isn’t available on DVD in the US but SO LONG AT THE FAIR will air this coming Sunday (July 28th) on TCM at 7:15 PM PST and 10:15 PM EST. Fans of well-acted period dramas and good gothic mysteries should consider tuning in but the film will be of particular interest to anyone curious about the origins of modern British horror cinema.
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