Art and Life: Autumn Sonata (1978), Ingrid Bergman's Final Film

One of the most beloved of Hollywood’s Golden Age stars, Ingrid Bergman lit up screens large and small in an acting career that spanned 50 years, included 54 onscreen performances and brought three Oscars and two Emmys among her many awards and accolades. On the American Film Institute’s most recent list of Great Screen Legends, Bergman ranks #4 among actresses.

 ~

When she was taken to her first play as a child in Sweden, young Ingrid had blurted out, “That’s what I’m going to do!” during the performance. In that moment she’d become utterly stagestruck. Strong-willed and ambitious, she held fast to her dream and when she was accepted into Stockholm’s Royal Dramatic Theatre School at 18, she’d already appeared in her first film.

LEE REMICK AND THE DAWN OF THE MINI-SERIES

A fresh-faced 21-year-old Lee Remick made her motion picture debut as a seductive baton-twirling high school drum majorette in Elia Kazan’s 1957 classic, A Face in the Crowd.  Remick’s rendering of a precocious but empty-headed teen who becomes the bride of a lecherous drifter turned media celebrity (Andy Griffith) would launch her on the path to movie stardom.

A Face in the Crowd (1957)

To Be or Not to Be (1942), a Daring Mixed-Genre Satire from Ernst Lubitsch

This Hollywood-savvy item appeared in the December 1932 issue of Vanity Fair,   "…although a German director [he] is now claimed by America. His gay and cynic touch, his dramatic use of detail, have reconditioned many an otherwise anemic script and saved it from the shelf – until at one time the studio wise-crack of the hour was always, “For God’s sake, send for Lubitsch.""

Gimme Shelter: Classics for Comfort, CMBA Spring Blogathon 2020

The Classic Movie Blog Association is hosting its annual spring blogathon from May 19 – 22. This year’s theme is “Classics for Comfort,” about films that soothe us in difficult times. Click here for more info and links to participating blogs.

~

When we first began to shelter-in-place in my area two months ago, I pulled a Marilyn Monroe collection from the shelf. What could lighten the heart more than frolicking through Gentlemen Prefer Blondes, How to Marry a Millionaire, The Seven Year Itch and Some Like it Hot? Not much. And so I did. Seems a very long time and lots of movies ago now. Among the films I’ve watched since then that have given comfort or relief in different ways are these. 

Bridging Old Hollywood and New: Butch Cassidy and the Sundance Kid (1969)

This post is my entry for the Classic Movie Blog Association's Fall 2019 Blogathon. This year we honor the CMBA's 10th anniversary with an "Anniversary Blogathon." Click here for links to other member posts on classic film and classic film-related anniversaries.

In this piece I take a circuitous look back at Butch Cassidy and the Sundance Kid, "the Citizen Kane of buddy films," on the occasion of its 50th anniversary.

~

It was during the 1950s that William Goldman, then a young novelist, first got interested in "the Butch Cassidy story." He was so fascinated with Cassidy, ringleader of a late 19th century band of outlaws, and one of his gang members known as the Sundance Kid, that he would research them off and on for another eight years.

It was also in the 1950s that young method actor Paul Newman left the Broadway stage and made his way onto the Hollywood sound stage. Once there, he would steadily be cast in leading roles in films like Cat on a Hot Tin Roof (1958), for which he received his first Oscar nomination, The Young Philadelphians (1959), and From the Terrace (1960).

Underworld (1927), at the dawn of the modern gangster film

I hadn’t seen Underworld before, but I knew enough about it to be intrigued. For starters, it was directed by virtuoso filmmaker Josef von Sternberg, a man of remarkable cinematic ingenuity who is mostly remembered today for having discovered Marlene Dietrich and stage-managed her rise to stardom. Also of interest when considering the subject of outlaws on film, Underworld was, to quote its introductory title,  “…unusually bold both in subject matter and in treatment at the time it was made. It introduced a fashion for gangster pictures.” Specifically, the film, a runaway hit on release, is credited with establishing many conventions for what would become the gangster genre a few years later, in the early sound era. Another attraction Underworld held for me was that genius costume designer Travis Banton, who would become Paramount’s Chief Designer and go on to mentor Edith Head, costumed the film. For leading lady Evelyn Brent, starring as “Feathers McCoy," he created an endless variety of trendsetting feather-bedecked hats, wraps, jackets and dresses, enough to fill at least one extra-large closet. And so, early last week I sat down to watch Underworld for the first time and begin my post for the Classic Movie Blog Association's Fall 2018 OUTLAWS Blogathon.

FASCISM, NATIONALISM and the BANNED FILMS of MARLENE DIETRICH

This is my entry for the Classic Movie Blog Association's Fall 2017 blogathon, Banned and Blacklisted, for links to all contributions, click here.

Marlene Dietrich in The Blue Angel

In 1930, 29-year-old Marlene Dietrich created a sensation with her breakout performance as cabaret temptress Lola-Lola in Josef von Sternberg’s The Blue Angel (Der Blaue Engel), the tale of a straitlaced professor spellbound by a low-rent vamp.  It was Germany’s first sound picture, produced in both German and English versions, and made for Ufa, the country’s then-eminent film production company. Brand spanking new toast-of-Berlin Dietrich departed that city for Hollywood the morning after The Blue Angel's premiere. She was signed by Paramount with the hope she would be its answer to MGM’s Garbo, and she quickly rocketed to worldwide fame, earning a Best Actress Oscar nomination for her next performance, in Morocco (1930). Dietrich would stay in Hollywood and, reinventing herself more than once in her long career, attain a level of international stardom that would last until the end of her life and beyond.

Underseen & Underrated: "Unfaithfully Yours" (1948), from the Madcap Mind of Preston Sturges

Preston Sturges’s final remarkable comedy, the deliriously dark Unfaithfully Yours (1948), screened twice at this year’s TCM Classic Film Festival, on April 7 and on April 9, the last day of the annual event. That it screened a second time speaks to the impact of this lesser known Struges jewel the first time it was shown; many of the screening slots on the festival’s final day are held open for repeat showings of “smaller” films that proved to be especially popular on their first run.