Posted by Susan Doll on April 3, 2017
Currently available on FilmStruck for your streaming pleasure is “The Brontë Sisters,” a modest selection of titles related to the works of England’s beloved novelists of the Romantic era. Included in the series are the classic-film versions of Emily Brontë’s Wuthering Heights (1939) and Charlotte Brontë’s Jane Eyre (1944). While both feature Golden Age stars that mesmerize with magnetism and captivate with charisma, does one film have the edge in capturing the ill-fated relationships and melancholy atmosphere of Gothic Romance?
Posted by Kimberly Lindbergs on September 29, 2016
If you’re a member of the TCM Wine Club, and even if you’re not, you are probably aware of the fact that director Francis Ford Coppola owns a winery located in California’s picturesque Sonoma County. I recently had the opportunity to visit the winery’s Rustic restaurant and explore the grounds, which house memorabilia from many of Coppola’s movies.
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 Kimberly Lindbergs on July 7, 2016
Pull up a chair and pour yourself a nice cold glass of something. It’s time for my annual nonfiction Summer Reading Suggestions!
It’s not uncommon for well-established movie directors to return to the scene of the crime, as it were, and revisit old successes. The defining masterpieces of brash young artists get remixed by older artists with a new perspective: Fritz Lang’s M and While the City Sleeps, Jean Renoir’s The Grand Illusion and The Elusive Corporal, Howard Hawks’ Rio Bravo and Rio Lobo… and then there’s Orson Welles’ Citizen Kane and Mr. Arkadin.
Both films begin with the death of a Great Man, and ruminate through intersecting circles of flashbacks as an investigator attempts to retroactively recreate that life and understand the man behind the legend. One was a blockbuster triumph that changed movies forever and remains hailed as one of, if not the, greatest films in Hollywood history. The other was a slapdash independent concoction brewed up far from Hollywood’s industrial organization and distributed in a scattershot way as if marketed by ADHD-addled amnesiacs.
Guess which one I prefer :)
Posted by Kimberly Lindbergs on October 1, 2015
After enjoying many of the Susan Hayward films that aired on TCM last month, I decided to seek out some of her other work and in the process I stumbled across The Lost Moment (1947). And as regular readers know, I usually focus my attention on horror films and thrillers during the month of October and this neglected black-and-white gem that tells a haunting story about lost love and an unspeakable crime of passion is the perfect film to kick-start the season of scaring.
This surprisingly sumptuous Universal production takes place in Venice where an ambitious publisher named Lewis Venable (Robert Cummings), disguises himself as a writer and takes lodging in a sprawling waterway estate owned by the 105-year-old lover (Agnes Moorehead) of a renowned poet who disappeared under mysterious circumstances decades earlier. He hopes to gain access to a stash of love letters written by the poet to his lady love but the woman’s stern niece (Susan Hayward) suspects that the publisher is up to no good. While attempting to find the missing letters, Cummings’s character uncovers many horrible family secrets hidden within the walls of the crumbling cobweb coated estate that he hadn’t bargained for.
Posted by Kimberly Lindbergs on July 16, 2015
It’s that time again. Time for my semi-annual list of summer reading suggestions! If you’re a film fan looking for something interesting to read during a long flight, while you’re lounging on the beach or just waiting for the barbeque to heat up, you’ve come to the right place. What follows is a list of the best non-fiction books I’ve read in the last six months and I hope my eclectic taste will encourage film fans of all strips to do some reading this summer.
Posted by Kimberly Lindbergs on June 4, 2015
Maybe it was the Hollywood homes featured in my last post or the ongoing worldwide celebration of Orson Welles 100th birthday? Whatever the reason, I spent a great deal of time thinking about William Randolph Hearst and his massive estate at San Simeon last week. As any classic film fan worth their salt knows, the newspaper mogul once played host to many Hollywood stars and starlets at Hearst Castle and his life was brilliantly satirized by Welles’ in CITIZEN KANE (1941). For better or worse, the film has forever colored our view of Hearst as well as his mistress, actress Marion Davies, while his home remains a mythical Xanadu currently opened to the public as a state run museum that I once had the pleasure to visit.
I was at the impressionable age of 10 or 11-years old when I got the opportunity to explore Hearst Castle and the experience left an undeniable mark on my young mind. My late grandmother, who lived a short distance away in Goleta, California, planned the trip and I knew nothing about the place until we arrived at the entrance and I was bombarded by guide books and picture postcards that featured familiar faces from the movies I’d grown up watching. Charlie Chaplin, Greta Garbo, Cary Grant, Bette Davis and Clark Gable were just a few of the recognizable celebrities that had once graced these hallowed grounds while participating in private sporting events and attending extravagant parties.
Posted by R. Emmet Sweeney on May 26, 2015
The above quote is from Orson Welles in Spain (1966), a 10-minute short made by Albert and David Maysles in which Welles woos potential investors about a bullfighting movie called The Sacred Beasts. The main character was Ernest Hemingway manqué Jake Hannaford, and after Sacred Beasts went bust Welles transferred Hannaford whole into The Other Side of the Wind. It is a kaleidoscopic portrait of another kind of machismo, that of a swaggering 70s auteur, with Hannaford now a doomed director (played by John Huston), his downfall captured in a densely edited collage of 35mm, 16mm and 8mm film. Welles would shoot from 1970 – 1976, but like much of his late work, post-production was never completed due to a tangled series of economic calamities, from a producer absconding with money, Welles’ absent business sense, and Iranian investments locked up because of the overthrow of the Shah. The negative was locked in a French lab with competing rights claims from Welles’ partner and collaborator Oja Kodar, his daughter Beatrice Welles, and the Paris film company Les Films de l’Astrophore, run by Mehdi Boushehri (one of the original investors in the project).
For decades now there have been teases that the film, which was completely shot and partially edited by Welles, would see the light of a projector. Today we are closer than ever to that tantalizing goal, thanks to the efforts of producers Filip Jan Rymsza, Frank Marshall and Jens Koethner Kaul, who helped to negotiate an agreement between Kodar, Beatrice Welles and Bousherhi to gain access to the negative. Now the work begins of resurrecting a feature left for dead forty years ago. So Rymsza and the production team (including advisor Peter Bogdanovich, Welles’s friend and a co-star in the film) has started an IndieGogo campaign to raise $2 million to complete the production of The Other Side of the Wind (you can donate here: www.orsonslastfilm.com). They have much left to do, including logging all of the Welles’ voluminous notes, organizing and scanning the negative, editing based on Welles’ instructions, color-correcting, and producing and mixing the music and effects.
Filip Jan Rymsza and Peter Bogdanovich took some time to talk to me about Welles, The Other Side of the Wind, and the ongoing IndieGogo campaign, getting into the atmosphere on the set, Welles’ famous prudery, and why they chose crowdfunding to get The Other Side of the Wind into the world.
Posted by Susan Doll on May 18, 2015
TCM airs one of Orson Welles most challenging films, F for Fake, this Friday, May 22, at 1:30am. The film is so unique that it is difficult to determine its mode or genre, or even to summarize what it is about. When Welles was editing the film in Paris, critic and scholar Jonathan Rosenbaum asked him if it was a documentary, and the great director responded, “No, not a documentary—a new kind of film.” That is probably the most accurate description of F for Fake.
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