Posted by Kimberly Lindbergs on December 3, 2015
Since I began writing for the Movie Morlocks five years ago I typically compile a blog post with summer reading suggestions or a list of favorite film related books released at the end of the year. This year I’ve had access to so many great books that I decided to compile two book lists.
My first was “Midsummer Reading Suggestions” where I covered The Lives of Robert Ryan, Sex, Sadism, Spain, and Cinema: The Spanish Horror Film, Orson Welles’s Last Movie: The Making of The Other Side of the Wind, So Deadly, So Perverse: 50 Years of Italian Giallo Films and Audrey (Hepburn) at Home: Memories of My Mother’s Kitchen along with other titles. What follows is my “Holiday Edition” where I share some of the best books (pictured above) that I’ve encountered since July. I hope both lists will encourage you to do some reading during the holidays or provide you with some shopping suggestions while you’re purchasing gifts for fellow film buffs.
Posted by Kimberly Lindbergs on February 5, 2015
Tonight TCM is devoting its 31 Days of Oscar programming to the year 1938. Films on the schedule include Best Picture nominees THE ADVENTURES OF ROBIN HOOD (1938), YOU CAN’T TAKE IT WITH YOU (1938), FOUR DAUGHTERS (1938) and BOY’S TOWN (1938). Today also happens to be actor John Carradine’s birthday.
Carradine doesn’t appear in any of the films airing on TCM tonight but he did make nine movies in 1938 including I’LL GIVE A MILLION, which I recently watched for the first time. I’LL GIVE A MILLION might not be Oscar material or worthy of the tagline “The Laugh Riot of the Century!” that accompanied trade ads for the film but it does feature two Oscar winning actors (Warner Baxter and Jean Hersholt) and includes two amusing comical performances from Peter Lorre and birthday boy John Carradine. So in keeping with TCM’s 1938 theme and in honor of the late great John Carradine I thought I’d shine a little light on this depression-era comedy directed by Walter Lang.
There are some directors who make their breakout hits early in their careers. Their landmark films announce the arrival of an important new talent by showcasing distinctive visual or thematic ideas—but these marks of distinction can also serve to limit that filmmaker’s future growth. Their subsequent films can’t help but be compared to their early classics, and after a while they risk being accused of simply repeating familiar motifs, cobbling together pastiches and Greatest Hits collections.
Not Alfred Hitchcock. Not only did his later works like Marnie or Topaz veer wildly away from anything in that career that preceded them, it’s in his early films that we find what might be called pastiches—only these are pastiches not of past glories, but patchworks of the masterpieces yet unmade.
Consider Secret Agent. It’s a 1936 wartime spy thriller (bet you couldn’t guess that from the title, huh?) based on some stories by Somerset Maugham, and made for Michael Balcon and Ivor Montagu during Hitch’s British period.
It is by no means one of Hitchcock’s greats—even in 1936, it was only voted the fifth best British movie. But it’s a template for almost everything great Hitchcock did after it.
Posted by Kimberly Lindbergs on February 20, 2014
This year marks the 20th anniversary of Turner Classic Movies. To celebrate the event as well as give back to the many devoted viewers who regularly watch and enjoy the network’s programming, TCM has teamed up with Warner Brothers to offer free theatrical screenings of the romantic wartime classic CASABLANCA (1942). The film will be playing nationwide in 20 selected cities on Tuesday, March 4th and tickets are currently available to download free of charge on the TCM 20th Anniversary website. Although tickets are free seating is limited to a first-come, first-served basis and they do not guarantee entry. Want to know where you can catch a free screening of CASABLANCA? Read on but be prepared to wade through a few of my thoughts about the film first.
Posted by Kimberly Lindbergs on February 6, 2014
I usually go out of my way to avoid ruffling the feathers of my fellow film fanatics but there are plenty of things that get me riled up on a monthly basis. Sometimes a girl’s just got to let off a little steam so excuse me while I borrow a page from my fellow Morlock Richard H. Smith and draw your attention to a few things that have got me seeing red lately. Wanna rumble? Here’s how you can really get my goat!
Posted by R. Emmet Sweeney on October 29, 2013
Society prefers death to be hidden. Bodies are covered in sheets, buried in caskets. There are no morgues in malls, but they are cast into hospital basements, where even lost visitors are unlikely to stumble upon it. Our mortality is a fact of life we are abstractly aware of, but a mutual pact has been made to keep it out of public view. Horror films have exploited this reluctance by making corpses ultra-visible, re-animating limp flesh and exposing the viscera that once gave us life. Frankenstein is the model for this, its monster cobbled together from the remnants of other bodies. In a macabre subgenre, body parts are severed and gain life of their own, including one that involves, creeping, scampering, choking hands. The mangled classic in this strange sector is The Beast With Five Fingers (1947), in which Peter Lorre is convinced a severed hand is murdering the inhabitants of an Italian mansion. Other entries include The Hands of Dr. Orlac (1924), The Crawling Hand (’63), Dr. Terror’s House of Horrors (’65) and, succinctly, The Hand (1981, an early Oliver Stone effort), but the Lorre film is the one that endures, and it has received a longer life in a DVD from Warner Archive, released just in time for Halloween.
Posted by Kimberly Lindbergs on February 14, 2013
When I first saw Karl Freund’s MAD LOVE (1935) 20 odd years ago I was somewhat disappointed by it. I had spent decades looking at still photos from the movie in various books I came across and I had anticipated seeing a very different film than the one that eventually greeted me. Chilling photos of a grinning Peter Lorre wearing a macabre costume that consisted of a floppy hat, dark glasses, metal gloves and a bizarre neck brace haunted my nightmares. My imagination had literally run itself ragged trying to reenact particular scenes that I’d only read about in books and in my head MAD LOVE had taken on mythic proportions. I was sure that it was going to be one of the most frightening films I’d ever seen but when I finally caught up with the movie I was surprised by its odd tenderness. Instead of being terrified by Peter Lorre I was sympathetic to his plight. MAD LOVE is an eerie film with some spine-chilling moments but it’s also a tragic and twisted love story. Once I set aside my expectations and viewed the film a few more times on its own terms I began to deeply appreciate its ghoulish charm and now I often refer to it as one of my favorite films. There’s a lesson to be learned here for would be romantics. You can’t anticipate love. True love is unruly and unexpected. You can attempt to bend it to your will and contain it but love plays by its own set of rules. MAD LOVE understands the wild and unpredictable nature of love, which makes it perfect viewing for Valentine’s Day.
Posted by Jeff Stafford on August 19, 2012
Tuesday, August 21st marks Kay Francis day on TCM’s Summer Under the Stars and the lineup of films should not only please her avid fans but also introduce newbies to this elegant underrated actress of the early sound era who is not that well known today. While there are plenty of high points to recommend here from the giddy sophisticated comedy-romance Jewel Robbery (1932), a Pre-Code Ernst Lubitsch wannabe, to the eclectic political espionage thriller British Agent (1934) to the exotic and risque melodrama Mandalay (1934), I cast my vote for THE HOUSE ON 56TH STREET (1933) as the quintessential Kay Francis vehicle and an excellent introduction to the actress. [...MORE]
Posted by Kimberly Lindbergs on August 16, 2012
Some women like men who drive fast cars; others prefer men with an athletic build while some find a uniform irresistible. Me? I appreciate a good pair of spectacles.
Posted by Kimberly Lindbergs on July 5, 2012
I do a lot of reading all year long but during the summer months I tend to set aside some extra time to catch up with the books that have accumulated on my shelves. This is partially due to a habit I developed as a child. While other kids were outside playing and enjoying the bright sunshine I could often be found in my bedroom pouring over a good book. Even when my family would go on vacation I would always stick a book in my suitcase or duffel bag. For better or worse, many of my fondest childhood memories involve books that I read during the sweltering summer months while on camping trips and during long plane flights to visit grandparents. This summer I’ve started habitually reading some interesting non-fiction film related books so I thought I’d share some recent discoveries.
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