Actor Beau Bridges is being honored in a place of special significance to his family.
The star of The Fabulous Baker Boys, The Descendants, Norma Rae, and more than 200 other films and television series received the Lifetime Achievement Award at the Sonoma International Film Festival on Friday. His late father, actor Lloyd Bridges, traced his roots to the town in California’s wine country.
“I can really feel my dad, Lloyd’s spirit here with me in Sonoma, because this is where he was raised,” Bridges tells Deadline. “He was born in San Leandro and raised in Sonoma on Spain Street. He was an altar boy at the St. Francis Church, and then he moved to Petaluma, went to Petaluma High School. So, this is his territory, and to have this acknowledgement here in the seat of our family, so to speak, is really special to me.”
Beau Bridges on-set...
The star of The Fabulous Baker Boys, The Descendants, Norma Rae, and more than 200 other films and television series received the Lifetime Achievement Award at the Sonoma International Film Festival on Friday. His late father, actor Lloyd Bridges, traced his roots to the town in California’s wine country.
“I can really feel my dad, Lloyd’s spirit here with me in Sonoma, because this is where he was raised,” Bridges tells Deadline. “He was born in San Leandro and raised in Sonoma on Spain Street. He was an altar boy at the St. Francis Church, and then he moved to Petaluma, went to Petaluma High School. So, this is his territory, and to have this acknowledgement here in the seat of our family, so to speak, is really special to me.”
Beau Bridges on-set...
- 3/24/2024
- by Matthew Carey
- Deadline Film + TV
Courtesy of Kino Lorber
by Chad Kennerk
Considered the first film noir to feature a leading black protagonist, Odds Against Tomorrow is a vital entry in the noir canon. Directed by legend Robert Wise and produced by star Harry Belafonte’s HarBel Productions, the gritty look at racial tension is also one of cinema’s most important films about prejudice. Created amidst growing disquiet in America, the film heralds the explosive events to come at the dawn of the 1960s and the Civil Rights Movement.
The screenplay was based on the novel by William P. McGivern (The Big Heat) and secretly written by Abraham Polonsky, who penned the screenplays for films such as Body and Soul and Force of Evil. Polonsky had been blacklisted by the House Un-American Activities Committee, so Belafonte approached black novelist and friend John O. Killens to serve as the credited screenwriter. It would take until...
by Chad Kennerk
Considered the first film noir to feature a leading black protagonist, Odds Against Tomorrow is a vital entry in the noir canon. Directed by legend Robert Wise and produced by star Harry Belafonte’s HarBel Productions, the gritty look at racial tension is also one of cinema’s most important films about prejudice. Created amidst growing disquiet in America, the film heralds the explosive events to come at the dawn of the 1960s and the Civil Rights Movement.
The screenplay was based on the novel by William P. McGivern (The Big Heat) and secretly written by Abraham Polonsky, who penned the screenplays for films such as Body and Soul and Force of Evil. Polonsky had been blacklisted by the House Un-American Activities Committee, so Belafonte approached black novelist and friend John O. Killens to serve as the credited screenwriter. It would take until...
- 1/20/2024
- by Chad Kennerk
- Film Review Daily
Chicago – The Czar of Noir is coming to town, bringing his very popular “Noir City Chicago” back to the Music Box Theatre for 2023. Eddie Muller, the host of Turner Classic Movies “Noir Alley,” will appear on behalf of a specially curated series of noir genre classics. For more information, full schedule and tickets, click Noir City.
“Noir City: Chicago” is a week-long celebration of “film noir” … the dark category of film drama that usually takes place at night, and features a rogues gallery of dames, gumshoes, coppers and crooks … and will be hosted by Muller from Friday to Sunday, and Film Noir Foundation’s Alan K. Rode the rest of the way. For the kickoff night on August 25th, Muller will be sailing away with Bogie and Bacall on “Key Largo” (1948), followed by the Orson Welles essential “The Lady from Shanghai” (1947) and wrapping up with John Garfield in “Force of Evil...
“Noir City: Chicago” is a week-long celebration of “film noir” … the dark category of film drama that usually takes place at night, and features a rogues gallery of dames, gumshoes, coppers and crooks … and will be hosted by Muller from Friday to Sunday, and Film Noir Foundation’s Alan K. Rode the rest of the way. For the kickoff night on August 25th, Muller will be sailing away with Bogie and Bacall on “Key Largo” (1948), followed by the Orson Welles essential “The Lady from Shanghai” (1947) and wrapping up with John Garfield in “Force of Evil...
- 8/23/2023
- by adam@hollywoodchicago.com (Adam Fendelman)
- HollywoodChicago.com
This picture looks as modern and radical as anything from Italy in the 1960s, yet it’s a tough-talking take on hardboiled crime caper fiction. In three pictures Stanley Kubrick went from amateur to contender: now he has a like-minded producer, a top-flight cast, and the help of the legendary pulp author Jim Thompson. Sterling Hayden, Marie Windsor, Elisha Cook Jr., Coleen Gray, Vince Edwards peg the cynical film noir style, and Kubrick maintains the source book’s splintered chronology for the tense racetrack heist. All Hollywood took notice — at least that part of the industry looking out for daring, progressive storytelling. Now in 4K, Kubrick’s superb B&w images look better than ever.
The Killing
4K Ultra HD
Kl Studio Classics
1956 / B&w / 1:66 widescreen / 84 min. / Street Date July 26, 2022 / available through Kino Lorber / 39.95
Starring: Sterling Hayden, Marie Windsor, Elisha Cook Jr., Coleen Gray, Vince Edwards, Jay C. Flippen,...
The Killing
4K Ultra HD
Kl Studio Classics
1956 / B&w / 1:66 widescreen / 84 min. / Street Date July 26, 2022 / available through Kino Lorber / 39.95
Starring: Sterling Hayden, Marie Windsor, Elisha Cook Jr., Coleen Gray, Vince Edwards, Jay C. Flippen,...
- 7/30/2022
- by Glenn Erickson
- Trailers from Hell
Despite the proliferation of streaming services, it’s becoming increasingly clear that any cinephile only needs subscriptions to a few to survive. Among the top of our list are The Criterion Channel and Mubi and now they’ve each unveiled their stellar April line-ups.
Over at The Criterion Channel, highlights include spotlights on Ennio Morricone, the Marx Brothers, Isabel Sandoval, and Ramin Bahrani, plus Luchino Visconti’s The Leopard, Frank Borzage’s Moonrise, the brand-new restoration of Joyce Chopra’s Smooth Talk, and one of last year’s best films, David Osit’s Mayor.
At Mubi (where we’re offering a 30-day trial), they’ll have the exclusive streaming premiere of two of the finest festival films from last year’s circuit, Cristi Puiu’s Malmkrog and Nobuhiko Obayashi’s Labyrinth of Cinema, plus Philippe Garrel’s latest The Salt of Tears, along with films from Terry Gilliam, George A. Romero,...
Over at The Criterion Channel, highlights include spotlights on Ennio Morricone, the Marx Brothers, Isabel Sandoval, and Ramin Bahrani, plus Luchino Visconti’s The Leopard, Frank Borzage’s Moonrise, the brand-new restoration of Joyce Chopra’s Smooth Talk, and one of last year’s best films, David Osit’s Mayor.
At Mubi (where we’re offering a 30-day trial), they’ll have the exclusive streaming premiere of two of the finest festival films from last year’s circuit, Cristi Puiu’s Malmkrog and Nobuhiko Obayashi’s Labyrinth of Cinema, plus Philippe Garrel’s latest The Salt of Tears, along with films from Terry Gilliam, George A. Romero,...
- 3/26/2021
- by Jordan Raup
- The Film Stage
New superlatives are needed to express just how good is this wonderful Americana musical from the 1950s boom years. The Broadway creator tapped Hollywood’s most qualified (and creative) director of musicals for the stage to screen conversion, retaining much of the original New York talent. Doris Day is a sensation as Babe Williams, whose romantic and labor problems play out at a sleepwear factory. The color design is a delight, every song is a keeper, and the talent on view makes one want to clap, sixty-five years later.
The Pajama Game
Blu-ray
Warner Archive Collection
1957 / Color / 1:85 widescreen / 101 min. / Street Date January 26, 2021 / available through the WBshop / 21.99
Starring: Doris Day, John Raitt, Carol Haney, Eddie Foy Jr., Reta Shaw, Barbara Nichols, Thelma Pelish, Jack Straw.
Cinematography: Harry Stradling Sr.
Film Editor: William H. Ziegler
Art Direction: Malcolm C. Bert
Choreography: Bob Fosse
Musical Supervision: Ray Heindorf
Songs by: Richard Adler,...
The Pajama Game
Blu-ray
Warner Archive Collection
1957 / Color / 1:85 widescreen / 101 min. / Street Date January 26, 2021 / available through the WBshop / 21.99
Starring: Doris Day, John Raitt, Carol Haney, Eddie Foy Jr., Reta Shaw, Barbara Nichols, Thelma Pelish, Jack Straw.
Cinematography: Harry Stradling Sr.
Film Editor: William H. Ziegler
Art Direction: Malcolm C. Bert
Choreography: Bob Fosse
Musical Supervision: Ray Heindorf
Songs by: Richard Adler,...
- 1/16/2021
- by Glenn Erickson
- Trailers from Hell
Klute
Blu ray
Criterion
1971/ 2.39:1/ 114 min.
Starring Jane Fonda, Donald Sutherland
Cinematography by Gordon Willis
Directed by Alan J. Pakula
Jane Fonda plays Bree Daniels, the hooker with a heart of glass in 1971’s Klute. The lanky vamp in the shag cut and form-fitting mini-skirt is desired by many but they’ll have to pay a price – that includes John Klute, a small town detective who wants more from Bree than just sex.
Director Alan J. Pakula’s stylish murder mystery connects the dots between depression era potboilers, the doomed romanticism of 40’s noirs and in particular the European crime films that riled up 42nd street audiences in the late 60’s and early 70’s – macabrely glamorous entertainments featuring debonair degenerates like the man Klute is searching for.
Klute has left his tiny hometown of Tuscarora to find Tom Gruneman, a friend and erstwhile “family man” who’s gone missing in New York City.
Blu ray
Criterion
1971/ 2.39:1/ 114 min.
Starring Jane Fonda, Donald Sutherland
Cinematography by Gordon Willis
Directed by Alan J. Pakula
Jane Fonda plays Bree Daniels, the hooker with a heart of glass in 1971’s Klute. The lanky vamp in the shag cut and form-fitting mini-skirt is desired by many but they’ll have to pay a price – that includes John Klute, a small town detective who wants more from Bree than just sex.
Director Alan J. Pakula’s stylish murder mystery connects the dots between depression era potboilers, the doomed romanticism of 40’s noirs and in particular the European crime films that riled up 42nd street audiences in the late 60’s and early 70’s – macabrely glamorous entertainments featuring debonair degenerates like the man Klute is searching for.
Klute has left his tiny hometown of Tuscarora to find Tom Gruneman, a friend and erstwhile “family man” who’s gone missing in New York City.
- 7/20/2019
- by Charlie Largent
- Trailers from Hell
Do you think older crime thrillers weren’t violent enough? This shocker from 1948 shook up America with its true story of a vicious killer who has a murderous solution to every problem, and uses special talents to evade police detection. Richard Basehart made his acting breakthrough as Roy Martin, a barely disguised version of the real life ‘Machine Gun Walker.
He Walked by Night
Blu-ray
ClassicFlix
1948 / B&W /1:37 flat full frame / 79 min. / Street Date November 7, 2017 / 39.99
Starring: Richard Basehart, Scott Brady, Roy Roberts, Whit Bissell, James Cardwell, Jack Webb, Dorothy Adams, Ann Doran, Byron Foulger, Reed Hadley (narrator), Thomas Browne Henry, Tommy Kelly, John McGuire, Kenneth Tobey.
Cinematography: John Alton
Art Direction: Edward Ilou
Film Editor: Alfred De Gaetano
Original Music: Leonid Raab
Written by John C. Higgins and Crane Wilbur
Produced by Bryan Foy, Robert T. Kane
Directed by Alfred L. Werker
Talk about a movie with a dynamite...
He Walked by Night
Blu-ray
ClassicFlix
1948 / B&W /1:37 flat full frame / 79 min. / Street Date November 7, 2017 / 39.99
Starring: Richard Basehart, Scott Brady, Roy Roberts, Whit Bissell, James Cardwell, Jack Webb, Dorothy Adams, Ann Doran, Byron Foulger, Reed Hadley (narrator), Thomas Browne Henry, Tommy Kelly, John McGuire, Kenneth Tobey.
Cinematography: John Alton
Art Direction: Edward Ilou
Film Editor: Alfred De Gaetano
Original Music: Leonid Raab
Written by John C. Higgins and Crane Wilbur
Produced by Bryan Foy, Robert T. Kane
Directed by Alfred L. Werker
Talk about a movie with a dynamite...
- 11/7/2017
- by Glenn Erickson
- Trailers from Hell
You can tell it’s film noir — even the cabin cruiser has Venetian blinds. Ernest Hemingway’s favorite film adaptation of his work is this uncompromised story of a good man taking a criminal course on the high seas. John Garfield is again ‘one man alone’ against the system, and the moral quicksand all but swallows up Patricia Neal, Phyllis Thaxter and Wallace Ford.
The Breaking Point
Blu-ray
The Criterion Collection 889
1950 / B&W / 1:37 flat Academy / 97 min. / available through The Criterion Collection / Street Date August 8, 2017 / 39.95
Starring: John Garfield, Patricia Neal, Phyllis Thaxter, Juano Hernandez, Wallace Ford, Edmon Ryan, Ralph Dumke, Guy Thomajan, William Campbell, Sherry Jackson, Donna Jo Boyce, Victor Sen Yung, Peter Brocco, John Doucette.
Cinematography: Ted D. McCord
Film Editor: Alan Crosland Jr.
Original Music: Howard Jackson, Max Steiner
Written by Ranald MacDougall from a novel by Ernest Hemingway
Produced by Jerry Wald
Directed by Michael Curtiz
After...
The Breaking Point
Blu-ray
The Criterion Collection 889
1950 / B&W / 1:37 flat Academy / 97 min. / available through The Criterion Collection / Street Date August 8, 2017 / 39.95
Starring: John Garfield, Patricia Neal, Phyllis Thaxter, Juano Hernandez, Wallace Ford, Edmon Ryan, Ralph Dumke, Guy Thomajan, William Campbell, Sherry Jackson, Donna Jo Boyce, Victor Sen Yung, Peter Brocco, John Doucette.
Cinematography: Ted D. McCord
Film Editor: Alan Crosland Jr.
Original Music: Howard Jackson, Max Steiner
Written by Ranald MacDougall from a novel by Ernest Hemingway
Produced by Jerry Wald
Directed by Michael Curtiz
After...
- 7/22/2017
- by Glenn Erickson
- Trailers from Hell
John Flynn's The Outfit (1974), a brutally efficient bit of business based glancingly on Richard Stark’s procedurally inquisitive and poetic crime novel of the same name, is a movie that feels like it’s never heard of a rounded corner; it’s blunt like a 1970 Dodge Monaco pinning a couple of killers against a Dumpster and a brick wall. I say “glancingly” because the movie, as Glenn Kenny observed upon The Outfit’s DVD release from the Warner Archives, is based less on the chronologically unconcerned novel than an idea taken from it. On the page Stark's protagonist, the unflappable Parker, his face altered by plastic surgery to the degree that past associates often take a fatal beat too long to realize to whom it is they are speaking, assumes the detached perspective of a bruised deity, undertaking the orchestration of a series of robberies administered to Mob-run businesses...
- 6/5/2016
- by Dennis Cozzalio
- Trailers from Hell
My guest for this month is West Anthony, and he’s joined me to discuss the film he chose for me, the 1976 comedy-drama film The Front. You can follow the show on Twitter @cinemagadfly.
Show notes:
Not sure what happened to the audio in the introduction, apologies! The Hollywood blacklist is a term for the treatment of people in the entertainment industry who refused to name names to the House Un-American Activities Committee from 1947 to 1960 For a more in depth take on the blacklist, check out the latest season of the phenomenal You Must Remember This podcast WonderCon is a comic book convention that was held annually in Sf until it was cruelly moved to the La area in 2012. Yes I’m still bitter about it. West also recommends the Gabrielle de Cuir directed Thirty Years of Treason by Eric Bentley Among the people famously blacklisted were Lillian Hellman, Lionel Stander,...
Show notes:
Not sure what happened to the audio in the introduction, apologies! The Hollywood blacklist is a term for the treatment of people in the entertainment industry who refused to name names to the House Un-American Activities Committee from 1947 to 1960 For a more in depth take on the blacklist, check out the latest season of the phenomenal You Must Remember This podcast WonderCon is a comic book convention that was held annually in Sf until it was cruelly moved to the La area in 2012. Yes I’m still bitter about it. West also recommends the Gabrielle de Cuir directed Thirty Years of Treason by Eric Bentley Among the people famously blacklisted were Lillian Hellman, Lionel Stander,...
- 6/2/2016
- by Arik Devens
- CriterionCast
An exercise in dizzy disorientation, this Cornell Woolrich crazy-house noir pulls the rug out from under us at least three times. You want delirium, you got it -- the secret words for today are "Obsessive" and "Perverse." Innocent Robert Cummings is no match for sicko psychos Peter Lorre and Steve Cochran. The Chase Blu-ray Kino Classics 1946 / B&W / 1:37 flat Academy / 86 min. / Street Date May 24, 2016 / available through Kino Lorber / 29.95 Starring Robert Cummings, Michèle Morgan, Steve Cochran, Peter Lorre, Lloyd Corrigan, Jack Holt, Don Wilson, Alexis Minotis, Nina Koschetz, Yolanda Lacca, James Westerfield, Shirley O'Hara. Cinematography Frank F. Planer Film Editor Edward Mann Original Music Michel Michelet Written by Philip Yordan from the book The Black Path of Fear by Cornell Woolrich Produced by Seymour Nebenzal Directed by Arthur D. Ripley
Reviewed by Glenn Erickson
As Guy Maddin says on his (recommended) commentary, the public domain copies of this show were...
Reviewed by Glenn Erickson
As Guy Maddin says on his (recommended) commentary, the public domain copies of this show were...
- 5/7/2016
- by Glenn Erickson
- Trailers from Hell
This noir hits with the force of a blast furnace -- Cy Endfield's wrenching tale of social neglect and injustice will tie your stomach in knots. Sound like fun? An unemployed man turns to crime and reaps a whirlwind of disproportionate retribution. It's surely the most powerful of all filmic accusations thrown at the American status quo. Try and Get Me! Blu-ray Olive Films 1950 / B&W / 1:37 flat Academy / 92 min. / Street Date April 19, 2016 / The Sound of Fury / available through the Olive Films website / 29.95 Starring Frank Lovejoy, Kathleen Ryan, Richard Carlson, Lloyd Bridges, Katherine Locke, Adele Jergens, Art Smith, Renzo Cesana, Irene Vernon, Cliff Clark, Donald Smelick, Joe E. Ross. Cinematography Guy Roe Production Design Perry Ferguson Film Editor George Amy Original Music Hugo Friedhofer Written by Jo Pagano from his novel The Condemned Produced by Robert Stillman Directed by Cyril Endfield
Reviewed by Glenn Erickson
Socially conscious 'issue' movies are not all made equal.
Reviewed by Glenn Erickson
Socially conscious 'issue' movies are not all made equal.
- 4/15/2016
- by Glenn Erickson
- Trailers from Hell
Shall we sing the praises of actress Marie Windsor? A self--assessed Queen of the Cheapies, she was anything but cheap, gracing some of the better films noirs and delivering some of the most deliciously acidic dialogue ever heard on screen. The woman doesn't just have bedroom eyes, she has bedroom everything, and a wicked smile to go with it.
No Man's Woman Blu-ray Olive Films 1955 / B&W / 1:66 widescreen / 70 min. / Street Date October 27, 2015 / available through the Olive Films website / 29.98 Starring Marie Windsor, John Archer, Patric Knowles, Nancy Gates, Jil Jarmyn, Richard Crane, Louis Jean Heydt, Percy Helton, Morris Ankrum. Cinematography Bud Thackery Film Editor Howard A. Smith Original Music R. Dale Butts Written by John K. Butler story by Don Martin Produced by Rudy Ralston Directed by Franklin Adreon
Reviewed by Glenn Erickson
Marie Windsor is really something in Abraham Polonsky's Force of Evil, lounging around in an effort to seduce John Garfield.
No Man's Woman Blu-ray Olive Films 1955 / B&W / 1:66 widescreen / 70 min. / Street Date October 27, 2015 / available through the Olive Films website / 29.98 Starring Marie Windsor, John Archer, Patric Knowles, Nancy Gates, Jil Jarmyn, Richard Crane, Louis Jean Heydt, Percy Helton, Morris Ankrum. Cinematography Bud Thackery Film Editor Howard A. Smith Original Music R. Dale Butts Written by John K. Butler story by Don Martin Produced by Rudy Ralston Directed by Franklin Adreon
Reviewed by Glenn Erickson
Marie Windsor is really something in Abraham Polonsky's Force of Evil, lounging around in an effort to seduce John Garfield.
- 11/21/2015
- by Glenn Erickson
- Trailers from Hell
Force of Evil
Written by Abraham Polonsky and Ira Wolfert
Directed by Abraham Polonsky
U.S.A., 1948
Joe Morse (John Garfield) finds himself in a professionally precarious, if certainly lucrative, position. As one of New York’s top lawyers, he represents Ben Tucker (Roy Roberts), the city’s top dog in the racket numbers game. His plush office and impressive wealth are due to impressive commissions earned via Tucker, the latter whom, through Joe’s tireless efforts, has established himself as legitimately as possible. One of the smaller ‘banks’ that is soon to come under Tucker’s reign following the 4th of July rigged horse race is that belonging to Joe’s estranged brother, Leo (Thomas Gomez). The big race passes, leaving Manhattan’s smaller rackets broke, consequently forcing them to comply and join Tucker. Joe strives to sweeten the deal as much as possible for Leo, but differences of...
Written by Abraham Polonsky and Ira Wolfert
Directed by Abraham Polonsky
U.S.A., 1948
Joe Morse (John Garfield) finds himself in a professionally precarious, if certainly lucrative, position. As one of New York’s top lawyers, he represents Ben Tucker (Roy Roberts), the city’s top dog in the racket numbers game. His plush office and impressive wealth are due to impressive commissions earned via Tucker, the latter whom, through Joe’s tireless efforts, has established himself as legitimately as possible. One of the smaller ‘banks’ that is soon to come under Tucker’s reign following the 4th of July rigged horse race is that belonging to Joe’s estranged brother, Leo (Thomas Gomez). The big race passes, leaving Manhattan’s smaller rackets broke, consequently forcing them to comply and join Tucker. Joe strives to sweeten the deal as much as possible for Leo, but differences of...
- 4/3/2015
- by Edgar Chaput
- SoundOnSight
“If you can’t break eggs to make an omelette, break the plate.”
We love to bring down oppressive regimes — at least in our films. What does this say about our ability to recognize our own situation regarding our desire for greater freedoms? Are we tapping our desire for change with the stories we tell? Are our artists as free to explore this desire for change as we think? Do they have to take the quiet road when walking that talk? If they are somehow oppressed, how and where is the oppression manifest? What can we learn by examining the work we made, distributed, and consumed this year?
In other words, if art is partially about showing us all that we can aspire to as individuals, communities, and a planet, what are our films telling us about where we should be headed this coming year?
Our examination shouldn’t stop there though.
We love to bring down oppressive regimes — at least in our films. What does this say about our ability to recognize our own situation regarding our desire for greater freedoms? Are we tapping our desire for change with the stories we tell? Are our artists as free to explore this desire for change as we think? Do they have to take the quiet road when walking that talk? If they are somehow oppressed, how and where is the oppression manifest? What can we learn by examining the work we made, distributed, and consumed this year?
In other words, if art is partially about showing us all that we can aspire to as individuals, communities, and a planet, what are our films telling us about where we should be headed this coming year?
Our examination shouldn’t stop there though.
- 12/16/2014
- by Ted Hope
- Hope for Film
I'm going to start by telling you about a book I just started reading, titled "The Searchers: The Making of an American Legend" by Glenn Frankel and I'm hooked after only the first 25 pages. The main thing to note is that while Frankel delves into the making of John Ford's The Searchers, a film considered by the AFI to be the #1 American Western of all-time, his primary focus is the story that inspired it and how the film stuck to that story and diverted from it. Now, again, I'm only 25 pages in, which is hardly enough reading to give any kind of review of a 416 page book, so I'll let the book's description do the rest of the talking: In 1836 in East Texas, nine-year-old Cynthia Ann Parker was kidnapped by Comanches. She was raised by the tribe and eventually became the wife of a warrior. Twenty-four years after her capture,...
- 3/3/2013
- by Brad Brevet
- Rope of Silicon
Last week Criterion released the Blu-ray edition of Elia Kazan's On the Waterfront and as impressive as the film (and all it's accompanying accoutrement) is, I zeroed in on a film Martin Scorsese and Kent Jones continued to reference in their discussion of Waterfront, Abraham Polonsky's 1948 feature Force of Evil. Starring John Garfield and Thomas Gomez, the film centers on Joe Morse (Garfield), a lawyer who turns to the numbers racket to make his first million. Problem is, the plan he and his associates have in store is going to put Joe's brother, Leo (Gomez) out of business and perhaps worse. Leo is a small-time operator in the racket and Joe's plan to consolidate and put out of business these small timers is going to put a kink in the family relationship, even though there isn't much of a relationship to begin with. Scorsese and Jones' conversation turned...
- 3/2/2013
- by Brad Brevet
- Rope of Silicon
Moviefone's New Release Pick of the Week "Detention" What's It About? Josh Hutcherson leads a teen cast (plus Dane Cook?!) in an over-the-top horror slasher that involves everything from time travel to body-swapping. See It Because: You're either going to love "Detention" or you're going to hate it. If you hate it, it's because you think the movie is an assault on the senses, rife with obnoxious jokes and references, and ridiculous concepts. If you love it, it's because you think "Detention" is a frantic roller coaster of a movie that accurately captures the pop smorgasbord we call teen culture. "Detention" is audacious enough to throw everything from '80s John Hughes to "Scream"-style horror in a blender and go for broke; it's up to you to decide if that's a good thing or not. (Also Available on Redbox | Amazon Instant Video) Moviefone's Blu-ray Pick of the Week "Total Recall...
- 7/30/2012
- by Eric Larnick
- Moviefone
As a little girl I loved going to the Studio Drive In in Culver City where we lived.
My older sister and I would get into our pajamas, my little baby brother would be in the car seat for babies in the front seat between the driver and the passenger. We brought out own fried chicken ot eat for dinner. We'd go get popcorn or bonbons or a Holloway sucker (the best!) at the concessions stand ahead of the movies or at the intermission if we were still awake and we'd watch a double bill – usually a western and or a comedy.
When we got older and at the age of 16, we all got cars of our own. Mine was a 53 Ford convertible repainted royal blue. Groups of us would go to the Olympic Drive In and would sneak others in in the trunk.
When I was really little my father and mother would take my sister and me to the movies. I was always making my father take me to the bathroom. That started my habit of sitting on the aisle. As a film buyer it was known as the acquisitions seat, but to my mind, the quick getaway was to the Ladies Room. And as a three or four year old, I was always asking my mother and sister, "is this real?" I was so literal minded as a child I could never figure out why the song said “Let Freedom Ring”. How could Freedom Ring? A ring was jewelry. Ring like a bell…but Freedom is not a bell. Moving on…
We saw this Bob Hope film. He was a gambler. And he put a gun into his mouth. Instead of shooting his brains out, he took a bite and it was chocolate. That really threw my literal mind into a loop. What was real? How did that happen? The movie was called Sorrowful Jones. The joke was something I had a hard time understanding. The same with the silents which we saw at the Silent Movie Theater. Laurel and Hardy were always hitting each other and falling; Charlie Chase was always in trouble as was Charlie Chaplin. I never understood what was funny about all the accidents, falling down, hitting each other and would have terrible anxiety attacks at the silent movies. I liked movies like Francis the Talking Mule. That was funny to my childish mind.
For those wonderful Disney cartoons like Cinderella or Alice in Wonderland, Robin Hood or Peter Pan, my father would take us to Beverly Hills and we would stand in line for the Fine Arts Theater. At the corner was a shoe store which only sold sample sizes (4 ½). I would admire their high heeled shoes and couldn’t wait for the time that I would be older and could wear them. Fortunately, when my foot hit the 4 ½ size, I was in high school and so I could buy the shoes for all the formal dances we attended.
Fine Arts Theater
Every Saturday my sister and I, and later my brother would go to the ten-cent Saturday afternoon matinee at the Meralta with a newsreel, previews, cartoon, and a main feature. The Meralta introduced me to The Dream of Wild Horses.[1]"Meralta" was derived from owners' Pearl Merrill and Laura Peralta's surnames. They lived above the new plush theater. But the movies there were mostly horror and genre. My brother always went there for the latest horror film.
Meralta Theater, Culver City
If we didn’t go to the Meralta, we’d go to the Culver. When we were looking to meet other kids from other schools, we'd go to the much fancier Culver Theater.
The Culver had great films, like Little Women, Gone with the Wind, Gentlemen Prefer Blonds, How to Marry a Millionaire, River of No Return, There’s No Business Like Show Business, Easter Parade, A Date with Judy (My sister’s name!), The Three Musketeers, Words and Music, Force of Evil, Neptune’s Daughter, Adam’s Rib, Showboat, An American in Paris, Lili, Giant, Rebel Without a Cause. Looking at this list, except for the Marilyn Monroe movies which 20th Century Fox owned and the two James Dean films which Warner Bros. owned, all of the films were MGM films. That makes perfect sense because Culver City was a company town.
The Culver also had “loges”. These were fancier red velvet seats with ashtrays above the large aisle you would find on entering the theater and choosing your seat – below unless you went up to the loge. There teenagers would "make out" and bad girls and guys would smoke (Excuse my racism, but as a Jew growing up in a working class wasp neighborhood, I learned these kids were either Pachucos or white trash.) Not that we were such good Jewish kids...there weren’t any Jewish kids that I knew of who went to the movies. My friends were my school friends, and they were all white working class kids. If people weren’t working for Hughes Aircraft, they were in the crafts at MGM. We had one bit actor living down the street named Cameron Mitchell. And it was a pretty racist neighborhood…anti-Semitism was learned at home and in Sunday Schools where kids invited me (called a Christ Killer) to learn about bringing Jesus into my heart and there were no blacks that I ever saw. The Pachucos lived in another neighborhood and we’d see them in the movies, shopping or at the middle and high school next to my elementary school. Asians? There might have been a Chinese restaurant, but I don’t recall seeing Asians in school or at the theater or shopping.
Jewish kids made up my group of friends when I got to junior high and we had moved to Beverlywood from Culver City; 90% of the school was Jewish. Our parents would still drop us at the movies and we would go to Saturday matinees at the Picfair on Pico and Fairfax which eventually burned down around the time of the Watts Riots, or to the Lido on Pico.
The Picfair Theater burned down in 1965.
We’d see Academy Award winning films at the Pickfair. We'd cry at Carousel, Oklahoma, Midnight Lace, Peyton Place, Imitation of Life. Great films! Or we'd sometimes go to the other theater in Pico called Lido. It was just so boring. Maybe they showed Marty there or Country Girl and I wasn't up for slow drama.
For really fancy movies which held premieres, like Around the World in 80 Days, we would go to the Carthay Circle Theater. Of course I’d go in the days after the premiere itself. Rarely – though sometimes we’d go to the Hollywood palaces, Grauman’s Chinese, The Egyptian or Pantages Theaters on Hollywood Boulevard. The best thing about Grauman’s Chinese was the ladies room with a room filled with mirrors and little alcoves to sit and put on lipstick. They even had lipstick blotters, white heavy weight paper shaped like your lips to blot the lipstick.
In 1959 The Fine Arts Theatre 8556 Wilshire Boulevardin Beverly Hills showed Room at the Top, (‘The Most Daring Film in a Decade’), and it played there for over six months. I was in the 10th grade and went to see it. I liked it but am not sure how much I understood.
In high school we discovered Le Chein Andalou and the Coronet and Baronet theater where Charles Laughton had played in Brecht's premiere play Galileo produced by John Houseman. Sometimes they didn't have enough foreign films (like one about a woman who turned into a panther at night) and they'd show psychological teaching films like "Folie a Deux" when madness is shared by two, in this 20 minute short it was a mother and daughter. They'd show films on Schizophrenia, etc. and it made me want to study psychology. We saw all of Bergman, Renoir and saw La Strada and La Dolce Vida. When I moved back east and went to Brandeis then movie going got great! Truffaut, Godard, Chabrol, Wajda's Ashes and Diamonds. After that I saw every Wajda film and even knew how to pronounce his name. But after Man of Marble or Man of Steel I started to get disinterested. I have no idea what theaters we went to in Cambridge or New York except for the Bleecker Street Theater where we’d often go for the weekend.
For dates we’d go up the street (Beverwil) to Beverly Hills to the Beverly Theater or the Beverly Canon. There they had programs printed for the movies (The Young Lions). Afterward we’d go to Blum’s[2] for their crunchy cake or Wil Wrights Ice Cream Parlor for ice cream sundaes.
And a theater we would always forget except when some exceptional foreign film was showing there, was the Vagabond, way down on Wilshire Blvd. toward downtown.
[1]Wikipedia: The 1953 children's film Crin-Blanc, English title White Mane, portrayed the horses and the region. A short black-and-white film directed by Albert Lamorisse, director of Le ballon rouge (1956), Crin-blanc won the 1953 Prix Jean Vigo and the short film Grand Prix at the 1953 Cannes Film Festival, as well as awards at Warsaw and Rome.[10] In 1960 Denys Colomb Daunant, writer and actor for Crin-blanc, made the documentary Le Songe des Chevaux Sauvages, "Dream of the Wild Horses". It featured Camargue horses and slow motion photography, and won the Small Golden Berlin Bear at the 1960 Berlin International Film Festival.[11]
[2]Blum's was a pink spun sugar fantasy come to life. It had a gift shop. It had shocking pink banquettes. It had surly waitresses. And it had cake. Not those plastic looking, multi colored and tasteless layered cakes offered in cafes around Union Square. No. They had Blum's Famous Coffee Crunch cake. (This legendary cake is so memorable that Nancy Silverton has included a recipe for it in her latest cookbook.)
Blum's was partly a restaurant for the ladies who didn't work and spent their days going downtown to shop, meet friends and get home before the children came home from school. (http://www.culinarymuse.com/2005/10/blums_where_are.html)...
My older sister and I would get into our pajamas, my little baby brother would be in the car seat for babies in the front seat between the driver and the passenger. We brought out own fried chicken ot eat for dinner. We'd go get popcorn or bonbons or a Holloway sucker (the best!) at the concessions stand ahead of the movies or at the intermission if we were still awake and we'd watch a double bill – usually a western and or a comedy.
When we got older and at the age of 16, we all got cars of our own. Mine was a 53 Ford convertible repainted royal blue. Groups of us would go to the Olympic Drive In and would sneak others in in the trunk.
When I was really little my father and mother would take my sister and me to the movies. I was always making my father take me to the bathroom. That started my habit of sitting on the aisle. As a film buyer it was known as the acquisitions seat, but to my mind, the quick getaway was to the Ladies Room. And as a three or four year old, I was always asking my mother and sister, "is this real?" I was so literal minded as a child I could never figure out why the song said “Let Freedom Ring”. How could Freedom Ring? A ring was jewelry. Ring like a bell…but Freedom is not a bell. Moving on…
We saw this Bob Hope film. He was a gambler. And he put a gun into his mouth. Instead of shooting his brains out, he took a bite and it was chocolate. That really threw my literal mind into a loop. What was real? How did that happen? The movie was called Sorrowful Jones. The joke was something I had a hard time understanding. The same with the silents which we saw at the Silent Movie Theater. Laurel and Hardy were always hitting each other and falling; Charlie Chase was always in trouble as was Charlie Chaplin. I never understood what was funny about all the accidents, falling down, hitting each other and would have terrible anxiety attacks at the silent movies. I liked movies like Francis the Talking Mule. That was funny to my childish mind.
For those wonderful Disney cartoons like Cinderella or Alice in Wonderland, Robin Hood or Peter Pan, my father would take us to Beverly Hills and we would stand in line for the Fine Arts Theater. At the corner was a shoe store which only sold sample sizes (4 ½). I would admire their high heeled shoes and couldn’t wait for the time that I would be older and could wear them. Fortunately, when my foot hit the 4 ½ size, I was in high school and so I could buy the shoes for all the formal dances we attended.
Fine Arts Theater
Every Saturday my sister and I, and later my brother would go to the ten-cent Saturday afternoon matinee at the Meralta with a newsreel, previews, cartoon, and a main feature. The Meralta introduced me to The Dream of Wild Horses.[1]"Meralta" was derived from owners' Pearl Merrill and Laura Peralta's surnames. They lived above the new plush theater. But the movies there were mostly horror and genre. My brother always went there for the latest horror film.
Meralta Theater, Culver City
If we didn’t go to the Meralta, we’d go to the Culver. When we were looking to meet other kids from other schools, we'd go to the much fancier Culver Theater.
The Culver had great films, like Little Women, Gone with the Wind, Gentlemen Prefer Blonds, How to Marry a Millionaire, River of No Return, There’s No Business Like Show Business, Easter Parade, A Date with Judy (My sister’s name!), The Three Musketeers, Words and Music, Force of Evil, Neptune’s Daughter, Adam’s Rib, Showboat, An American in Paris, Lili, Giant, Rebel Without a Cause. Looking at this list, except for the Marilyn Monroe movies which 20th Century Fox owned and the two James Dean films which Warner Bros. owned, all of the films were MGM films. That makes perfect sense because Culver City was a company town.
The Culver also had “loges”. These were fancier red velvet seats with ashtrays above the large aisle you would find on entering the theater and choosing your seat – below unless you went up to the loge. There teenagers would "make out" and bad girls and guys would smoke (Excuse my racism, but as a Jew growing up in a working class wasp neighborhood, I learned these kids were either Pachucos or white trash.) Not that we were such good Jewish kids...there weren’t any Jewish kids that I knew of who went to the movies. My friends were my school friends, and they were all white working class kids. If people weren’t working for Hughes Aircraft, they were in the crafts at MGM. We had one bit actor living down the street named Cameron Mitchell. And it was a pretty racist neighborhood…anti-Semitism was learned at home and in Sunday Schools where kids invited me (called a Christ Killer) to learn about bringing Jesus into my heart and there were no blacks that I ever saw. The Pachucos lived in another neighborhood and we’d see them in the movies, shopping or at the middle and high school next to my elementary school. Asians? There might have been a Chinese restaurant, but I don’t recall seeing Asians in school or at the theater or shopping.
Jewish kids made up my group of friends when I got to junior high and we had moved to Beverlywood from Culver City; 90% of the school was Jewish. Our parents would still drop us at the movies and we would go to Saturday matinees at the Picfair on Pico and Fairfax which eventually burned down around the time of the Watts Riots, or to the Lido on Pico.
The Picfair Theater burned down in 1965.
We’d see Academy Award winning films at the Pickfair. We'd cry at Carousel, Oklahoma, Midnight Lace, Peyton Place, Imitation of Life. Great films! Or we'd sometimes go to the other theater in Pico called Lido. It was just so boring. Maybe they showed Marty there or Country Girl and I wasn't up for slow drama.
For really fancy movies which held premieres, like Around the World in 80 Days, we would go to the Carthay Circle Theater. Of course I’d go in the days after the premiere itself. Rarely – though sometimes we’d go to the Hollywood palaces, Grauman’s Chinese, The Egyptian or Pantages Theaters on Hollywood Boulevard. The best thing about Grauman’s Chinese was the ladies room with a room filled with mirrors and little alcoves to sit and put on lipstick. They even had lipstick blotters, white heavy weight paper shaped like your lips to blot the lipstick.
In 1959 The Fine Arts Theatre 8556 Wilshire Boulevardin Beverly Hills showed Room at the Top, (‘The Most Daring Film in a Decade’), and it played there for over six months. I was in the 10th grade and went to see it. I liked it but am not sure how much I understood.
In high school we discovered Le Chein Andalou and the Coronet and Baronet theater where Charles Laughton had played in Brecht's premiere play Galileo produced by John Houseman. Sometimes they didn't have enough foreign films (like one about a woman who turned into a panther at night) and they'd show psychological teaching films like "Folie a Deux" when madness is shared by two, in this 20 minute short it was a mother and daughter. They'd show films on Schizophrenia, etc. and it made me want to study psychology. We saw all of Bergman, Renoir and saw La Strada and La Dolce Vida. When I moved back east and went to Brandeis then movie going got great! Truffaut, Godard, Chabrol, Wajda's Ashes and Diamonds. After that I saw every Wajda film and even knew how to pronounce his name. But after Man of Marble or Man of Steel I started to get disinterested. I have no idea what theaters we went to in Cambridge or New York except for the Bleecker Street Theater where we’d often go for the weekend.
For dates we’d go up the street (Beverwil) to Beverly Hills to the Beverly Theater or the Beverly Canon. There they had programs printed for the movies (The Young Lions). Afterward we’d go to Blum’s[2] for their crunchy cake or Wil Wrights Ice Cream Parlor for ice cream sundaes.
And a theater we would always forget except when some exceptional foreign film was showing there, was the Vagabond, way down on Wilshire Blvd. toward downtown.
[1]Wikipedia: The 1953 children's film Crin-Blanc, English title White Mane, portrayed the horses and the region. A short black-and-white film directed by Albert Lamorisse, director of Le ballon rouge (1956), Crin-blanc won the 1953 Prix Jean Vigo and the short film Grand Prix at the 1953 Cannes Film Festival, as well as awards at Warsaw and Rome.[10] In 1960 Denys Colomb Daunant, writer and actor for Crin-blanc, made the documentary Le Songe des Chevaux Sauvages, "Dream of the Wild Horses". It featured Camargue horses and slow motion photography, and won the Small Golden Berlin Bear at the 1960 Berlin International Film Festival.[11]
[2]Blum's was a pink spun sugar fantasy come to life. It had a gift shop. It had shocking pink banquettes. It had surly waitresses. And it had cake. Not those plastic looking, multi colored and tasteless layered cakes offered in cafes around Union Square. No. They had Blum's Famous Coffee Crunch cake. (This legendary cake is so memorable that Nancy Silverton has included a recipe for it in her latest cookbook.)
Blum's was partly a restaurant for the ladies who didn't work and spent their days going downtown to shop, meet friends and get home before the children came home from school. (http://www.culinarymuse.com/2005/10/blums_where_are.html)...
- 3/27/2012
- by Sydney Levine
- Sydney's Buzz
Below you will find a list of movie that Shaun of the Dead and Hot Fuzz director Edgar Wright has never seen. Not long ago Wright went out and asked his friends and fans to recommend some movies they thought he may have missed over the last thirty years of his life. He got recommendations from Quentin Tarantino, Daniel Waters, Bill Hader, John Landis, Guillermo Del Toro, Joe Dante, Judd Apatow, Joss Whedon, Greg Mottola, Schwartzman, Doug Benson, Rian Johnson, Larry Karaszeski, Josh Olson, Harry Knowles and hundreds of fans on this blog.
From these recommendations, Wright created a master list of recommended films that were frequently mentioned. The director now wants the fans to choose which of the films on the list he should watch on the big screen.
Wright is holding a film event at the New Beverly Cinema in Los Angeles called Films Edgar Has Never Seen.
From these recommendations, Wright created a master list of recommended films that were frequently mentioned. The director now wants the fans to choose which of the films on the list he should watch on the big screen.
Wright is holding a film event at the New Beverly Cinema in Los Angeles called Films Edgar Has Never Seen.
- 10/18/2011
- by Venkman
- GeekTyrant
Edgar Wright's latest epic project [1] has him partnering with Quentin Tarantino, Judd Apatow, Joss Whedon, Bill Hader, Guillermo Del Toro, Joe Dante, Greg Mottola, Harry Knowles, Rian Johnson and, probably, several of you. Like all of us, Wright has a bunch of classic and cult films he's never seen. Unlike all of us, he has the means to see them for the first time on the big screen and will do just that in December [2] at the New Beverly Cinema in Los Angeles during Films Edgar Has Never Seen. The director of Shaun of the Dead and Scott Pilgrim vs. The World asked both his famous friends (some of which are listed above) and fans to send in their personal must see lists and, from those titles, Wright came up with one mega list from which he'll pick a few movies to watch December 9-16. After the jump check...
- 10/18/2011
- by Germain Lussier
- Slash Film
Terrence Malick's first film wowed audiences; his second, Days of Heaven, set a rapturous new standard in cinema aesthetics. David Thomson shines a light on its legacy
Terrence Malick's 1978 movie Days of Heaven was never a huge hit, but it was such a departure and so deliberate an attempt to have the audience stirred by beauty that it felt calming and inspiring. Without shame or caution it was trying to address the pre-modern era of American history, the natural conflict between landowners and newcomers. But it was just as interested in the vanity of men and women trying to tame and organise the wild parts of the country. Beyond that, was this perhaps the most beautiful picture ever made? Second films are famously hard, but with Days of Heaven, Malick was announcing that he would do things his way.
By common consent, his first film, Badlands (1973), was one...
Terrence Malick's 1978 movie Days of Heaven was never a huge hit, but it was such a departure and so deliberate an attempt to have the audience stirred by beauty that it felt calming and inspiring. Without shame or caution it was trying to address the pre-modern era of American history, the natural conflict between landowners and newcomers. But it was just as interested in the vanity of men and women trying to tame and organise the wild parts of the country. Beyond that, was this perhaps the most beautiful picture ever made? Second films are famously hard, but with Days of Heaven, Malick was announcing that he would do things his way.
By common consent, his first film, Badlands (1973), was one...
- 9/1/2011
- by David Thomson
- The Guardian - Film News
Mark Wahlberg and Christian Bale in The Fighter
Photo: Paramoun Pictures
One of the top Oscar hopefuls this year is The Fighter starring Mark Wahlberg and Christian Bale. It's the story of Micky Ward (played by Mark Wahlberg) and his stepbrother Dickie Eklund (played by Christian Bale) from Boston, Ma. For those of you who don't know, Irish Micky Ward was a light welterweight contender best known for his three exciting bouts with the late great Arturo Gatti. Eklund was a fighter as well and once sent Sugar Ray Leonard to the canvas before succumbing to a serious crack habit that derailed his career. The film is directed by one of my favorite directors David O. Russell (Three Kings, Flirting With Disaster) and along with Wahlberg and Bale, the film also features Amy Adams and the underrated Melissa Leo.
Boxing pics have historically been a tough sell, but I have high hopes for this one.
Photo: Paramoun Pictures
One of the top Oscar hopefuls this year is The Fighter starring Mark Wahlberg and Christian Bale. It's the story of Micky Ward (played by Mark Wahlberg) and his stepbrother Dickie Eklund (played by Christian Bale) from Boston, Ma. For those of you who don't know, Irish Micky Ward was a light welterweight contender best known for his three exciting bouts with the late great Arturo Gatti. Eklund was a fighter as well and once sent Sugar Ray Leonard to the canvas before succumbing to a serious crack habit that derailed his career. The film is directed by one of my favorite directors David O. Russell (Three Kings, Flirting With Disaster) and along with Wahlberg and Bale, the film also features Amy Adams and the underrated Melissa Leo.
Boxing pics have historically been a tough sell, but I have high hopes for this one.
- 11/11/2010
- by Bill Cody
- Rope of Silicon
Leave it to The Daily Beast to get Scorsese talking about films. Not that it would be hard to do. The man is “Mr. Cinema.” He directs, produces and he even has his own nonprofit organization for preserving classic films, The Film Foundation. The director may have toyed with other genres during his lifetime, but the one people would discuss aplenty is his contributions to crime cinema. To think of Scorsese is to think of Goodfellas, Casino and The Departed, despite also directing films like After Hours and The Last Temptation of Christ. As he turns his attention to the small screen with HBO’s Boardwalk Empire – touted as being the network’s costliest production to date – the director lists off his 15 favorite gangster movies. Scorsese writes:
“Here are 15 gangster pictures that had a profound effect on me and the way I thought about crime and how to portray it on film.
“Here are 15 gangster pictures that had a profound effect on me and the way I thought about crime and how to portray it on film.
- 9/17/2010
- by thedvdlounge
- Examiner Movies Channel
I guess it was inevitable that somebody should ask Martin Scorsese, a man whose reputation was made and is still probably widely typified by his crime stories, to come up with a list of his favorite gangster movies. The Daily Beast did just that and while it's easy to see why, it looks like Scorsese is a big Jimmy Cagney fan. Being a voracious film fan, many of the titles on Scorsese's list are not your typical mob fare (Sorry, no Godfather to be found). But there is The Public Enemy, my favorite Cagney role and probably one of my favorite gangster movies of all time, at the top of Scorsese's chronological list.
While it would be hard to imagine Scorsese submitting a dull survey, it's nice to see that he's putting his curatorial powers to good use. After Cagney roles like White Heat and The Roaring Twenties, there are...
While it would be hard to imagine Scorsese submitting a dull survey, it's nice to see that he's putting his curatorial powers to good use. After Cagney roles like White Heat and The Roaring Twenties, there are...
- 9/10/2010
- by Simon Abrams
- Cinematical
HollywoodNews.com: “Body and Soul” (1947), the underworld drama from writer Abraham Polonsky (“Force of Evil”) and director Robert Rossen (“The Hustler”), will be screened as the next feature in the Academy of Motion Picture Arts and Sciences’ series “Oscar Noir: 1940s Writing Nominees from Hollywood’s Dark Side” on Monday, August 2, at 7:30 p.m. at the Academy’s Samuel Goldwyn Theater. The film will be introduced by Oscar-nominated screenwriter Phil Alden Robinson (“Sneakers,” “Field of Dreams”).
Polonsky received an Academy Award® nomination for Original Screenplay for the film, and John Garfield earned a Best Actor nomination for his powerful performance as a boxer embroiled in a battle with a crooked promoter. Francis Lyon and Robert Parrish won the Oscar for Film Editing for “Body and Soul.”
At 7 p.m. the Warner Bros. Daffy Duck cartoon short “The Great Piggy Bank Robbery” (1946) and the episode “Doom Ship” from the 1941 serial...
Polonsky received an Academy Award® nomination for Original Screenplay for the film, and John Garfield earned a Best Actor nomination for his powerful performance as a boxer embroiled in a battle with a crooked promoter. Francis Lyon and Robert Parrish won the Oscar for Film Editing for “Body and Soul.”
At 7 p.m. the Warner Bros. Daffy Duck cartoon short “The Great Piggy Bank Robbery” (1946) and the episode “Doom Ship” from the 1941 serial...
- 7/27/2010
- by HollywoodNews.com
- Hollywoodnews.com
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