HITCHCOCK & HERRMANN: "NORTH BY NORTHWEST" COMES TO THE SAN FRANCISCO SYMPHONY

On Friday, December 1 and Saturday, December 2, The San Francisco Symphony will present the Alfred Hitchcock blockbuster, North by Northwest (1959), featuring Bernard Herrmann's iconic score, in evening performances at Davies Symphony Hall. As with all SFS film series presentations, North by Northwest will be screened with its score scrubbed from the soundtrack and instead performed live by the symphony orchestra.

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.

"Mademoiselle" (1966) starring Jeanne Moreau, directed by Tony Richardson

In Francois Truffaut’s The Bride Wore Black (1968), Jeanne Moreau portrayed a woman driven to kill after the reckless accidental shooting of her new husband. In that film, one of Truffaut’s more interesting homages to Hitchcock, her character relentlessly pursues vengeance, methodically seeking out and taking out the men responsible for her groom’s death. Two years earlier, in Tony Richardson’s Mademoiselle (1966), Moreau played a similar sort of dark angel. In this film her character was even more sinister, with motives far less clear-cut.

FRENCH NOIR RETURNS TO SAN FRANCISCO NOVEMBER 3

Jean Gabin and Jeanne Moreau in Gas-Oil, screening on "Rare Gabin Saturday," Nov. 4 

 

4 DAYS/13 FILMS: "THE FRENCH HAD A NAME FOR IT 4"

San Francisco's venerable Roxie Theater will host the 4th installment of THE FRENCH HAD A NAME FOR IT, a leading-edge festival of French film noir pioneered and presented by Mid-Century Productions and its executive director/programmer, Don Malcolm. Thirteen French noirs will light up the screen over four days, from Friday, November 3 through Monday, November 6. Here's a quick look at an exciting schedule...

One-of-a-Kind Celebrity Dolls, Pt. 3: More Creations from Amazing Artists

Lauren Bacall by Cyguy

In this better-late-than-never third and final installment in our series on "OOAK" (One-of-a-Kind) celebrity dolls, we'll peruse the work of some highly accomplished and well-respected artists; Pt. 2 featured the work of prolific "repaint" artist Noel Cruz and Pt. 1 focused on the history of celebrity dolls.

CASABLANCA at 75, Let the Celebrations Continue

Casablanca - winner of Best Picture, Best Director (Michael Curtiz) and Best Screenplay (Julius and Philip Epstein and Howard Koch) Oscars and possibly the film from Hollywood’s golden era that has aged better than any other “as time goes by” - turns 75 this year. Casablanca was honored at the 8^th annual TCM Classic Film Festival in April with a screening on the final night of the event at the TCL Chinese Theatre, that opulent icon of glamorous days gone by that is just now celebrating its 90th year.

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.

PANIQUE (PANIC), a Timely French Noir from Julien Duvivier

This article is also featured in the May/June 2017 issue of THE DARK PAGES film noir newsletter edited by Karen Burroughs Hannsberry. For information on the bi-monthly publication, Click here.

 During Turner Classic Movies’ 8^th annual film festival in April, more than 75 films were shown over the event’s four day run. All films screened were classics and almost all of them appealed to me. But there were two that I was determined to see: The Powell/Pressburger tour de force Black Narcissus (1947), presented on nitrate-based film stock, and the less well known newly restored French film noir, Panique (1946), from director Julien Duvivier (1896 – 1967).

A Rare Noir is Good to Find 2, San Francisco's Second International Film Noir Festival - Coming in May

For four days in May, twelve mostly rare films noir from eleven countries around the world will screen at San Francisco's Roxie Theater in the heart of the city's Mission District. The event, A Rare Noir is Good to Find 2, is the second international film noir festival to be presented at the Roxie by Mid-Century Productions, the company that has already staged 3 annual French film noir festivals there. Says Don Malcolm, Mid-Century's veteran noir programmer, "As astonishing as it is to know that there are hundreds of French noirs awaiting rediscovery on American movie screens, it's even more amazing to see just how prominent film noir was in just about every significant filmmaking nation in the years following World War II."

Camino del Infierno (The Road to Hell) from Mexico, 1951