Directed by Walter Lang
Screenplay by Ernest Lehman, based upon the musical of the same name by Rodgers and Hammerstein, which was based upon the novel, ‘Anna and the King of Siam’ by Margaret Landon
Starring Yul Brynner, Deborah Kerr and Rita Moreno
I watch three movies at least once per year: The Shining, It’s A Wonderful Life, and Gone With The Wind. And with Gone With The Wind, I’ve read the book multiple times, too – more times than I’ve read The Shining. Which is actually a pretty big commitment to make when you remember Gone With The Wind the book is somewhere between 800 and 1000 pages, depending upon your copy. Continue reading
Directed by Clarence Brown
Screenplay by Paul Osborn, based on the Pulitzer Prize winning novel by Marjorie Kinnan Rawlings
Starring Gregory Peck, Jane Wyman, Claude Jarman Jr., Clem Bevans, Margaret Wycherly, Forrest Tucker, Chill Wills and Henry Travers
A small farm in 1870’s Florida. A small family – mom, dad, son – struggling to eke out a small existence. While they might not have a dirt floor in their cabin, they’re not all that prosperous, having to haul water up from a creek when they want to do the washing.
In the middle of this, a baby deer drops into their lives. The son, eager for a pet, adopts it right away. Mom, is a bit circumspect. And while the deer is accepted into the family, the second it starts to get too old to contain, and begins eating their crops right out of the field, threating the family with starvation, hard choices have to be made. Continue reading
Directed by Nicholas Hytner
Screenplay by Alan Bennett, based upon his play
Starring Nigel Hawthorne, Helen Mirren, Ian Holm, Amanda Donohoe, and Rupert Everett
The year 1994 belonged to box office juggernaut, and improbable awards darling, Forrest Gump. It’s domestic gross, thanks to Box Office Mojo, was $329 million, on top of its seven Oscar wins from 13 nominations, which included taking the trophies for Picture, Director, Actor and Adapted Screenplay. And somewhat rare among Best Picture winners, it’s actually fairly enjoyable. It’s not great – certainly not Best Picture worthy – but it’s not bad, either. And that’s how we would remember the film today if not for it having one Best Picture over a true classic, Pulp Fiction.
Just as Crash would be forever tainted by beating Brokeback Mountain and could never be a movie judged on its own merits again, Forrest Gump is derided for having bested Pulp Fiction. The win doesn’t change the quality of either movie, only the perception of them, and opens them up to harsher criticism than they might otherwise face. As Pulp Fiction’s faults are overlooked because it didn’t win Best Picture, Forrest Gump’s are magnified because it won. Continue reading
Directed by George Seaton
Screenplay by George Seaton, based upon the novel by Arthur Hailey
Starring Burt Lancaster, George Kennedy, Dean Martin, Jacquline Bissett, Helen Hayes, Maureen Stapleton, Van Heflin and Barry Nelson
Back in the days before I was a cord-cutter, and before the channel stopped playing movies sans commercial breaks, I watched a lot of the IFC channel. To date it, this was back in the Matt Singer/Allison Wilmore days, both of whom have gone on to do other things, including the excellent Filmspotting SVU podcast.
Anyway, part of what I enjoyed about IFC was it’s eclecticism. Where else would you find blackspoitation classics like Foxy Brown and Coffy, rubbing shoulders with modern TV classics like Arrested Development? The other part I loved about IFC was it’s array of documentaries. I’m pretty sure that’s where I first saw This Film Is Not Yet Rated, and also The Bus Movie. And it’s where I was first introduced to Jon Ronson’s documentary, Stanley Kubrick’s Boxes, which I love so much I bought the blu-ray of Full Metal Jacket, which I already had on DVD, simply because it has that doc on it. Continue reading
Directed by Stanley Kramer
Screenplay by William Rose
Starring Katharine Hepburn, Spencer Tracy, Sidney Poitier, Katharine Houghton, Isabel Sanford, Roy E. Glenn St., Beah Richards and Cecil Kellaway
In an alternate timeline, racism in America has been solved. There is no disharmony, everybody gets along, and whatever differences they do have aren’t based on bullshit things like race or gender or sexual orientation.
Three cheers for irrational hostility based on looking different being a thing of the past! Continue reading
Available in both ebook and paperback — buy one of each!
The original idea for this blog was there was no idea – I had no grand unified vision, only wanted some place to dump out the various non-fiction thoughts rolling around in my head. Primarily those thoughts would be about movies, but they might very well be about anything. I did not envision having columns, or features, or even having readers. I just wrote what I felt like, when I felt like writing it, and chose this place to deposit it whether or not somebody was there to get it.
In a way, this blog was meant as a peek into my id. Continue reading
Directed by Michael Curtiz
Screenplay by Ranald MacDougall, based upon the novel by James M. Cain
Starring Joan Crawford, Jack Carson, Zachary Scott, Eve Arden, Ann Blyth and Bruce Bennett
Everything I know biographically about Joan Crafword comes from two sources:
- Mommie Dearest, the camptastic movie based on Christina Crawford’s ‘true’ story of life with her adopted mother, which paints Joan less as a human being and more as a wire-hanger hating nutcase. Faye Dunaway played Joan in that movie and while she doesn’t bother trying to make Joan ‘real’ or even give a nuanced performance within the ‘facts’, she definitely gives an unforgettable performance.
- The Six Degrees of Joan Crawford series from the podcast You Must Remember This, which doesn’t necessarily paint Joan as any less severe or career driven as Mommie Dearest, but does a much more effective job showing Joan as remarkably complicated and an almost-tragic figure in her own right.
While the two portrayals differ on the child abuse she’s alleged to have inflicted, both agree Crawford’s drive for success knew no bounds. You Must Remember This spends a bit more time going into what lurked beneath that drive and did yeoman’s work trying to humanize Crawford in a way Mommie Dearest never would, but at least both properties agree on this particular facet of her personality. Continue reading
Directed by Fred Zinneman
Written by Robert Anderson, based upon the novel by Kathryn C. Hulme
Starring Audrey Hepburn, Peter Finch, Dame Edith Evans, Dame Peggy Ashcroft, and Dean Jagger
Over the course of film history we recognize dozens of genres and spilled copious volumes of words over them. By way of example there are noirs, musicals, war films, monster films, gangster films, westerns, spaghetti westerns, horror, Italian horror and…and the list goes on and on. There’s so many different genres it’s understandable when one slips through the cracks, especially when they aren’t exactly fashionable. Which is how Biblical films can feel like the forgotten step-child of genre cinema to most cinephiles, even as it was one of the original film genres.
Ben-Hur was first produced in 1907 as a one-reeler, remade in 1925 with Ramon Novarro and remade again in 1959. H.B. Warner, better known as Mr. Gower the druggist in It’s A Wonderful Life played Jesus in the silent version of The King of Kings. And Carl Theodor Dreyers 1928 film, The Passion of Joan of Arc, might still be the granddaddy of all religious/Biblical films, with Renee Jeanne Falconetti giving the performance to end all performances.
Directed by George Stevens
Screenplay By Michael Wilson and Harry Brown, based on the novel “An American Tragedy” by Theodore Dreiser, and the stage play “An American Tragedy” by Patrick Kearney
Starring Montgomery Clift, Shelly Winters, Elizabeth Taylor and Raymond Burr
George Stevens is an interesting character. He started his film career as a cinematographer for Laurel and Hardy, then moved on to directing comedy, his big break being Katherine Hepburn’s Alice Adams. After that it was on to Astaire/Rogers movies, and even the classic action/comedy, and obvious inspiration for Indiana Jones, Gunga Din. By 1940 he had a nice little thing going, and could have gone on doing it forever, had World War II not intervened and changed it all up.
In the war, Stevens was a member of the U.S. Army Signal Corps, contributing to various war documentaries, and shooting footage of D-Day and the concentration camps. By all accounts he saw many harrowing things, which is why when he came back, he didn’t have the taste for comedy any longer, turning instead to straight drama. Some of his post-army films were weepies, some were not, but none had anything in them resembling comedy. Continue reading
Directed by George Cukor
Screenplay by Albert Mannheimer, from the play by Garson Kanin
Starring Judy Holiday, William Holden and Broderick Crawford
It was only a few short weeks ago I mentioned the sorta-coincidence of doing back-to-back entries in this series on Best Picture losers starring William Holden. I also speculated it was likely we’d soon see another, given Holden starred in a good number of Best Picture losers in the 1950s. Well, whaddaya know – my prediction came true! Meaning we’ve now gone three-out-of-four with Best Picture losers starring William Holden.
So here, I give you Born Yesterday.