The Maze (1953)
Synopsis: Life for the newly-engaged Kitty Murray (Veronica Hurst) and Gerald MacTeam (Richard Carlson) couldn’t be any happier – until Gerald receives a letter notifying him of the death of his uncle. Now it is his duty to take on the role of baronet of Craven Castle in the Scottish highlands. It’s expected that Gerald will settle his business at Craven and then return to Kitty, but soon he makes it clear that he’s not coming back and that the engagement is off. The heartbroken Kitty and her supportive aunt Edith (Katherine Emery) pay an unannounced visit to Craven, where they find Gerald a prematurely-aged and altogether different man. Kitty tries her best to bring back the warm and good-humored Gerald she once knew, but all Gerald wants is for Kitty and Edith to leave Craven Castle. What is affecting Gerald? Could the MacTeam family secret lie in the forbidden hedge maze in the center of the castle grounds?
Based on a novel and originally filmed in 3D, The Maze was the final film by Oscar-winning art director and production designer William Cameron Menzies, who received an honorary award in 1940 for his outstanding use of color in a little picture known as Gone with the Wind. Despite the fact that Menzies had more than twice as many artistic credits as he did directorial roles, he was also at the helm of such notable movies as 1932′s Chandu the Magician and 1936′s Things to Come. For a man who at the time had been in the business for nearly forty years, practically since the beginning of the medium of film itself, Menzies clearly knew what he was doing with The Maze. Although the plot synopsis may make it sound like a schlocky low-budget B horror picture (not necessarily a bad thing!), The Maze is definitely aided by Menzies’ directorial experience and impeccable eye for detail. It’s a beautiful movie with some stunning cinematography; Craven Castle has so many inky, shadowy corners you might think you’re in a German Expressionist film from the ’20s, not an American monster movie from the ’50s. The players, all relatively unknown (to me, anyway), also help add to the spooky ambience of the picture and heighten the mystery. The narrator is Aunt Edith, and while Katherine Emery at this point was an accomplished character actress and stage performer, here she sort of gives you the impression that she’s played by someone’s actual Aunt Edith. It’s distracting but not too much; I suppose it just adds a hint of realism.
It’s good that the atmosphere is so strong, because the film relies on it a lot to pass the time. That’s my way of saying that nothing much happens until the last ten minutes or so. While many reviewers complain that The Maze is too slow, I rather enjoyed the build up of suspense and thought that it helped those last ten minutes really pack a punch. I don’t want to spoil it too much – seeing as how the poster above specifically requests that I don’t give away the ending – but I will say that there is a monster at the center of the maze, and it is definitely worth the wait. I can’t say you’ll be scared, though, but hopefully you’ll be entertained. There’s also some very silly science in the last few scenes which I enjoyed probably too much. Overall I was pleasantly surprised by The Maze, which I had never heard of prior to stumbling across it on Netflix (which predicted I’d give it a very low rating). It’s a wonderfully eery little picture with the perfect hint of schlock thrown in for good measure. I can definitely see adding it to my annual must-watch Halloween roster.
The Maze (1953) – 3.5/5 stars
The Beast with Five Fingers (1946)
Synopsis: There’s conflict afoot in the house of pianist Francis Ingram (Victor Francen). His dedicated nursemaid Julie (Andrea King) has taken a shine to his dishonest cohort Bruce (Robert Alda), and his secretary Hilary (Peter Lorre) refuses to tear himself away from his astrological “research.” So when Ingram takes a spill down the stairs and dies late one night, nobody is really bothered. That is, until more people start to mysteriously expire, with suspicious black and blue fingerprints around their throats. Ingram’s piano music is heard playing throughout the house, and Hilary swears a part of the angry musician has returned from beyond the grave: his disembodied hand, ready to take vengeance on those who wronged him in life and continue to dishonor him after death. Are these the ravings of an antisocial lunatic, or is Ingram’s hand really running amok and killing off his enemies?
What a wholesale disappointment. The plot of this Robert Florey film sounded awesome, and it put the movie on my must-see list for a long time. But sadly, aside from an adorable severed hand which does crawl around and play the piano and do menacing things as promised, there’s nothing to it. The story starts with potential, and a mystery is anticipated, but instead of going that route it just completely gives you what you see and makes no effort to be surprising or suspenseful. The plot twist is that there is no plot twist; the person flashing the giant proverbial I AM THE MURDERER, I AM CRAZY, LOOK OUT FOR ME sign above his head from the very start turns out to be, surprise, the culprit. Sorry if I spoiled it for you, but really. Lorre is effective as always, but it’s a character you expect him to play, so while he’s good at it, it’s nothing really novel. According to screenwriter Curt Siodmak, the story was originally penned with Paul Henreid in mind, under the belief that a more handsome leading man would garner more sympathy from the audience, therefore making it harder to believe that he was crazy. While on a personal taste level I disagree on the issue of Henreid being more handsome than Lorre, I think he might be right. Having someone less suspicious in the role of the crazy person might’ve added at least a hint of mystery. But if the rest of the plot had been kept exactly the same, the film would’ve ended up losing a lot, as Peter Lorre is basically the best thing it’s got going for it. As for the rest of the cast, they fit the bill well enough, except for Robert Alda who is awful. Imagine Rod Sterling’s voice coming out of Robert Donat’s body. He’s supposed to be the smarmy-charmy crook who’s got everything figured out from a mile away and just sits back making sarcastic comments, but it’s his delivery that’s laughable. The atmosphere is nicely creepy at times but mostly the soundtrack and the acting make everything seem way too overblown and melodramatic. The ending – as in literally the last thirty seconds or so – will make you go, “Huh?!?” in a bad way, and might even make you wanna punch the screen. I know I did. I’ll give it points for the always-watchable Lorre and the fun special effects, but really, I expected a whole lot more out of this movie than what I got. Skip it.
The Beast with Five Fingers (1946) – 2.5/5 stars
Island of Lost Souls (1932)
Synopsis: When wayward seafarer Edward Parker (Richard Arlen) is picked up by a freighter after being stranded by a shipwreck, he and the frequently-soused captain don’t see eye to eye. Instead of transporting him to the Samoan capital of Apia, where his fiancée Ruth (Leila Hyams) is eagerly awaiting her beau, the nasty captain drops Parker onto the boat of manservant Montgomery (Arthur Hohl) and his mysterious boss Dr. Moreau (Charles Laughton), who are receiving a large shipment of wild animals to take back to their private island. Parker is naturally upset, but Moreau promises to give him a ship to sail to Apia in the morning. When they arrive on the island, Parker is treated to dinner, drinks, and the delightful company of the exotic and friendly Lota (Kathleen Burke). She warms to Parker quickly, and soon informs him that the charming Dr. Moreau isn’t what he seems. In actuality, he’s a scientist on a devilish mission to control the process of evolution – transforming animals into men.
This scifi/horror gem by director Erle C. Kenton was the first in a long line of cinematic adaptations of H.G. Wells’ 1896 novel The Island of Dr. Moreau. Its status as a pre-Code talky is evidenced by the repeated references to rape and bestiality, as well as Moreau’s own explicit blasphemy. The film was banned in the United Kingdom for over twenty-five years – though interestingly it was the scenes of vivisection, prohibited by the Cinematograph Films (Animals) Act of the 1930s, which kept it under wraps for so long. Furthermore, H.G. Wells himself was outspoken in his dislike of the way the movie overshadowed his more serious philosophical ponderings with overt horror elements. I must admit that I haven’t yet read Dr. Moreau, although Wells is one of my favorite authors. I hope his spirit won’t be too angry at me for saying this – who knows, he could be out and about, what with it being Halloween season and all – but I, for one, thoroughly enjoyed this film.
The picture features some striking cinematography and an excellent use of shadows, as well as employing its tropical jungle setting (which was really just Catalina Island) to appropriately spooky effect. The story itself is intriguing, but it’s the performance of Charles Laughton as Moreau which really makes this movie worth seeing. Laughton is at once smooth, calm, and dangerous; he wields terrifying power over his subjects and all that goes on on his island. Perhaps I’m reading too much into his portrayal, but I found something slightly sissified about Moreau, imbuing him with a “menacing queerness” that adds a whole new dimension to his obsession with creating life in a non-procreative manner. In the same way that critics have read homosexual undertones into the mad scientist character of Dr. Pretorius in 1935′s Bride of Frankenstein, I feel there’s definitely a little more lurking beneath the surface of Dr. Moreau than what we’re explicitly told. Whether this was an intentional move by the filmmakers or by Laughton (who himself was homosexual), or whether it’s just me choosing to see what I want to see, I don’t know, but I stand by my hypothesis.
Another performance I enjoyed was that by Kathleen Burke as Lota the Panther Woman, who I think portrayed a perfect blend of naïvete, awkwardness, and sexual curiosity in her film debut. A dental assistant working in Chicago, Burke began acting after winning a beauty contest sponsored by Paramount Studios; she went on to appear in over twenty films before retiring from the profession in 1938 at the age of 25. However, besides Laughton and Burke, there’s not really much worth noting about the other actors, with leading man Richard Arlen being particularly hammy and terrible. Bela Lugosi also has a very very small role as the Sayer of the Law, the animal-human hybrid who recites the rules as dictated by Moreau. I found it to be a pretty big waste of Lugosi’s talent – but then again, Lugosi specialized in that. Overall this is a truly creepy yet beautiful film with a completely stellar performance by Laughton that really brings the whole thing up a notch from B-grade scifi/horror to a Grade-A classic. Definitely perfect for Halloween, or, hell, any time of the year – you never need an excuse to watch a movie as neat as this one.
Island of Lost Souls (1932) – 4/5 stars
Friday Glam Spam: Carole Lombard
click images to enlarge
(October 6, 1908 – January 16, 1942)
Image Sources: LIFE (1, 2); Toutlecine.com (3, 4); Doctor Macro (5-12)
This is an official entry in Carole & Co.’s Carole-tennial(+3) Blogathon, celebrating what would have been Carole Lombard’s 103rd birthday (October 6th). This prestigious event, hosted by the premiere Carole Lombard blog, runs from October 6th (yesterday) through October 9th (Sunday). Come check out a plethora of quality entries dedicated to the Queen of Screwball Comedy, and maybe even contribute one yourself!The Unknown (1927)
Synopsis: Alonzo the Armless (Lon Chaney) is a knife-thrower in love with the circus master’s beautiful daughter Nanon (Joan Crawford), who happens to have a pathological fear of men’s hands. Sounds like a match made in heaven, right? There’s one catch: Alonzo isn’t really armless. He’s a fugitive with a distinctive double thumb on one hand that would instantly identify him to the police if revealed. Alonzo becomes Nanon’s confidant and commiserates with her over the forcefulness of Malabar the Mighty (Norman Kerry), also devoted to Nanon but shunned by her due to his frightfully strong grip. After the circus master discovers his secret late one night, Alonzo uses his hands to strangle his boss to death, accidentally revealing his deformed thumb – but not his face – to Nanon. Knowing that she could never love him if she knew that he was the man who murdered her father, Alonzo realizes that if he ever wants to win Nanon’s heart, his arms have to go.
Tod Browning (who also made 1931′s Dracula and 1932′s Freaks) is my favorite director, and in my opinion The Unknown is his best film. I recently had the opportunity to see it on the big screen at the American Cinematheque’s all-too-brief Browning retrospective and was dazzled anew at just how stunning a picture it is. The sixth of ten collaborations between Browning and Chaney before the latter’s untimely death at the age of 47 from lung cancer, The Unknown epitomizes the style of film the duo were known for, the style they created: the horror film that tells the story of a deformed, mutilated, or otherwise physically disfigured character, which seeks to probe the darkest corners of the human psyche, and to push the boundaries of what movie audiences and critics alike can stomach. At the same time that Chaney’s remarkable abilities to twist and transform his visage are on display, his incredible range as an actor also shines through brilliantly; despite the shock of the horrific and outlandish character that he plays, it is this aspect of Chaney which ultimately leaves the most lasting impression in The Unknown.
I have to admit that I’m a big fan of “weird” movies, and The Unknown definitely fits the bill in that respect. But I’m convinced that there’s really something for everyone here, because it’s a film that’s not just weird, it’s good. Tod Browning never was the most subtle of directors, but he’s at his most effective here, mostly letting his incredibly talented cast do the work. If you’ve never seen Joan Crawford in her flapper days, you’re missing out on a huge part of her pre-1940s career. She’s fabulous here, plus she has been quoting as saying that Chaney was the one person most responsible for teaching her what it means to be an actor. But it is of course Chaney who’s the star of the show. He covers the gamut from creepy, to pathetic, to sympathetic, to downright evil, all in one 73-minute film. Many have said (though it’s Burt Lancaster who’s always credited as the first) that Chaney’s portrayal here is one of the most compelling acting performances ever captured on celluloid. The greatest screen performance by one of the most talented performers the screen has ever seen – how can you possibly pass that up?
The Unknown is one of my favorite horror movies, if only because it’s something so outrageous that only a team like Browning and Chaney could pull it off. This is always the film I steer people toward if they are of the belief that all silents are “boring.” The Unknown is anything but, and while it may not horrify you, it is guaranteed to make you drop your jaw and look at the possibilities of silent film in an entirely new way.
The Unknown (1927) – 4.5/5 stars
Odds & Ends
Just a few small tidbits of news (and one big one) I wanted to share with you all…
• I’ve been nominated for a CiMBA!!! The CiMBA is the Classic Movie Blog Association’s annual award for excellence in classic film blogging, voted on by fellow CMBA members. This is my first year in the CMBA – and my first year with this blog, as previously noted – so I am extremely honored to have my name included amongst so many bloggers whom I admire so much. I am nominated in the category of Best Classic Movie Blog Event for June’s Queer Film Blogathon, which happens to be the one thing in my blogging career that I am most proud of. Voting will take place this week and the 2011 CiMBA winners will be announced October 17th. Good luck to all my fellow nominees!
• Like I did last October, this month I plan to review one horror film from each decade – except this time I’m only doing the 1920s through the 1970s, instead of the 1910s through the 1980s. It’s just easier that way, as it can be extremely hard to find movies from the ’10s, and the ’80s are too scary for me. :P Look out for my first review of this series, covering a horror film from the 1920s, coming up on Wednesday.
• I’m trying a little experiment that those of you who are – or should be – Facebook fans of this blog can help me with. I’ve created a poll to determine who I should feature in this week’s Friday Glam Spam! Just “Like” Garbo Laughs on Facebook to see the nominees and vote. I’d really appreciate your assistance – who knows, maybe this could become a new weekly event!
Happy Birthday, Garbo Laughs!
Guess what, little chickadees? Today happens to be Garbo Laughs’ first anniversary. Yup! This here itty bitty blog is one year old today, October 1. And oh, what a year it’s been. Following in the footsteps of some of my fellow bloggers, I thought I’d take this chance to look back on my first 365 days of blogging as a sort of summary retrospective. Some of you have been with me the whole time, but many more of you are new. Come along with me, won’t you, as we laugh, cry, and roll our eyes through the first twelve months of this blog’s life.
October 2010
I formally introduced myself to the classic film blogging world for the first time (since that old collaborative Blog That Shall Not Be Named never really did get off the ground fully). My original plan for Garbo Laughs was to pick a theme each month – sometimes seasonal or topical, sometimes randomly drawn from a hat – and review a minimum of four films pertaining to said theme. Great idea, while it lasted. That first October my theme was, appropriately enough, Horror, and I managed to review one film from each decade from the 1910s to the 1980s. Wow! I was sure full of vim and vigor back then. I also introduced regular features such as Born This Month, TCM This Week, Music Monday, and Friday Glam Spam.
Reviews: Frankenstein (1910); The Fall of the House of Usher (1928); White Zombie (1932); The Seventh Victim (1943); House On Haunted Hill (1959); Strait-Jacket (1964); Burnt Offerings (1976); Little Shop of Horrors (1986)
November 2010
I tried valiantly to continue my theme-of-the-month idea with Native Americans, but completely pooped out towards the end. I saw Katie’s Corner LIVE and reviewed it. My girlfriend Molly made this Pokemon-Hitchcock crossover diorama and allowed me to share it.
Reviews: Hombre (1967); Tonka (1958); Nanook of the North (1922)
December 2010
As morbid as it sounds, In Memoriam was one of my favorite themes, and I’ll definitely be repeating it this year. Towards the end of the month I got a job at a movie theater, but given that I passed out at work within the first week, it didn’t last long (don’t ask). I quietly phased out TCM This Week and Music Monday.
Reviews: Poltergeist (1982); Georgy Girl (1966); Stormy Weather (1943); Queen of Blood (1966)
January 2011
Happy New Year! Since I wasn’t able to finish it in December, I continued In Memoriam, and I’m glad I did. I was also admitted into the Classic Movie Blog Association (yay!) and participated in their stupendous Hitchcock Blogathon. I reviewed a book, something I want to do a lot more of in the blog’s second year. And I introduced Instant Classics.
Reviews: Hud (1963); Tokyo Godfathers (2003); The 39 Steps (1935); Penny Serenade (1941); Of Human Bondage (1934)
February 2011
Where the hell did I go in February? I have no idea. I finally did away with the monthly theme idea entirely (except for sporadic events). I introduced the “regular feature” Short Stories which hasn’t been seen since – another thing I plan to correct in year two! And I was fortunate enough to participate in the marvelous For the Love of Film (Noir) blogathon.
Reviews: No Way Out (1950); The Three Faces of Eve (1957)
March 2011
I posted some pretty pictures for Jean Harlow’s centenary. I took a headcount of parties interested in my crazy Queer Film Blogathon idea. I blogged my ass off for Japan. I paid tribute to Elizabeth Taylor. And I won a Stylish Blogger Award!
Reviews: Nausicaä of the Valley of the Wind (1984); Porco Rosso (1992); Pom Poko (1994); Whisper of the Heart (1995); The Cat Returns (2002)
April 2011
I suffered through the White Elephant Blogathon, I played a little prank, and then I promptly disappeared until May.
Reviews: Feeding Boys, Ayaya (2003)
May 2011
I officially announced the Queer Film Blogathon and contributed to the CMBA’s Movies of 1939 Blogathon.
Reviews: The Rules of the Game (1939)
June 2011
I went all out (pardon the pun) for the Queer Film Blogathon, posting reviews, Glam Spams, vintage magazine scans, original articles, and more. The actual event occurred on June 27th and went swimmingly, phenomenally well, if I do say so myself.
Reviews: Different from the Others (1919); Salomé (1923); Maedchen in Uniform (1931); Rope (1948); Rebel Without A Cause (1955); The Killing of Sister George (1968); The Christine Jorgensen Story (1970); Can’t Stop the Music (1980); The Adventures of Priscilla, Queen of the Desert (1994)
July 2011
Plumb tuckered out from June, I did manage to get in a review for the ’50s Monster Mash Blogathon. I was also admitted to the Large Association of Movie Blogs!
Reviews: Diabolique (1955); 20 Million Miles to Earth (1957)
August 2011
Real life got in the way, but I rallied for the Loving Lucy Blogathon!
Reviews: The Big Street (1942)
September 2011
…let’s not talk about it.
That was my first year of blogging! In all that time I got 23,626 hits, 712 comments, and churned out 142 posts, 41 of them being movie reviews. Not too shabby! Here are a few other statistics you may find interesting:
Average views per day, 2010: 19
Average views per day, 2011: 80
Busiest day: June 27th, 2011 – 1,214 hits
Top post: Queer Film Blogathon announcement – 1,351 hits
Top review: The Three Faces of Eve (1957) – 390 hits
Top five search terms: Conrad Veidt (292), Garbo Laughs (211), Dorothy Lamour (98), Paul Newman (93), Christine Jorgensen (91)
Top five commenters: me (250), Kim (21), Lillian (20), Christianne (19), Brandie (17), Becky (17), Page (17) (three-way tie for fifth!)
Overall, despite a few bumps and bruises, I thoroughly enjoyed my first year here at Garbo Laughs and am eager to start the second. There’s a lot of things I plan to improve about the blog, and about my interaction with the blogging community – New Year’s resolutions, if you will. For one, I really need to comment more! I know this, but once I get behind I can just never seem to catch up. (Answer: suck it up, or just don’t get behind.) I’d also like to really hone my focus to strictly classic films, from the period 1920-1970, and have less of those 1980s, 1990s, and 2000s stragglers getting in the way. Mostly I just want to watch and review more. I own a ridiculous amount of movies I haven’t even seen yet. There’s definitely no dearth of material – I just need to make more time for movie-watching in my life. Don’t we all?
Lastly, I’d like to thank all of you who read this blog, old and new, but especially the older ones who have stuck with me for so long. I really appreciate your support and friendship. I’m so happy to have found other people out there – mostly women, mostly my age – who enjoy rambling on about old movies as much as I do. You’re all classy, fabulous geniuses, every last one of you. Don’t ever forget it.
Alright, I’m done with this self-congratulatory stuff. As always, comments, critiques, and suggestions are welcome.
Born This Month: October
OCTOBER
1: James Whitmore (1921); Julie Andrews (1935)
2: Groucho Marx (1890)
4: Buster Keaton (1895); Charlton Heston (1924)
6: Carole Lombard (1908)
7: June Allyson (1917)
10: Helen Hayes (1900); Ed Wood (1924)
13: Cornell Wilde (1915); Yves Montand (1921)
14: Lillian Gish (1893); Roger Moore (1927)
15: Mervyn LeRoy (1900)
16: Linda Darnell (1923); Angela Lansbury (1925)
17: Jean Arthur (1900); Rita Hayworth (1918); Montgomery Clift (1920); Julie Adams (1926)
19: Louis Lumiere (1864)
20: Bela Lugosi (1882)
22: Joan Fontaine (1917)
23: Lilyan Tashman (1899)
25: Leo G. Carroll (1892)
26: Jackie Coogan (1914)
27: Ruby Dee (1924)
28: Edith Head (1898); Elsa Lanchester (1902)
30: Ruth Gordon (1896); Ruth Hussey (1911)
Instant Classics: October
Here are the movies coming to and expiring from Netflix Watch Instantly in October. Since there aren’t many new titles this month, I also included some extra new movies from September that you may have overlooked.
New This Month
Scarface (1932) September 2
Mobster Tony Camonte (Paul Muni) seizes control of Chicago’s bootlegging racket in this classic crime drama, which also stars George Raft, Boris Karloff and Osgood Perkins (Anthony Perkins’ father). From director Howard Hawks and producer Howard Hughes, Scarface set the benchmark for future gangster films. Karen Morley portrays Camonte’s love interest and Ann Dvorak the gangster’s beloved sister.
Montana (1950) September 2
Australian Errol Flynn plays an Australian for the only time in his career in this tale of Morgan Lane, a sheepherder from Down Under who relocates to Montana. His arrival angers local cattlemen who believe he’s encroaching on their grazing land. Lane’s ace in the hole may be Maria Singleton (Alexis Smith), a rancher who is attracted to Lane despite her disapproval of him and her engagement to one of his most violent opponents (Douglas Kennedy).
On the Waterfront (1954) September 2
Winner of eight Oscars, director Elia Kazan’s classic morality tale stars Marlon Brando as Terry Malloy, a has-been boxer who experiences a crisis of conscience while working for mobbed-up union boss Johnny Friendly (Lee J. Cobb). Terry turns a blind eye when Friendly’s thugs kill a fellow dockworker to keep him from testifying in a corruption case, but he has second thoughts when the victim’s sister (Eva Marie Saint) urges him to take a stand.
The Barefoot Contessa (1954) October 1
Movie director Harry Dawes (Humphrey Bogart), in a sequence of flashbacks, ponders the life of ravishing Tinseltown star Maria Vargas (Ava Gardner). A flamenco dancer at a two-bit cabaret when a trio of showbiz VIPs discovers her, Maria finds fame, fortune and love in the blink of an eye. It appears at first glance that Maria has it all, but her tempestuous nature and a devastating secret in her marriage to an Italian count give rise to tragedy.
Breakfast at Tiffany’s (1961) October 1
In this Blake Edwards-directed adaptation of Truman Capote’s novel, fortune hunter Holly Golightly (Audrey Hepburn) finds herself captivated by aspiring writer Paul Varjak (George Peppard), who’s moved into her building on a wealthy woman’s (Patricia Neal) dime. As romance blooms between Paul and Holly, Doc Golightly (Buddy Ebsen) shows up on the scene, revealing Holly’s past. The film received Oscars for Best Song (“Moon River”) and Best Score.
The Russians Are Coming, The Russians Are Coming (1966) October 1
A Russian submarine runs aground near a small New England town, and it’s up to Lt. Rozanov (Alan Arkin) as the Russians’ second-in-command to covertly secure a towboat to avoid an international confrontation. When he hooks up with residents such as Walt Whittaker (Carl Reiner) and the police chief (Brian Keith), all hell breaks loose. This classic comedy earned three Oscar nominations, including one for Best Picture.
Midnight Cowboy (1969) October 1
When hayseed hustler Joe Buck (Jon Voight) comes to Manhattan to earn cash as a freelance sex stud and work toward his dream of becoming a kept man, he meets seedy gimp Ratso Rizzo (Dustin Hoffman), and an improbable friendship blossoms. John Schlesinger’s 1969 cinema classic won Academy Awards for Best Picture, Best Director and Best Screenplay, becoming the first X-rated film to win an Oscar in any category.
The Great Train Robbery (1978) October 1
Victorian rogue Edward Pierce (Sean Connery) crafts an ambitious plan to stage England’s first hold-up of a moving train. To get to the 25,000 pounds of gold bars on board — which are well-guarded by a complex key system — Pierce enlists a bedmate (Lesley Anne Down), a safecracker (Donald Sutherland) and a tough guy (Wayne Sleep). Director Michael Crichton adapted the script from his novel by the same name, which is based on actual events.
Interiors (1978) October 1
In Woody Allen’s first dramatic film, the disintegration of an upper class couple’s marriage forces their three grown daughters (Diane Keaton, Mary Beth Hurt and Kristin Griffith) to reveal their feelings about them and each other. But none are able to provide ample support to their devastated mother. The film received five Oscar nods, including Best Director, Best Actress (Geraldine Page) and Best Supporting Actress (Maureen Stapleton).
Zelig (1983) October 1
“Human chameleon” Leonard Zelig (Woody Allen) soars to celebrity with his unexplained ability to transform himself into anyone he meets. Zelig finds himself in the unlikeliest of places — from the intensity of the Yankees dugout to the frenzy of a Nazi rally. But his doctor, brainy psychiatrist Dr. Eudora Fletcher (Mia Farrow), insists that Zelig’s condition can only exist in his mind. Allen directs this newsreel-style mockumentary.
Expiring This Month
The Animal Kingdom (1932) October 6
When free-spirited publisher Tom Collier (Leslie Howard) — a devotee of art and literature — decides to marry socialite Cee Henry (Myrna Loy), he leaves his longtime lover, the like-minded Daisy Sage (Ann Harding), in the lurch … and along with her, any chance of happiness. Soon, his wife reveals herself to be conniving and deceitful, while his mistress displays all the qualities of a loving wife, leaving poor Tom in a quandary.
The New Adventures of Tarzan (1935) October 9
Everyone’s favorite loincloth-clad Man of the Apes, Tarzan (Herman Brix), heads to Central America for some true cliff-hanging adventures in this complete collection of 12 serialized episodes. Intent on rescuing an old friend, Tarzan travels to Guatemala and ends up fighting bad guys who are after a priceless idol, which also happens to contain top secret information. Ula Holt, Frank Baker and Ashton Dearholt also star.
The Verdict (1982) October 11
A washed-up, ambulance-chasing attorney (Paul Newman) gets a chance at redemption when his friend (Jack Warden) tosses him an open-and-shut medical malpractice case. But instead of accepting an easy cash settlement, he takes the powerful defendant to court. James Mason plays the opposing counsel, whom his legal adversary calls “The Prince of Darkness,” in this courtroom drama from director Sidney Lumet.
The Beguiled (1971) October 13
An injured Civil War soldier (Clint Eastwood) takes refuge in a fancy Southern girls’ school and quickly becomes the center of attention as the girls clamor for his affections, and the headmistress (Geraldine Page) freely practices her surgical skills on him. A far cry from typical Eastwood films, this moody, atmospheric drama is a tension-filled cult favorite from director Don Siegel (Dirty Harry, Escape from Alcatraz).
The Creature with the Blue Hand (1967) October 15
Committed to an asylum after the family gardener is murdered, aristocrat Dave Emerson (Klaus Kinski) — who insists he is innocent — escapes the institution and returns to the family castle, where he assumes the identity of his twin brother, Richard (also played by Kinski). The intrigue multiplies when more people are slain, attracting the interest of Scotland Yard snoop Inspektor Craig (Harald Leipnitz) in this scary psychological thriller.
Young Billy Young (1969) October 15
Robert Mitchum is Ben Kane, a lawman with a personal score to settle in this 1960s Western. When Kane meets Billy Young (Robert Walker Jr.), he recruits the gunslinger, an outlaw on the run with a vendetta of his own. Trouble rides into town with Kane’s nemesis, Boone (John Anderson), and his outlaw son, Jesse (David Carradine), who’s Young’s ex-partner in crime. Angie Dickinson stars as saloon dancer Lily Beloit.
King Lear (1971) October 15
In Peter Brook’s cinematic adaptation of William Shakespeare’s tale about a vain and aging king and the daughters who will be his undoing, Paul Scofield seems to carry the weight of the world on his shoulders as the weary and unraveling Lear. Shot in black-and-white, the film creates a grim, frigid world devoid of light and hope in which its inhabitants labor nonetheless. Irene Worth, Susan Engel and Anne-Lise Gabold play Lear’s daughters.
Stevie (1978) October 15
Glenda Jackson reprises her stage role in Hugh Whitemore’s play about acclaimed British poet Stevie Smith, who lives with her elderly aunt (Mona Washbourne) in their London home. Reclusive Stevie uses her writing as a way to cope with her emotional fragility. As she recalls her past, Stevie describes her failed relationship with boyfriend Freddy (Alec McCowen), the tribulations of living with her eccentric aunt and the pitfalls of fame.
Rosie: The Rosemary Clooney Story (1982) October 15
This made-for-TV film from director Jackie Cooper dramatizes the turbulent life and career of singer and television actress Rosemary Clooney (Sondra Locke), including her rise to national prominence with “Come on-a My House” and other radio hits. But as Clooney’s stardom waxes then wanes, her personal life with actor husband Jose Ferrer (Tony Orlando) disintegrates into depression and drug abuse, until pal Bing Crosby revives her career.
Montana Belle (1952) October 25
Brunette bombshell Jane Russell stars in this fictional “biography” as brazen Wild West outlaw Belle Starr, a sharp-shooting gal who charms a trio of men — including the handsome gang leader who rescues her from a lynching.
I’m Baaack!
Hey y’all! Remember me?!? My name’s Caroline, and I used to blog about old movies. I would very much like to do that again. Life has been hectic recently: I took over primary blogging duties at On Bipeds & Brutes; I moved from Los Angeles to Tucson, AZ; I even got a dog! (He’s a Dachshund, just like the doggy in this picture with Joan.) I just haven’t had much time to watch films, much less write about them, but now I’d like to do my best to remedy that. We are on the cusp of October, my favorite time of the year for movie-watching (can you say Halloween?!?), and also my blog’s first anniversary. I can’t let that go by without a mention!
But before I get back into the swing of things, I must shamefully admit that, along with my lack of blog-writing, I’ve also been guilty of a lack of blog-reading. There are 518 unread items in my Google Reader feed as I write this, a number that feels too daunting to even attempt to tackle. Do any of you who use (or, let’s admit it, used to use) the journaling site LiveJournal remember when people would go on hiatus and then return and ask you to tell them what had been happening in your life, even though you’d been writing about it all along when they were just too busy to pay attention? I used to hate that. I’m not going to pull that on you. However, if there are any posts you’ve made in the last three months that you feel deserve particular attention, feel free to link them in the comments. :) I’m especially interested in hearing about any upcoming blogging events that I might otherwise overlook! (Plus this is also an opportunity to promote yourself in yet another place, right? It’s a win-win!) I promise to read and comment on any post I’m directed to here, and I promise to at least try to read and comment on the 500+ posts waiting for me in my reader. But that’ll likely take some time.
Meanwhile, I’d like to extend a sincere THANK YOU to Meredith, Clara, and Kevyn for passing on some very nice blog awards to me while I was away! You are all too kind, and I’m sorry it’s taken me so long to show my gratitude. I’d also like to apologize to Angela and the Classic Movie Blog Association for missing their Fashion in Film and Guilty Pleasures Blogathons respectively; I really wanted to participate and I’m sorry I couldn’t get myself together in time to do so.
Thank you all so much for your patience and understanding during this busy time in my life. I cannot wait to get back to bloggin’!
