"Now Listen to Me..."
Just some thoughts on current happenings:
Classic film screenings from around the world is returning this month in a limited capacity. Due to the Corona virus pandemic, please contact the theatre of choice regarding any restrictions including masks, social distancing, limited seating or last minute cancellations.
The Philadelphia Story
Sullivan’s Travels
Bringing Up Baby
It Happened One Night
In Bergen, Norway The Cinemateket i Bergen will begin its series of films entitled “Make ‘Em Laugh!” with The Philadelphia Story (1940, a 35mm presentation) Wednesday, June 2 and Thursday, June 3, Sullivan’s Travels (1941) Tuesday, June 15 and Sunday, June 20, Bringing Up Baby (1938, a 35mm presentation) Wednesday, June 23 and Wednesday, June 30 and It Happened One Night (1934, a 35mm presentation) Tuesday, June 29 and Wednesday, June 30.
For more information on each showing, click on the film’s corresponding image above. For more information on the “Make ‘Em Laugh” series, click on the series banner above, and for information on the other films/film series showing at The Cinemateket, click on the banner image above.
In London, United Kingdom The Prince Charles Cinema will present A Fistful of Dollars (1964, a 35mm print) Thursday, June 3 and Saturday, June 26, For a Few Dollars More (1964, a 35mm print) Wednesday, June 9, Fargo (1996, both 35mm and digital presentations) Friday, June 11 through and including Sunday, June 20, Vertigo (1958) Saturday, June 12, Tuesday, June 15 and Sunday, June 27, The Good, the Bad and the Ugly (1966, a 35mm print) Friday, June 18 through and including Thursday, June 24, Thief (1981, a 35mm print) Monday, June 21 and Wednesday, June 30, A Summer’s Tale (1996, a 35mm print) Tuesday, June 22 and Citizen Kane (1941, a 35mm print) on Saturday, June 26.
Click on the respective image for more information. To see June’s complete programming, click on The Prince Charles Cinema banner above.
In Melbourne, Australia The Astor Theatre is presenting The Straight Story (1999, a 35mm print) Friday, June 11, Citizen Kane (1941, a 35mm print, as part of this film’s 80th Anniversary) Sunday, June 13 at 3pm and again at 6pm, The Devils (1971, a 35mm print, 111 minute running time, as part of this film’s 50th Anniversary) Saturday, June 19 and a double bill of Casablanca (1942, a 4k digital print) and The Big Sleep (1946, a 35mm print) on Sunday, June 27.
Click on the respective image for more information. To see the rest of June’s schedule, click on The Astor Theatre banner above.
In theatres across the U.S., Fathom Events are presenting My Fair Lady (1964, with a musical overture and intermission) Sunday, June 13 and again on Wednesday, June 16.
Click on the respective film’s image for more information. To see this month’s entire schedule, click on The Fathom Events banner above.
In Los Angeles, California The Beverly Cinema will present a double bill of Bullitt (1968, a 35mm print) and The Getaway (1972, an I.B. Technicolor 35mm print) Tuesday, June 15, Wednesday, June 16 and Thursday, June 17 and New York, New York (1977, a newly struck 35mm print) on Friday, June 25, Saturday, June 26 and Sunday, June 27.
Click on the respective image for more information. To see the rest of June’s schedule, click on The Beverly Cinema banner above.
* Note: All of the first half of June’s screenings at the newly reopened The Beverly Cinema are Sold Out, so for the rest, get your tickets fast when they become available.
There are 11 recommended films to watch on Turner Classic Movies in the U.S. this month:
First up, is one of film noir's finest, Gun Crazy, previously reviewed here. Noir's most distinguishing feature, a focus on their criminal participants' psychology, marks a major shift regarding motive. In the earlier "gangster" films, money and power provided enough reason for the pursuit of illegal gains whereas in noir, the internal cause behind the action is paramount, and runs so much deeper... and darker. See for yourself, Saturday, June 5 at 9am PDT.
Does anyone notice anything peculiar in this shot considering this film was made during the Production Code?
One of cinema’s most quintessential performances by an actress can be seen in 1947’s Possessed by the film’s star Joan Crawford. Crawford’s thorough commitment is bolstered by the actress, along with the film’s director Curtis Bernhardt, having visited several psychiatric hospitals observing patients and interviewing doctors regarding the script’s authenticity. Possessed is a prior TCM recommendation here, and can be thoroughly absorbed in Eddie Muller’s Noir Alley Saturday, June 5 at 9pm PDT and again on Sunday, June 6 at 7am PDT.
This year saw the sad passing of Cicely Tyson (See: End Credits) who made a genuine heartfelt impression in The Heart is a Lonely Hunter, a previous TCM recommendation here. Viewers can realise a wealth of emotion by tuning in Sunday, June 6 at 2:45pm PDT.
Cicely Tyson as Portia with Alan Arkin as John Singer in The Heart Is a Lonely Hunter
MGM's 1952 musical Singin' in the Rain was not adapted from a theatrical production, though the film was later turned into one, being first presented on stage in 1983. Its abundant creativity, innovation and driving energy place this film at the top of all cinematic musicals ever produced. Singin' in the Rain has been reviewed as a past Blu-ray selection here and will joyously dance its way onto TCM Wednesday, June 9 at 7:15pm PDT and again on Wednesday, June 16 at (early morning) 1:30am PDT.
One of David Lean's more ambitious projects may have turned out less artistically accomplished than its director intended. Still, it has many attributes making Doctor Zhivago well worth seeing. Afterwards, I'd be truly appreciative if readers had a look at my review here. This epic scale romance will begin Saturday, June 12 at 5pm PDT.
Omar Sharif, Julie Christie
Another of film noir's most satisfying sensations is provided by Tension, a prior TCM recommendation here and can be felt Wednesday, June 23 at (early morning) 12:45 am PDT.
Richard Basehart, Audrey Totter
This next, somewhat half-hearted, recommendation is one of Alfred Hitchcock’s less thrilling espionage thrillers, 1966’s Torn Curtain.
Julie Andrews, Paul Newman
By this time, Hitchcock had lost three of his “dream team” collaborators beginning with cinematographer Robert Burks who turned his captivating lens on twelve of the master’s works including Strangers on a Train (1951), I Confess (1953), Vertigo (1958), North by Northwest (1959) and The Birds (1963). Then there was editor George Tomasini, who provided the dazzling rhythm behind such Hitchcock triumphs as Rear Window (1954), Vertigo (1958), North by Northwest (1959), Psycho (1960) and The Birds (1963). Finally, composer Bernard Herrmann’s distinctive musical passion is noticeably absent, abundantly evident in such Hitchcock classics as Vertigo (1958), North by Northwest (1959) and Psycho (1960). Although Torn Curtain’s replacements are noteworthy craftspersons (including John F. Warren director of photography and Bud Hoffman editor) who make dependable contributions, and the director’s advanced storyboarding remains on display in its most carefully constructed and engaging scenes, Torn Curtain lacks the overall drive, enthusiasm and intensity of Hitchcock’s most creatively arresting collaborative efforts.
Wolfgang Kieling (at left), Paul Newman
Paul Newman and Julie Andrews star. Newman is a terrific actor and is serviceable here but seems somewhat uncomfortable with his rather nondescript part. Andrews, as his love interest, is too sickly-sweet with hardly anything else to contribute since her character has no real character. Lila Kedrova as a Countess looking for an American sponsor outstays her welcome in awash sentimentality. Still, there are some striking set pieces which Hitchcock brings vividly to life as only the master can, i.e. Newman’s last meeting with Professor Lindt (perfectly realised by the distinguished character actor Ludwig Donath), a prolonged bus ride full of intrigue and suspense, and a final ballet performance burning with creative assurance. Most of all there’s the infamous attempt on Gromek’s (another absorbing multilayered character wonderfully enacted by Wolfgang Kieling) life to marvel at. This excruciating death scene is Torn Curtain’s real showstopper and alone worth the price of admission. Bernard Herrmann actually composed music up to and including this stunning sequence but was subsequently fired and never worked with Hitchcock again. Herrmann's music works splendidly for this aforementioned extreme conflict, but he was told (as with the shower scene in Psycho) not to score it (the Gromek death scene is completely sans music in its theatrical version). So, Herrmann’s disobedience, and the fact that the producers wanted a more contemporary sounding soundtrack, meant he was replaced with John Addison who wrote substantive music for the film’s main titles and edgier encounters but unfortunately also acquiesced with notes far too cloyingly "on the nose" for a few of the humorously-intended time-outs, and bland thematic material for the story’s far too light romantic bits. The music Herrmann composed for Gromek's death can actually be heard as a bonus feature on the film’s Blu-ray, and near the conclusion of Martin Scorsese's Cape Fear (1991). For the latter, Elmer Bernstein used it in combination with Herrmann's score for the earlier Cape Fear released in 1962, directed by J. Lee Thompson and interestingly enough, edited by George Tomasini. Brian Moore wrote Torn Curtain’s more or less well structured screenplay. Torn Curtain will open on TCM Saturday, June 26 at 10am PDT.
Later on Saturday, is Alfred Hitchcock’s most profound cinematic storytelling, 1958’s Vertigo with all three of his often employed, previously mentioned collaborators working at the peak of their considerable powers. Reviewed at length here, Vertigo will captivate fortunate viewers Saturday, June 26 at 2:45pm PDT.
Kim Novak
Now it’s on to horror for the third Hitchcock recommendation this month and what was at the time (including throughout its primary creator’s career) the most audacious cinematic assault ever perpetrated on the movie going public or the Motion Picture Production Code for that matter. 1960's Psycho was previously reviewed here. The terror will begin Sunday, June 27 at 5pm PDT.
One of the most intelligent and illuminating documentaries ever produced is Robert Epstein's 1984 feature The Times of Harvey Milk previously reviewed here and making another rare showing on TCM Monday, June 28 at 10:15pm PDT.
(From left) Harvey Milk, George Moscone, Dan White
My last TCM recommendation of the month is William Wyler’s 1949 The Heiress: a uniformly polished and engaging production of Ruth and Augustus Goetz’ intelligent and emotionally expressive adaptation of their stage play, itself based on Henry James’ “Washington Square.”
(From left) Montgomery Clift, Olivia de Havilland, Ralph Richardson
The story is set in New York during the middle 1800s. Shy and plain looking Catherine occupies herself with embroidery and caring for her cold, domineering father, Dr. Sloper (both characterisations superbly rendered with nuance and flair by Olivia de Havilland and Ralph Richardson respectively). The not so good Doctor is openly disdainful of his daughter’s social awkwardness and subsequent romantic prospects. He’s also contemptuous of the fact that her life caused his beloved wife’s death during childbirth. His negativity is so pronounced in the film’s opening scenes, it’s probably to be expected (or a bit confounding depending on one’s perspective) when this same man is so instantly opposed to a handsome suitor, Morris Townsend’s (an understated but focused performance by Montgomery Clift), keen and budding interest in Catherine. In this refined and reserved social environment, such an open expression of cynical thoughts and feelings can be seen as refreshingly honest or out of place or even both. In either event, the filmmakers’ (perhaps too) obvious desired effect is to establish a great deal of sympathy for Catherine at the full expense of her blunt and spirit-crushing father. It makes sense, therefore, that Dr. Sloper interprets Morris’ intentions to be that of the gold digger variety but his continuing disregard for how his daughter feels together with the assumption that Morris might not find both Catherine and her wealth attractive, i.e. have some genuine feelings for his daughter, cements the Doctor’s evilness like a departing gangster’s new shoes. Dr. Sloper’s dehumanising attitude really becomes an uncomfortable conundrum for viewers when it seems he might be right about Morris’ motivational pursuit. And if so, why should the Doctor care? Nevertheless, care he does when observed going to great lengths to keep the two would be lovers apart. Later, as Catherine contends with the cruel realisation of her father’s prophecy regarding Morris, we will observe the heiress’ innocent and beautiful spirit tragically digress into cynical frigidity, suggesting an inheritance that includes more than just her father’s fortune. It’s a slow transgression made less painful by the compassion offered through Miriam Hopkin’s character Aunt Lavinia Penniman and composer Aaron Copland’s soul-searching score.
(From left) Ralph Richardson, Olivia de Havilland, Ralph Richardson
Cinematic stories that revolve around unsympathetic persons can still be authentic and engrossing. It is when those same primary characters are so distinctively defined as such, repeatedly designed to generate commiseration for another, that viewers may feel as though they were set up to “take the fall.” Even if these resulting self-centred individuals are brought vividly to life, the filmmakers’ expertise in doing so only serves to enhance The Heiress’ sly but manipulative characteristics. Then again, this overt choice to delineate its narrative participants in such an unflattering light can be embraced as a progressive expansion of tragic formula, a possible challenge to those of us expecting a more traditional dramatic trajectory, and brought home so conclusively by this motion picture’s final words and imagery. The Heiress will arrive at TCM (updated) Friday, March 1 (2024) at 9 am PST.
TCM's current monthly schedule can be confirmed by clicking on any of the above TCM related images. For those who live in parts of the U.S. other than the western region, the time zone can be adjusted in the upper right-hand corner of TCM's programme.
This month's Happy Birthday shout-out goes to the spirited and multi-talented actress Monica Potter, who turns 50 on June 30th.
Notable film roles include those seen in Con Air (1997), The Very Thought of You (1998), Without Limits (1998), Patch Adams (1998), Head Over Heels (2001), Along Came a Spider (2001), Saw (2004) and The Last House on the Left (2009). Regular TV viewers may best know Potter from Boston Legal (2004-2005, as Lori Colson), Parenthood (2010-2015, as Kristina Braverman) and Wisdom of the Crowd (2017-2018, as Alex Hale).
The Soundtrack recommendation for the month is John Williams' inspired avant-garde score to Robert Altman's surreal psychological suspense thriller, 1972's Images.
This often atonal score is unlike anything else in the composer’s canon, a revolutionary soundscape totally befitting of the director’s approach to chronicling his subject’s illusionary state of mind. Interestingly enough, Williams was Oscar nominated in the Best Original Score category for both Images and another of his more signature compositions, The Poseidon Adventure, in the same year. This is the first soundtrack release from Images approved by the composer, newly produced from a recently discovered stereo element. The CD is available from Quartet Records in a limited edition (only 2000 copies made), restored and remastered and available through Intrada Records by clicking on the accompanying image.
The Blu-ray recommendation for the month is one of TCM's encouraged watchings and reviewed above, The Heiress.
The best presentation of this film is from Criterion (region A locked). For more information, including ordering from Amazon.com in the U.S., simply click on the Blu-ray image.
A.G.