Posted by Susan Doll on September 14, 2015
TCM in conjunction with Fathom Entertainment brings Psycho to the big screen on September 20 and September 23 at participating theaters. Alfred Hitchcock’s masterpiece, which shows at 2:00pm and 7:00pm on both days, will be presented by Ben Mankiewicz in a brief filmed introduction. While many movie lovers have undoubtedly seen Psycho, rewatch it anew on a big screen with an audience, the way it was intended to be seen.
Every Hitchcock fan—and who isn’t?—has their favorite sequence or scene. Psycho is filled with iconic moments—from Marion’s first appearance in black underwear to her encounter with the cop in shades to the shower scene to the reveal at the end accompanied by Bernard Herrmann’s shrieking score. My favorite sequence is the parlor scene in which a shy Norman Bates asks Marion to come into the parlor behind the office. As soon as he says “parlor,” think: “Come into my parlor said the spider to the fly.”
Posted by Richard Harland Smith on October 10, 2014
A number of years ago, for reasons that seem a bit hazy to me now, I began a pseudonymous film blog called Arbogast on Film. (I’m often asked why I chose the name Arbogast, an obvious allusion to Alfred Hitchcock’s PSYCHO. I have always just loved that name and back in the 80s I thought of throwing down a ‘zine with that name as a sort of catchall for the obscure and weird. Never got around to doing that and yet the name popped back into my mind when I was dicking around on Blogger and thinking to myself “I don’t have a personal blog, but if I were to have one it might look something like this…”) I already had the Movie Morlocks working for me and back then I was blogging twice a week rather than once, so it’s not as though I was itching for more work. No, as I recall, I wanted to do some writing apart from my established community, well away from the blognoscenti, where I could please myself and throw down some chancy stuff. I didn’t expect anyone to follow me and yet the site turned out to be popular. I kept it going for four or five years before pulling the plug. I was just too busy and couldn’t really afford to indulge myself in a spate of free writing… especially not when I had already dedicated several Octobers to a series I called “31 Screams.” I was bored with all the horror blogs that pulled out the same old titles year after year for the requisite Halloween Top Ten lists and so I thought it might be unusual and fun to review, not movies themselves, but some of the greatest screams in genre history. And so I did that, 31 of them every October, year after year, with the final tally being somewhere in the low triple digits. I think some of that work is among my best and it always kind of killed me that, as I’d sworn myself to pseudonymity, no one would ever know it was my hand moving the pen. So now, with your indulgence, I offer a look back at some of the great screams of all time, along with my eggheaded observations, inane asides and occasional bad language… [...MORE]
Posted by Greg Ferrara on October 8, 2014
Janet Leigh is TCM’s Star of the Month and that is, to say the least, kind of fitting. After all, Janet Leigh is the most famous cinematic slasher victim of all time in one of the most famous and influential horror films of all time, Psycho, and this is October, the month most movie writers celebrate the horror film. Psycho is also the only film for which Leigh was nominated for an Oscar (Best Supporting Actress, by the way, but she lost to Shirley Jones for Elmer Gantry) and practically the only film in which she was ever asked about in interviews. Boy, I bet she got sick of talking about Psycho. Frankly, I’m kind of sick of talking about it, too.
Posted by Kimberly Lindbergs on August 28, 2014
Imagine if you will (spoken in my best Rod Serling voice), it’s 3:20am on a Sunday morning in the small city of Napa. You’d gone to bed a few hours earlier after enjoying a few glasses of home grown wine while catching up with the latest offering from Hammer Films (THE QUIET ONES; 2014) but just as the onset of deep REM sleep begins to take hold of your body and brain, you’re jolted awake by what sounds like a locomotive crashing into your house. This is followed by what feels like King Kong picking you up and tossing you in the air for 20 seconds. It’s pitch black because there is no electricity in town and you’re being pummeled by your belongings as they fly off the walls and shelves. In the chaos you can hear the shouts and screams of your neighbors and every dog in town seems to be barking and howling in confusion. Your natural instinct is to run outside before the walls come crashing down but you can barely move because your entire house is littered with debris, including lots of broken glass, ceramics and damaged electronics that could easily cause serious injuries. When you do finally make it outside the sound of wailing sirens begins to fill the air. You have no internet connection and phones are barely functioning so information is nearly impossible to come by. This information blackout will go on for another five hours as you attempt to check on your elderly neighbors, look for missing pets and try to find that emergency kit with a much needed flashlight that is buried somewhere underneath the wreckage that you once called home sweet home. Did the state of California just crack in half and break away from North America? Did Godzilla attack San Francisco? Did the zombie apocalypse start? Has a long dormant volcano erupted? These are just a few of the crazy thoughts that will race through your head seconds after the quake. Thankfully you’ll be wrong on all counts but you did just experience the most powerful earthquake to strike Northern California in 25 years.
Posted by Greg Ferrara on April 9, 2014
As I was scrolling through TCM’s schedule this week, I noticed the 1946 Sherlock Holmes movie, Dressed to Kill, which aired yesterday morning. Years ago, when I first saw the Basil Rathbone series, I was dismayed by the later films in the series that updated the story to the present day. There was something about seeing modern vehicles and appliances in a Sherlock Holmes story. Now, of course, the story has been done in the time period it was written, in the present day of the 21st century and with both genders in the lead role. And it no longer bothers me one bit.
Posted by Richard Harland Smith on December 14, 2013
Remembered today as a radio pioneer, and as the creator of the creepy anthology series LIGHTS OUT! (an influence on Rod Serling’s TWILIGHT ZONE and NIGHT GALLERY), Arch Oboler turned his hand in 1944 to the medium of motion pictures. His second go as a writer-director was BEWITCHED, a trim little B film released by Metro-Goldwyn-Mayer in July of 1945. The Warner Brothers Archive has included this forgotten gem in their collection, which makes this as good an occasion as any to reassess the film and to discuss it as a link in the chain of pictures (horror and non) that focus on a female protagonist whose sensitivities put her in harm’s way. First, some history. Oboler had conceived of the piece as a vehicle for Bette Davis, who headlined a production of the tale in October 1938, for the inaugural episode of Texaco Star Theatre. Then titled “Alter-Ego,” the story featured Davis as a young woman dealing, on the cusp of her engagement to a perfectly acceptable young man, with the manifestation of voices in her head — specifically one Carmen, a malignant bitch who goads her towards a tragic downward spiral. Oboler mounted the production again for the airwaves in 1939 for ARCH OBLER’S PLAYS, having retitled the play “Another World” and cast stage actress Betty Garde in the dual role of high-strung Joan and the needling Carmen. Between shooting BEWITCHED in November and December of 1944 and its summer release the following year, Oboler would revive the radio play in April 1945 for ARCH OBOLER’S YOUR RADIO HALL OF FAME, with Ann Shepard playing Joan and Mercedes McCambridge as Carmen — prescient casting if you remember (who could forget?) that McCambridge later provided the voice (or a significant portion thereof) of the demon Pazuzu in THE EXORCIST (1973). [...MORE]
Posted by Greg Ferrara on June 16, 2013
When someone praises a movie by commenting that it “rises above its genre’s conventions,” I usually get more than a little annoyed. Personally, I like genre conventions but more than that, the comment seems designed as a backhanded insult. It’s basically saying “this movie is so good because it’s not much like other movies in this genre at all.” And that may be true but don’t dismiss the rest of the genre because of it. Many times, a movie considered the best in a genre isn’t defying conventions but using them in a surer way. Without convention, genre quickly falls apart.
Posted by Greg Ferrara on May 19, 2013
A few months back I wrote a post on The Other Great Performance in the Movie, about great performances (usually by supporting actors) in movies with famously great lead performances. I’d like to further that theme now, only with great scenes. Last night, my wife, daughter and I took in Black Narcissus at the AFI Silver and enjoyed it as much as we always have (only more so because it was in the gorgeous main theater projected on a huge screen) and afterwards I started thinking about movies with very famous scenes, so famous that most casual film goers might know it (or have a vague sense of familiarity with it) even if they don’t know the movie. But for every great scene in a great movie, there is often another scene just as powerful but perhaps not as famous, or revered.
Posted by Greg Ferrara on March 20, 2013
When a movie is made, that is, the actual dates in time in which the movie is completed, is often of little value to the plot. A story with well drawn characters may or may not be much affected by what year it takes place in anymore than where. Many movies of all genres have been remade or adapted into television shows multiple times with simple updating of technologies and terminologies to fit the times. The Seven Samurai works in feudal Japan, the old American west or with a bunch of insects in an animated setting. It’s an archetypal story that can be translated into many different places and times. But what of the stories that have a deep connection to their time and place? Some stories just don’t work well if they don’t take place in the universe of their making. And for some, the when and where is as important as anything in the story.
Posted by Kimberly Lindbergs on January 10, 2013
I love a good heist film. They’re often formulaic and follow a well-worn path originally etched out by classic capers such as John Huston’s THE ASPHALT JUNGLE (1950), Jules Dassin’s RIFIFI (1955), Alexander Mackendrick’s THE LADYKILLERS (1955), Jean-Pierre Melville’s BOB LE FLAMBEUR (1955) and Stanley Kubrick’s THE KILLING (1956) but the best heist films take unexpected turns and leave their own special mark on a genre that seems to find new ways to define itself every decade. My favorite heist films usually involve a ragtag group of down on their luck ne’er-do-wells, outsiders and lone wolves who come together in an attempt to steal a fortune. Mistakes are made, alliances are formed and shattered, but the end goal is always the same. These career criminals all want a chance at a better life and they assume, rightly or wrongly, that ill-gained riches will buy them a first-class ticket to a brighter future. Unfortunately for these misbegotten dreamers crime rarely pays and when it does, it demands its own kind of compensation.
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