Category Archives: tcm
Traffic in Souls ~ This 1913 silent was also known as While New York Sleeps: A Photodrama of Today. Written and produced by George Loane Tucker (best known for his later film, The Miracle Man), it was also called in Hollywood circles ‘Tucker’s folly,’ as he tried for years to get the film made.
Traffic in Souls is about the slave trade in the early 20th century, something that tragically still goes on today. Tucker sought to develop a drama that would simultaneously entertain and inform audiences of this horrid crime. Rumor had it at the time it was based on a government report, but this wasn’t true, although that didn’t keep folks from seeing the picture. Hype worked the same way a century ago as it does today.
I finally got to see this flick on TCM’s terrific “Silent Sunday Nights.” It is a tale of two upstanding Swedish immigrant women, played by Jane Gail and Ethel Grandin, one of whom is swept away by deceptive men into prostitution and worse. Matt Moore is also very good here, and it might be why his career stretched beyond this film.
It’s one of the first feature films from Universal, one of their first hits, and did what Tucker intended, alerted audiences to the horrors of human trafficking at the time. Great scenes of New York of the time, and worth a look for silent film lovers.
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.
This 1968 curiosity from the folks at Something Weird is a semi-animated fantasy based on Alice in Wonderland but with a more obvious drug theme woven through. It tries to be psychedelic, and probably would be if you were high, but the limited animation makes it difficult.
I can imagine this may have been pretty risqué back in the drug days of the late sixties, but its kinda tame for these days. But let’s face it, back in the day, Ralph Bakshi went much further. Hell, Bakshi could have even done this better.
In this Wonderland, the characters all seem to be using one drug or another – marijuana, pills, even LSD – though I’m unsure whether this short is actually supposed to be pro-drug or anti-drug. It is definitely worth a look-see, at least once, if only as a time capsule to a mostly lost culture.
Steel Against the Sky ~ A classic Warner Bros. two-reeler from 1941, this has stock characters and a predictable end, but all in all is great fun. Two brothers, Lloyd Nolan and Craig Stevens, high rise construction workers, compete for the same girl, sexy dame Alexis Smith. Thrills abound in the climax high above a bridge construction in a raging ice storm. Classic forties Hollywood melodrama at its best – snappy banter, comedy, romance, and adventure. And watch out for the young Jackie Gleason. Worth watching.
Spaceship Yamato ~ This 2010 live action version of the animated TV series “Star Blazers” is everything you would expect it to be. I liken it to seeing my comic book heroes, the Avengers, on the big screen. It’s something I never thought I would see in a million years, and yet here it is. Fabulous special effects bring the animation to life. So worth seeing, even if you just look at it with no subtitles on YouTube. Absolutely must see for any “Star Blazers” fans.
21 Jump Street ~ I really only watched the first season of this show when it was originally on, so I’m not a fan by any real stretch, but I do hate the idea of remaking old TV series into comedy movies, especially when the source material was not a comedy. I can forgive “Bewitched,” but this one doesn’t quite fit. About the only thing I liked about this was the Johnny Depp reveal at the end. The rest of this mess is really like Jonah Hill and Channing Tatum just got stoned and improv-ed what they thought “21 Jump Street” might be about. Hill is so not funny here, and I equally don’t get what all the fuss over Tatum is. Avoid this like a salad bar without a sneeze guard.
The Cabin in the Woods ~ Joss Whedon strikes again. There’s really not much I can say about this one, other than it is always more than you expect, and always goes one better. Unpredictability at its best, a modern horror classic. If I told you anything else, I’d spoil it. You’re on your own.
Double or Nothing ~ This great one-reeler from 1936 stars Phil Harris as a stunt double in Hollywood who while under gas dreams he goes to ‘Doubles Heaven,’ home to lookalikes of the stars. An amusing musical romp, and lots of fun for fans of classic Hollywood, starring many doubles of the day.
Titanic ~ This is not the Titanic you think it is, in fact, this is not any of the Titanics you might think it is. It’s not from 1997, 1953, or even 1915. I had never heard of this 1943 version until very recently, and it is a sad and very intriguing monument to the power of propaganda. This is the Nazi version.
This Titanic was made by the German film industry, controlled by the Nazis, in the midst of World War II. At a time when Germany was at war with Great Britain, this dramatic propaganda film showed the story of the Titanic sinking, not strictly because of an iceberg, but because of the greed and folly of the British ship’s owners.
In this Titanic, the upper class British passengers are all rich, careless, and decadent, with the Germans poor and heroic, in fact, the only German crew member is our hero. The skewed almost-Bizarro World version of history has to be seen to be believed.
This subtitled anti-British piece of work was never actually released as Nazi officials thought the scenes of chaos inboard the ship might panic German citizens who were under attack during wartime. For years it was thought lost, but occasionally shows up on TCM. Worth watching as a curiosity.
This is a one-reeler from 1941, adapting the classic Edgar Allan Poe tale, and starring Joseph Shildkraut and Roman Bohnen. Both performers are staggeringly brilliant in their roles as the narrator and the old man, especially Bohnen who particularly frightening.
Whereas the original story is a monologue of madness, this Doane Hoag screenplay is a slightly updated full drama with dialogue. This is a sad state of affairs as we can sympathize with our murderer, and his motivations, at first, something I think Poe never had in mind. It kinda really made me wonder what was in Hoag’s head.
The use of the verb ‘quit’ in the dialogue is unintentionally hilarious in light if its use in Brokeback Mountain. It’s very difficult to stay with this short film once that exchange is had. That said, and ignored, this is a brilliant twenty-odd minutes of atmospheric intensity.
The work as full drama over monologue transforms it incredibly into almost a completely different piece. Still the use of sound and imagery are phenomenal. Cudos to director Jules Dassin, who would go on to make The Canterville Ghost, Topkapi and Never on Sunday. Worth seeing if you get a chance. TCM has been showing it in between some features this month for Halloween.
I Saw What You Did ~ Back in the old days, before video rentals, before OnDemand, even before cable television, there was only one way to see a particular film – you waited and waited for it to finally show up on standard six channel television. When it was a movie you’d never seen and only heard about, it became sort of an event, and a special memory. I saw The Big Sleep and The Maltese Falcon this way, and also Mothra and the Matt Helm films. There was a certain mystique to the movies you had to watch and wait for each week by scouring the TV Guide.
The original 1965 (it was later a terrible telemovie in the late 1980s that is best forgotten) version of I Saw What You Did was one of those movies, and in recent times it has been made even rarer by its on-again-off-again video and DVD releasing. In an age where almost everything is available, this is indeed a rare film. It’s a lucky thing that occasionally TCM gives it a run, usually when honoring its star Joan Crawford, or its genius director William Castle.
Its full title gives a bit of a hint what it is really about. Two teenage girls on a sleepover amuse themselves by making random prank phone calls and saying to the answerer, “I Saw What You Did! And I Know Who You Are!” You can imagine the bedlam that ensues when they call the man who has just murdered his wife. There’s the set-up and trademark William Castle hilarity and horror follow. You can understand how the plot of this one can become whispered legend among those watching the TV Guide every week.
In a role originally meant to be only a cameo (although she got top billing and pay) and originally offered to Grayson Hall, later to be known as Dr. Julia Hoffman on “Dark Shadows,” Joan Crawford eats up the screen like the film goddess she was in every scene. Her appearance, dressed for flash in the middle of the night, is kinda odd, but then again she’s Joan Crawford after all. She proves without a doubt she could easily be the kooky neighbor in a sitcom from any age, and do it with pizzazz.
The two girls, and one’s little sister, are terrible, but their kids, so give them a break. John Ireland as the killer is stone-faced and fierce, his looks alone inspiring scares. Some of the shocks and the violence are a bit over the top for the time, and surprising when you think about it in hindsight. It’s not Friday the 13th, but it’s a bit much for 1965. The initial killing is an ironic turn on the shower scene from Psycho and actually quite well done.
This is, despite what others may tell you, William Castle at his best. I love this flick, and watch it whenever it presents itself. Must see for horror fans, movie fans, and camp fans – funny, scary, quirky, what more could you want? So keep a lookout, just like in the old days, for the next time I Saw What You Did airs, it’s worth it.
Ernest Borgnine passed away yesterday at the ripe old age of 95, from kidney failure.
I grew up with him in “McHale’s Navy,” but some of the younger folks might know him from “Airwolf” or surprisingly (at least to me) “Spongebob Squarepants.” Besides those roles, Borgnine also acted in dozens of television shows in his six decade career, including an Emmy nomination for his role in the last couple episodes of “ER” when he was 92.
Borgnine was also a stage star, and because his television credits are so dominant, many folks forget what a legendary screen actor he was. He won the Oscar for his role in 1955’s Marty, and was outstanding in many other films like From Here to Eternity, The Dirty Dozen, Willard, The Devil’s Rain, The Poseidon Adventure and even Harlan Ellison’s infamous The Oscar.
I recently saw the man interviewed on TCM. He was as boisterous and lively as he had ever been, happy to tell tales of the old days and more recent times, a happy library of the industry. We have lost one of the great actors of Hollywood.
The Story of Mankind ~ I had heard about this film for the first time on the Steve Friedman Mr. Movie radio show, but had never had a chance to see it until recently on TCM.
It is the story of two angels, Ronald Colman and Sir Cedric Hardwicke, arguing over the fate of mankind. A sort of history of the world with a star-studded cast, The Story of Mankind is also known for being the last Marx Brothers film (although they appear separately), and also Colman’s final film appearance. It was also produced, directed and screenwriter by the master of disaster films, Irwin Allen.
Vincent Price is delightful as The Devil, and as narrator, but that us just the beginning of the odd and sometimes inspired casting of stars as historical figures. Peter Lorre as Nero is fun, but Hedy Lamarr is painful as Joan of Arc, and the Marx Brothers should never have shown up to this party.
The Story of Mankind is a fairly fun flick even with all its flaws. Worth seeing once, and definitely a good choice for kids if you want to sneak some education into their entertainment. Check it out.