Category Archives: hitchcock
Earlier today I found out that actress Karen Black had passed away via a Tweet from my good friend Andy Burns, also editor-in-chief of Biff Bam Pop!. Another Tweeter’s response was that he had no words. That’s how I feel. We’ve lost one of the good ones, a legend of the genre. Karen Black died yesterday in Los Angeles from ampullary cancer at the age of 74.
When I said genre, I am of course talking about the horror genre. Karen Black probably most remembered film is one where she played a tour de force of four characters in Dan Curtis’ TV movie of the week Trilogy of Terror. It was at the aforementioned Andy Burns’ website, Biff Bam Pop!, that I talked about how that film still scares the crap outta me. You can read that here.
While it’s true she made her share of horror films, notably Trilogy, and Rob Zombie’s House of 1000 Corpses among others, it’s a fact she never stopped making movies. But of all the films Ms. Black has made, it is the movies of the 1970s that defne her. Hell, one could even say that Karen Black defined film in the 1970s. She changed the way women and sexuality were portrayed on the big screen.
Among her films are some of the best or at least most memorable of the decade, including Easy Rider, Five Easy Pieces, The Great Gatsby, Capricorn One, In Praise of Older Women, Hitchcock’s last movie Family Plot, and Robert Altman’s Nashville. She also starred on stage and on television as well as film. She was a composer, screenwriter, producer, and author of children’s books.
I met her once a few years back, at a Chiller convention near the Meadowlands. We were about to leave and I saw this seemingly crazy woman screaming at people to get her something or other. The men surrounding her scrambled. I realized it was Karen Black. She was holding court in the lobby of the hotel.
I was either brave or stupid, so I approached her and told her she was great in Easy Rider and Nashville, and that I loved her in Trilogy, even though she scared me to death in it. She was kind, and soft spoken, and thanked me, even shook my hand. Moments later she was barking at underlings again, but to me, and other fans who approached her she was an angel.
That’s how I will remember Karen Black – a kind loving woman who adored her fans. Not the psychopath possessed by a Zuni fetish doll. And that’s probably for the best. We’ve lost one of Hollywood’s great actresses, and she will be missed.
We have truly lost one of the legends of the writing game. Celebrated multiple award-winning author Richard Matheson passed away this weekend, surrounded by family and friends. He was 87.
Even if you didn’t know his name (shame on you!), you know his work. Here is just a sampler – the following movies are all based on his work – The Incredible Shrinking Man, Somewhere in Time, What Dreams May Come, Real Steel, Trilogy of Terror, The Box, Loose Cannons, The Legend of Hell House Burn Witch Burn, Jaws 3-D (hey, a paycheck is a paycheck), and the these last three, all based on the same novel, The Last Man on Earth, The Omega Man, and I Am Legend.
That’s not all, all of the good “Twilight Zone” episodes that weren’t written by Rod Serling, they’re all Matheson too. He wrote hundreds of short stories and books, and countless hours of television in many different genres, including episodes for “Star Trek,” “Combat!,” “Have Gun Will Travel,” “Thriller,” and “The Alfred Hitchcock Hour.” Other than “The Twilight Zone,” possibly his two greatest contributions to television were the Steven Spielberg-directed Duel and The Night Stalker, which became a fondly remembered cult TV series.
We have lost another legend.
While known alternately as both Great Britain’s first and Alfred Hitchcock’s first sound movie, Blackmail in truth was released simultaneously as a talkie and as a silent film. To make sure it was seen by as many people as possible, Hitch made two versions, the one silent to ensure theaters not yet equipped for sound in 1929 could still show it.
Blackmail is a tale of passion, betrayal, murder, and yes, blackmail, based on a play by Charles Bennett, who also helped Hitch adapt it for the screen. Bennett would end up working with the director in this capacity many times over the years, on films like Secret Agent, Sabotage, The 39 Steps, Foreign Correspondent, and The Man Who Knew Too Much. On his own he would also go on to adapt the TV version of “Casino Royale” and Curse of the Demon.
While originally a stage bound story, Hitch, and Bennett, do a wonderful job of opening the story up to many locations and sets. Many adaptations like this of the time were limiting and almost claustrophobic. The film’s climax is an edgy mad chase through the British Museum, similar to scenes Hitch would continue to construct throughout his career.
Lead actress Anny Ondra, primarily a Czech and German actress is stunning as an early Hitchcock blonde. All the other roles are played with precision but Ondra is the standout by miles. She was so well liked that the studio refused to let Hitch do the ending he wanted. The studio insisted Ondra walk free at the end, rather than pay for her crimes.
Hitch’s directing and storytelling skills are at their height here, and seriously, when aren’t they? Even before he was the master of suspense, he was always a master filmmaker. As with all Hitchcock films it is key you pay attention at all times, the devil is in the details. Simple yet complex, the dynamic storytelling style that would make Hitch one of our era’s greatest directors is evident and already honed here at the end of the 1920s decade.
I recently caught the rarely seen silent version on “Silent Sunday Nights” on TCM, and it was stunning. Must see for any Hitchcock fan or student of the medium, recommended.
A Film with Me in It ~ I discovered this flick quite by accident. I was surfing through the channels one afternoon and saw Dylan Moran. I love Dylan Moran. He’s the best part of Shaun of the Dead, and “Black Books” is one of my favorite Britcoms of all time. The film was just at the beginning, so I settled (watched what little I missed in a later viewing) in for what was sure to be entertaining. I was hooked immediately by this dark dark comedy.
Mark, played by this film’s screenwriter Mark Doherty, who lives with his girlfriend and handicapped brother in a flat he’s having trouble keeping. Pierce, his ne’er-do-well friend played by Moran, is a wannabe screenwriter with whom they are trying to write a movie. When Mark’s life begins to unravel, a series of accidents kill several people in his flat in quick succession. As Pierce struggles to ‘fix’ things, very dark hilarity ensues.
High tension, high comedy, dialogue perfect for Moran, direction by Ian Fitzgibbon that apes Hitchcock slyly, this is a fun, but very dark flick. I loved it. This may not be for everyone, but I thought it was great.
Behind the Candelabra ~ I remember Liberace from my childhood. I remember him from the 1966 “Batman” TV show (in syndication, I’m not that old), where his appearance as villainous twin brothers equaled the series’ highest rated episodes. Such was the power of Liberace. He was not only a fabulous piano player, and a faaah-bulous showman, he was a huge star, and a serious draw when it came to stage and screen. When Liberace was on TV, for various reasons, you had to see it, and his stage show, whether in Vegas, New York, or LA, it was always a sensation.
While it wasn’t talked about back then, I think everyone knew Liberace was gay, it was oddly accepted he was different in that way. Liberace was wholesome entertainment. When I heard HBO was making a movie about him, I feared the worst. Especially after recent hack jobs on Phil Spector and Alfred Hitchcock. HBO knows how to make quality television series, but the folks who make their movies are out of control.
When I heard it would be about Liberace and his last lover, Scott Thorson, I knew it would be another smear piece. Thorson’s book of the same name was a memoir in much the same vein as Mommy Dearest.
Then I heard about the casting, and I was intrigued. Michael Douglas as Liberace, and Matt Damon as Scott Thorson. Wow. Boggles the mind, doesn’t it? Here’s the thing, they pull it off, they pull it off mind bogglingly well. When I see a flick with a big name star, if I can stop calling them by name, and believe they are the character, that’s impressive to me. For instance, Meryl Streep and Mel Gibson are always Meryl and Mel to me, but here, this was Liberace and Thorson. The actors’ performances are stunning.
True or not, those performances are scarred by the outrageous and flamboyant story. It may have happened that way, and they may have worn those clothes, but the absurdity of the situations take away from the quality of Douglas and Damon.
It also doesn’t help that the rest of the cast is filled out by comedians and actors doing their crazy best. Rob Lowe, Dan Ackroyd, Scott Bakula, and Debbie Reynolds, among others, are at their insane peak, equal to Douglas and Damon.
Should you watch it? Definitely. Behind the Candelabra is both time capsule and freakshow, and most importantly a manic showcase for the actors involved, and nowhere near the usual trainwreck we have gotten recently from HBO Films.
I was completely taken aback by the title card that preceded HBO’s Phil Spector. Here’s what it said: “This film is a work of fiction. It is not “based on a true story.” It is a drama inspired by actual persons in a trial, but it is neither an attempt to depict the actual persons, nor to comment upon the trial or its outcome.”
What?? Wow. I wonder how many lawyers between HBO and Phil Spector it actually took to write that nightmare up? I understand it’s worded to keep either party from suing the hell out of each other, but it also seems like open season to make up whatever the hell they want about real people and not get sued. Wow.
The facts: Phil Spector, perhaps one of the world’s greatest music producers, shot model and actress Lana Clarkson in his home in 2003. Spector claimed it was suicide, was tried twice for murder, and finally convicted to serve nineteen years in prison.
This film: Helen Mirren plays defense attorney Linda Kenney Baden who enters Spector’s madcap mental ward world in an attempt get him out of the murder charges. Jeffrey Tambor as attorney Bruce Cutler provides occasional comedy relief.
Al Pacino plays Spector as subtle but completely insane, sort of like a sedated homeless clown person with voices in his head and a violent streak. His home is like cross between a museum, a circus, the Addams Family house, and the Psycho house. And oh, those wigs. Sadly the wigs were real.
The film’s soundtrack, like the performances of Pacino and Mirren, is one of its few saving graces. HBO’s Phil Spector is a wonderful example of a few diamonds hidden within a piece of dog crap. If I didn’t know about the case, and Spector’s career, I wonder if this movie would even made sense. It seems built for footnotes.
The film is surprisingly and unrecognizably written and directed by David Mamet. What was he thinking? And what did Phil Spector ever do to David Mamet? These are the mysteries I would like solved. I love Mamet, and this was a major disappointment.
As the tagline for this flick says, ‘the truth is somewhere in the mix.’ Unfortunately, I think that mix has been erased and taped over multiple times. This is a mess. This is two down in my book as far as HBO movies go. Between this and The Girl, I think they should stop making movies about real people, it’s just not working out. I’m dreading the Liberace biopic coming later this year now.
I’ve never been big on secret origins, except when they are shorter than a sentence or two or a minute or two. Just tell us what we need to know about the character or the situation and start the story. As a matter of fact, one writer rule states that you should always start in the middle of the story – beginnings are for suckers. Alfred Hitchcock’s 1960 Psycho is a near perfect classic of the horror thriller genre, did we really need an ongoing prequel TV series? Why do we need A&E’s “Bates Motel”?
While it might not be the first to do such, I do blame “Smallville.” It’s the story of Superman, before he was Superman. If you’re a comics person, your first instinct is probably Superboy, and that’s really the problem with “Smallville.” All of the names are the same, but nothing else is. “Smallville” bears very little resemblance to Superboy. In the series, there is no Superboy, we see the looong journey of Clark Kent growing to manhood, and in the last moments of the last episode of the series, he finally becomes Superman. Over a decade later. Yeah, that long. And the whole time, all you really want from this show is to see him as Superman.
And that is why I hate secret origins, especially when they disguise themselves as ongoing TV series. I have to wonder, is that what “Bates Motel” will be like? Will we be waiting forever for our young protagonist Norman Bates to begin showing signs of the sociopath he is by the time the events of Psycho roll around? Will it take a decade?
The other obstacle (or perhaps it’s a good thing, for the new show at least) is the many folks who are watching who have no point of reference for Norman Bates. I know it’s hard to believe, but it’s a factor. After all, believe it or not, there were teenagers watching “Smallville” who didn’t get the Superman (or Superboy) references and thought it was just a cross between “The X-Files” and “Beverly Hills 90210.” Certainly that worked. Half the audience was there for the soap opera, and half for the pseudo-superhero stuff. Perhaps “Bates Motel” might just work as a show about a gawky kid with a overbearing mother who run a creepy motel, period.
“Bates Motel” is set present day, we begin with Norman’s dad dead, and Mom rushing them away to start over again, a habit she seems to have. The two are a little bit too close, and Vera Farmiga is just as overbearing as Norma Bates, as Freddie Highmore is creepy as young Norman. She’s a bit too pretty for my tastes, even as a young Norma Bates, but her paranoid craziness fills out the rest of her character well.
On their latest ‘start over,’ they buy an old motel foreclosed on by the bank. When a even creepier neighbor starts to harass them because the motel and property had been in his family for decades, well, things escalate. He breaks in, rapes Norma, and Norman saves her, after which Mom finishes the job, killing the attacker. Don’t call the police, we’ll cover this up ourselves is Norma’s battle cry. We kinda start to get the vibe maybe Dad’s death wasn’t quite what it seemed.
As creepy as the killer and the collaborator are, Nestor Carbonell is even scarier as Sheriff Alex Romero. If you locked me in a room with the three of them, he’s the one I’d be most scared of. There are some genuinely chilling moments here, as well as some “90120” caliber teenage soap moments. There’s also a cliffhanger that is very tempting to keep me watching, but I have to wonder, will this drag on forever and take a decade to get to the point, or will it surprise me. We’ll just have to wait and see.
The Girl ~ Wow, what a piece of crap. That’s what I’m tempted to say about HBO’s pseudo Lifetime movie of the week about Alfred Hitchcock and Tippi Hedren, The Girl. The story is obviously one-sided, vengeful, and is about as fast and loose with facts as a Presidential candidate on the losing side of a national debate.
Here are the facts. Hitchcock was one creepy dude, and a control freak, but was a loyal husband and one of our greatest directors. He definitely had a thing for blondes. And he certainly treated Tippi Hedren like crap, both with scenes he made her shoot and not letting her out of her contract. He might have made advances on her as she alleges, or she simply may have just been difficult to work with and he wanted to hurt her career. There are cases for either option, but The Girl is simply Tippi’s revenge filled side.
All of that out of the way, Sienna Miller is an adequate Tippi Hedren, suitably mediocre for the real actress. Toby Jones, on the other hand, is absolutely stunning as Hitchcock. Much like his Truman Capote in Infamous, Jones’ Hitch is hypnotic. It’s also a fascinating look at how The Birds and Marnie as movies may have been made. Again, this is a matter of perspective, and who is telling the story. The nice thing about making a movie about events that happened fifty years ago is it’s not easy to find folks to disagree with what’s truth and what’s not.
The story of Marnie is used as a plot device in The Girl. I really wonder if screenwriter Gwyneth Hughes actually understood what Marnie was really about before she used it here as Hitch’s revenge on Hedren. It’s plausible but I think unlikely. The film’s last words, “Marnie is now hailed as Hitchcock’s final masterpiece.” Wow. Really? Again it’s a matter of history being written by the victors, I suppose, or those who live the longest.
The Girl is not for anyone with a good memory, a sense of history, or who is a Hitchcock fan. I am reminded of Oliver Stone’s JFK and Nixon where we have scenes where everyone involved is dead, so who knows really what happened in that situation. That said, like all HBO productions, it is top tier television, just in my opinion, short on facts.
The Girl is worth seeing for the great performances of the actors, nothing more. This is simply Tippi Hedren’s revenge on Hitchcock. I wonder what fellow blonde and Hitchcock actress Grace Kelly would have had to say about The Girl?
The Lady Vanishes ~ I had not seen this Alfred Hitchcock classic before seeing it several Mondays ago at the Rave Cinema Classics locally. I’m glad I saw it, and am kicking myself for not seeing it years ago. The Lady Vanishes is everything one expects and loves in a Hitchcock flick, and it reminded me a lot of one of my faves, Shadow of a Doubt. There is intrigue, humor, fascinating characters, and plots twists galore. Most of all, it’s fun. I loved it.
A couple investigate a missing old lady on a train across pre-war Europe, where the apathy and selfishness of others keep the mystery intact. This is not the stereotypical Hitchcock flick, although his touch is golden and obvious throughout. And speaking of interesting characters, this film is the first appearance of Charters and Caldicott, who have appeared in various British films over the years. Fun, suspenseful and highly recommended.
“The Lodger” begins with the Doctor kicked from the TARDIS, a machine that has proven in the past to be as temperamental as an agitated lover. I have to wonder at this point in the series, with only two episodes to go, if perhaps the TARDIS is being controlled by outside forces.
Next we tumble into what seems to be a completely unrelated sedate drama about a platonic couple – the man of which cannot verbalize his feelings for the woman – and a troublesome upstairs renter. It has a certain British sitcom vibe to it, but the situation could easily be “Everybody Hates Chris,” “Three’s Company,” Duplex or Alfred Hitchcock’s The Lodger. But this is “Doctor Who,” so you know there’s got to be more to it.
So the Doctor finds himself stranded with the TARDIS having ejected him and finds himself drawn into the above Britcom. Much like David Tennant did in the “Human Nature” two-parter, Matt Smith tries to blend in as both a human and a renter in the house, thinking that the upstairs tenant has something to do with what went wrong with the TARDIS. So the Doctor has some human misadventures, notably being wet, naked and in a towel (!) – has anyone else noticed how often he gets wet? And he also plays football (soccer for us Yanks). It’s a lot of fun until you take into account this aired the same day as the US/UK round of the World Cup – then it seems a bit forced.
While this is going on Amy is trying to get control of the TARDIS. She’s pushing and pulling controls left and right and taking the turbulent ride of her life while the blue Police Box is out of flux. In all the confusion I couldn’t help but wonder when she would stumble across Rory’s engagement ring.
And then things get bad. It all comes out all right though, for the moment. The universe is saved again, this time with a head butt and a kiss. There is of course still a question of where this second TARDIS came from. Only a Time Lord can build a TARDIS. Could it be the Rani? Or maybe the Doctor’s other personality the Dream Lord? No time to think about it, because then things get worse.
“The Lodger” was written by Gareth Roberts who has a long peripheral history with Doctor Who, having penned many novels in the New Adventures and Lost Adventures series of books as well as several of the audio dramas featuring the Doctor. He’s also written a few episodes of the series, some with Russell T. Davies and some alone. “The Lodger” also features a couple of previous Doctor cameos, and a bizarre and quite honestly hysterical new power for the Time Lord. Fun. Roberts turns in an interesting if oddball and madcap assignment here.
So until next time, remember… “Bowties are cool.”