A Life of Endless Summers: The Bruce Brown Story

"A life well-lived goes on and on."

If ever a documentary filled me with hope and broke my heart at the same time, it's this one. A Life of Endless Summers: The Bruce Brown Story is a poignant film about a visionary filmmaker who followed the beat of his own drum and inspired generations of others to do the same. It's also about the heroes in his life, fellow visionaries, inventors, athletes and filmmakers who weren't afraid to pursue their dreams and while doing so made their mark.

"Get your ass off the couch and go have an adventure... make the most of our limited time here. And most of all, have fun and be good, the best good you can." — Bruce Brown

Bruce Brown made waves with the seminal The Endless Summer (1966), a surfing documentary that followed two professional surfers as they traveled the world in search of the best beaches while chasing the warm weather and sunshine. "An endless summer" has become synonymous with pursuing your dreams and living the best quality life you can. The film elevated surfing as a sport and inspired countless athletes. It also motivated others, who had no intention of hanging ten, to shape their own destinies and not settle for the status quo. Brown went on to make another important sport documentary, On Any Sunday (1971), which followed motorcycle racers and enthusiasts, including Steve McQueen. It was nominated for an Academy Award. Brown retired from filmmaking only to revive his career by making The Endless Summer 2 (1994) with his son Dana Brown. 

Bruce Brown spent the years after the 2006 death of his wife Patricia in relative isolation. He preferred to spend time at his home with his beloved dog Rusty. In 2014, his children encouraged Bruce to go on a road trip to visit the important figures who helped mold his life. Bruce agreed... as long as he could bring Rusty. Directed by Dana Brown A Life of Endless Summers: The Bruce Brown Story follows Bruce Brown on this road trip. Along the way we learn about him as a filmmaker, father, husband and friend. During their travels, Brown meets up with his old friends including surfer and inventor Hobie Alter, friend and founder of Clark Foam Grubby Clark, motorcyclist from On Any Sunday Mert Lawwill, surfer and inventor of the neoprene wetsuit Jack O'Neill and others.

"If you're willing to take a leap of faith, get off your butt. Who knows how many great things in the world are out there?"

A Life of Endless Summers: The Bruce Brown is a beautiful tribute to a filmmaker who paved the way for many who followed. I was particularly moved by the message of the documentary that life is fleeting, do what makes you happy.

Bruce Brown passed away in 2017 but his legacy lives on. I had the pleasure of meeting Bruce Brown at the 2016 TCM Classic Film Festival. He was one of the only guests who asked to meet with fans after a special event. Attendees were treated to the 50th anniversary screening of The Endless Summer and I had a brief chat with Bruce. He was warm, friendly and down to earth. I told him I thought The Endless Summer was a wonderful film. He joked "it's old!" God speed Bruce Brown.

A Life of Endless Summers: The Bruce Brown Story is available on digital and on demand platforms including Amazon Prime and iTunes.

The Assassination Bureau (1969): Review by Kate Gabrielle

The Assassination Bureau (1969) is an energetic, suspenseful, and imaginative romp through an alternate version of turn-of-the-century Europe where the chair of a secretive murder-for-hire organization, Ivan Dragomiroff (Oliver Reed), teams up with feminist journalist Miss Winter (Diana Rigg) to prevent World War I. Sure, he might be partially to blame for the Archduke Ferdinand's accidental assassination by tossing him a bomb concealed inside of a large sausage, but his heart is in the right place!

This dark comedy begins with Miss Winter seeking out The Assassination Bureau to commission a hit on Ivan Dragomiroff himself! Miss Winter believes that his demise will put an end to the increasing number of senseless murders being committed, and her first assignment as a newly minted journalist will be to trail Dragomiroff and cover his ultimate end for the paper. Driven partially by amusement at the offer and a desire to reset the moral compass of his increasingly mercenary institution, Dragomiroff accepts Miss Winter's request, with one caveat. If he is able to kill the other members of the board - corrupt men willing to trade an indefinite number of human lives in exchange for more power or wealth - then The Assassination Bureau can remain intact with him as chair, and restore its original mission to only eliminate those who are really and truly deserving of death.

Bedecked in a series of outlandish disguises, the members of the board all begin drawing up dastardly and inventive ways to kill each other off. A match sparked in a gas-filled room, bombs in briefcases, bombs in headboards, the aforementioned bomb in the sausage, and a particularly surprising death by helium! As Dragomiroff traipses across Europe leaving fiery, smoking buildings in his wake, Miss Winter follows along to cover the story and - predictably, but nonetheless adorably - becomes increasingly worried about the safety of the man that she just paid twenty thousand pounds to kill!

Diana Rigg and Oliver Reed have great chemistry here - in one scene when they are still in the verbal sparring stage of the "mismatched romantic duo" trope a hotel porter mistakes them for a married couple, and you could easily see how he could make that mistake. Dragomiroff remarks "it seems we have a married look ... because you're after my blood, no doubt." Of course, she's not the only one after his blood! Dragomiroff's second in command, Lord Bostwick (Telly Savalas) is so determined to see Miss Winter's hit carried out that he offers an additional ten thousand pound bonus to the person who does the deed. Savalas plays Lord Bostwick as a congenial villain, a man who delights in the game of death as much as the power he stands to gain from it. He is the perfect foil for Reed, who manages to portray an idealistic and upstanding hero with his characteristic devil-may-care flippancy.

The Assassination Bureau is as visually bright as the humor is dark - so many rich velvets, and so much attention to detail! In particular I was fascinated by a series of paintings lining the walls of the Bureau's conference room (a round room hidden behind beautiful curved bookcases) that depict famous assassinations throughout history, and a duo of beds in a brothel that are built to look like a swan and a peacock. Combining colorful, jaunty imagery with inset vintage newsreel footage, The Assassination Bureau puts a groovy 1960s twist on a fun turn of the century story.

The Assassination Bureau is available to purchase through the official

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Kate Gabrielle is an illustrator and classic film fan. You can find her classic movie inspired artwork on her website, kategabrielle.com, and 10 years of film musings on her blog The Films in My Life.

The Titfield Thunderbolt (1953): A Review by Kyle Edwards

The Titfield Thunderbolt (1953) is an early-1950s British comedy which tells a story similar to many real occurrences throughout the world. After Britain's large, nationalized railroad company "British Railways" decides to cease operations over a rural branch line, a small group of concerned locals spring into action to buy the lot of it and save their treasured train. Despite seemingly insurmountable obstacles, the ragtag group manages to defy the odds and preserve the rail line.

This film is the Orient Express of cinema, providing a scenic, entertaining connection between varied points; these being suspense, clever humor and heartwarming satisfaction. The primary antagonists in the film are a pair of gentlemen who wish to gain from the closure of the rail line by offering bus service in place of the train. After these men fail to block the new railroad from gaining government approval to operate, they take matters into their own hands. Several devious attempts at sabotaging the railway are made — all appear successful at first. However, the ingenuity, determination and teamwork displayed by the group aboard the train prevails every time. Throughout the film, the rails are blocked, the critically essential water tower is ruined and drained, and the entire train is even set loose and forced to derail. Wherever the bus company men do their worst... the railroad men and women do far better.

The Titfield Thunderbolt has a captivating storyline, solid cinematography and a skilled cast. The plot itself, though fictional, is based on the story of the Talyllyn Railway in Wales — which became the world's first railway to be preserved by volunteers in 1951. In a broader sense, the film is very representative of things to come in the years that followed. As railroads around the globe experienced increasing overall decline throughout the 1950s, 60s and 70s, many groups appeared from thin air and saved historic railways and equipment from total destruction. In this film, there's some truth behind the added element of the seemingly-evil bus operators trying to destroy the railway. Motorcoach, trucking, automobile and airline companies all applied heavy pressure on the railroad industry in their formative years — both directly and by pushing for government regulations that lined their pockets at the expense of the high iron.

This movie beautifully captures the inherent nostalgia of the railroad and the love that many people — of all ages — have for the steam train. Although many historic rail lines have been lost forever, The Titfield Thunderbolt's success story, though fictional, provides a burst of joy that makes the viewer grateful for the existing real-life success stories. As with the preservation of any object, machine or place, there must be a lot of care and determination for there to be any resulting positive outcome. This film, though light and humorous, highlights the perseverance of those who wish to save things that are at risk for obliteration. Just like a real rail line, this film has plenty of ups, downs and unexpected twists. But it's fun, thrilling and very much worth the ride.

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The Titfield Thunderbolt (1953) is available on Blu-ray from Film Movement.

Thank you to Film Movement for providing a copy for review.

Kyle Edwards of Trainiac Productions

"I enjoy long walks on the beach, but prefer to study railroad history, photograph the giant machinery in action and enjoy any films from days gone by. I love to create as much as I love to enjoy the creations of others."

Whisky Galore (1949): Review by Kate Gabrielle

It’s 1943 in wartime Scotland and the residents of the small island of Todday are fighting a battle far worse than anything they could have ever imagined when World War II began — they are plumb out of whisky! In Whisky Galore, a colorful group of characters band together to salvage cases of alcohol from a sinking supply ship that ran aground near the island, while the daughters of the town’s postmaster (and most fervent admirer of whisky) contemplate marriage to their respective suitors. After the initial comical scenes depicting the moment when the "water of life" went dry, the film drags a bit, spending a little too much time on exposition for storylines that don't pay off until the end.

But once the townspeople concoct their plan to plunder the ship full of whisky, things really pick up the pace and all of the exposition starts coming together. In what is perhaps the most rewarding payoff, a mild-mannered man who lives under the roof - and thumb - of his overzealous fire-and-brimstone mother finally works up the nerve to speak up for himself once he's poured several glasses of pilfered whisky down the hatch. And an early scene on the effectiveness of roadblocks on an island with only one main thoroughfare finally comes full circle during a thrilling car chase!

A cast of regular Ealing players combined with local extras from the on-location island of Barra makes for a realistic, vibrant, and distinctive bunch that's reminiscent of Ballykissangel (1996-2001) and Waking Ned Devine (1998). The star of the film is definitely the town as a whole, but top-billed actors Basil Radford and Joan Greenwood (ironically the only non-Scottish members of the cast) pull their weight as the Home Guard commander and one of the postmaster's daughters.

Greenwood doesn't have very much to work with here -- her scenes consist of pretty much a loop of applying lipstick, answering the telephone in her father's shop and gazing lovingly at her fiance -- but, as was her custom, she takes those small scenes and turns them into works of art. Exuding composure and calm indifference, every line that she utters in her signature gravely voice elevates the script beyond the written words.

Radford - who you may recognize as one half of the popular Charters and Caldicott duo - transitions throughout the film from a somewhat bumbling Home Guard commander into something of a Javert character, determined to sabotage the whisky theft and hold accountable any and all townspeople who had anything to do with the heist. It is a small saving grace that his wife seems to be rooting for him to fail, and finds great pleasure in the moment he gets his comeuppance!

Despite the lag in pace in the first quarter of the film, this was a very pleasant and delightful film! Once it found its footing it was so lively and cheeky! And there are so many small moments that feel like they could only come from a British film of this era. An elderly man storing whisky in his hot water bottle; the sound of bagpipes being used to drown out the ranting and raving of a stuffy old woman; a man agreeing to allow his daughter's betrothal on the condition that his future son-in-law procure him whisky for the rèiteach. And I'd be remiss if I didn't mention my favorite scene in the film, a montage of villagers hiding their whisky in the most inventive and creative places in their homes. It's reminiscent of scenes from other wartime movies where people banded together for the good of the country - or in this case, for the sake of whisky!

The Film Movement Blu-Ray is a beautiful print with crystal-clear sound, something that I appreciate all the more in movies like this one that take place in a seaside setting, where the sound of the waves and seagulls are an essential part of the experience. Bonus features include an audio commentary by John Ellis, a documentary about the film, a featurette about the real life events that inspired the movie, and a 16-page booklet. You also get the 1954 film The Maggie, starring Paul Douglas.

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Whisky Galore is available on Blu-Ray from Film Movement.

Thank you to Film Movement for providing a copy for review.

Kate Gabrielle is an illustrator and classic film fan. You can find her classic movie inspired artwork on her website, kategabrielle.com, and 10 years of film musings on her blog The Films in My Life.

The Ghost of Peter Sellers

"For 43 years I covered up this very dark spot of my life. I carried this grudge against myself. After all these years, I'm here and I'm lost. What have I done?" - director Peter Medak

Peter Sellers developed a reputation for being difficult. By the time he started filming Ghost in the Noonday Sun (1974) he was not in a good place. He and Liza Minnelli had just broken up and he was feeling lonely and out of sorts. And he was about to make director Peter Medak's life a living hell. Four decades later Medak would live to tell the tale.

The new documentary The Ghost of Peter Sellers paints the portrait of a temperamental star on the path of self-destruction and a young director with a tormented past who remained hopeful even in the most dire of circumstances. Directed, narrated and starring Medak himself, this is a cathartic exploration of a production that has haunted him for many years. Viewers follow along as Medak interviews those who were involved with the film or had a connection with key players especially Peter Sellers himself. Interview subjects include writer Spike Milligan's agent Norma Farnes, producer and financier John Heyman, directors Joe McGrath and Piers Haggard who had worked with Sellers on other films, Sellers' personal assistant Susan Wood, actor Murray Melvin, Tony Franciosa's widow Rita Franciosa and many others. For a brief moment we hear from actor Robert Wagner who co-starred with Sellers in The Pink Panther (1963). Medak sits down with his friends and colleagues trying to reconstruct what exactly happened and takes us to Cyprus where the filming took place.

Medak interviewing McGrath and Haggard

"Making this documentary film was probably the craziest exercise I have ever done. It meant reaching deep inside and travelling alone through the memories of the worst directing experience of my entire life, reliving every moment again and walking in my own shadow of what happened on my movie 46 years ago." - Peter Medak

Ghost in the Noonday Sun was a high seas comedy starring Peter Sellers, Peter Boyle and Tony Franciosa. If you've never seen or even heard of this film there is a reason why. It was a disaster of a production and Columbia Pictures decided not to give it a theatrical release. Medak was an up-and-coming director. His film The Ruling Class (1972) had been nominated for a Palme d'Or at the Cannes Film Festival. His wife was pregnant with their second child, money was tight and he needed his next production to be a sure thing.

Sellers was at the height of his fame. A new Sellers production had the potential to be bought sight unseen. Resting on the laurels of the Sellers dynamic was Medak's biggest mistake. What the hell had he just gotten into? Even with the foreboding sense of an impending disaster the hopeful young director trudged forward.

 "I have a name of being difficult but I'm not difficult at all. I just can't take mediocrity. I cannot take it on any level." - Peter Sellers

You'd think that Sellers would be the villain of the story but that really isn't the case. Yes his behavior is inexcusable but it is clear that there was more going on behind the scenes. Medak clearly admires Sellers comedic genius and mourns his long lost colleague.

The Ghost of Peter Sellers is an enthralling documentary that offers insights into the filmmaking experience and how a person's actions have ripple effects that last long after they have passed on. If you're at all interested in Peter Sellers, film history and the filmmaking process, give this documentary a watch.

The Ghost of Peter Sellers is available today on VOD including Amazon Prime and Google Play.

Kino Lorber: Pioneers of Queer Cinema

Releasing in virtual cinemas today through Kino Marquee are three European films from the 1930s that were landmarks in queer representation. Just in time for Pride Month, this trifecta offers some insight into the gay subculture of pre WWII Germany and Denmark and offers classic film fans an opportunity to broaden their horizons with movies they might not have encountered otherwise. These films were way ahead of their time and it seems fitting that they be presented in this new virtual format of theatrical releases. For the full listing of participating theaters, visit the Kino Marquee website.

Madchen in Uniform (1931)

Directed by Leontine Sagan

Germany

Sagan's seminal lesbian drama paved the way for queer films to come. Set in a Prussian all-girls school in Weimar Republic Germany, the story follows Manuela (Hertha Thiele), a new student who falls deeply in love with one of her teachers, Fraulein von Bernberg (Dorothea Wieck). As their relationship blossoms, the old-fashioned and strict headmistress threatens order and adherence to Prussian virtues at all costs. I won't go too much into this film as I'm writing a lengthy piece about it for TCM (I'll link it here once it goes live). There is a reason why this is such a landmark film. It broke down barriers in its representation of lesbian romance. Madchen in Uniform was a huge hit during its time. Germany had a thriving gay subculture before the Nazi regime who later would try to destroy this film. It was a hit overseas as well. After being banned during WWII, it enjoyed a revival in the 1970s from feminists and the lesbian community. It's been remade a few times and other lesbian dramas set in all-girl schools, Olivia (1950) (read my review of that film here!) and The Children's Hour (1961), soon followed.

Madchen in Uniform will be available next month on DVD and Blu-ray through Kino Lorber.

Michael (1924)

Directed by Carl Theodor Dreyer

Denmark

Dreyer's atmospheric drama set in the art world is sophisticated as it is somber. Walter Slezak stars as the titular Michael, an up-and-coming artist who resides with his mentor/lover, the great Claude Zoret (Benjamin Christensen). Zoret is a great influence to Michael but their relationship is threatened when Zoret's new patron, Countess Zamikoff (Nora Gregor), who is after Zoret's wealth and seduces Michael as a means of getting to the money. Michael is a slow moving drama that can be a bit difficult to get into. It's worth your time just to watch a silent film that is so frank about the characters' sexualities The beautiful cinematography by Karl Freund doesn't hurt either. Furthermore, fans of Walter Slezak's later work, American films like Come September and Life Boat, will find him delightfully unrecognizable and the handsome Michael.

Michael is available on DVD through Kino Lorber and for digital rental or purchase through Kino Now.

Victor and Victoria (1933)

Directed by Reinhold Schünzel

Germany

Love Victor/Victoria (1982)? Here's your opportunity to watch the original! Victor and Victoria (1933) is a vivacious German musical that had me absolutely transfixed. It has an energy that is just infectious and kept me wanting more. Renate Muller stars as Susanne, a singer looking for her big break. She befriends Victor (Hermann Thimig), a vaudeville entertaining known for performing in drag as his alter-ego Victoria. When Victor falls ill with a cold, he convinces Susanne to pretend she's a man performing as a woman to cover for him. Susanne makes an unexpected splash as Victoria and continues the ruse by pretending to be a man who dresses up as a woman on stage full time. When she starts to fall for Robert (Anton Walbrook) things get a bit complicated. This was my favorite film of the three. And heck I'll go as far as to say it's even better than Blake Edwards' remake. I'd watch this again and again and it's already on my wishlist to get this on Blu-ray.


Victor and Victoria is currently available on DVD and Blu-ray through Kino Lorber.

Bruce Lee ESPN 30 for 30: Be Water

“Empty your mind. Be formless like water. If you put water into a cup, it becomes the cup. If you put water in a bottle, it becomes the bottle. If you put water in a teapot, it becomes the teapot. It can flow or it can crash. Be water, my friend.” - Bruce Lee

Directed by Bao Nguyen, ESPN Films presents Be Water, a new documentary about Bruce Lee, the cinema superstar and martial arts legend whose life was cut tragically short. In conjunction with the Bruce Lee Family Archive, Be Water, a reference to Lee's philosophy about martial arts combat, offers a comprehensive look at the charismatic leading man and powerhouse athlete who took the world by storm.

The American born Bruce Lee was raised in Hong Kong and was forever a man caught between two worlds. He would spend his career building a bridge between East and West. Lee began his career in the entertainment industry at a young age. His father, who did not appreciate Lee's developing interest in martial arts and acting, sent him back to America in hopes that his son would forge a different path.

Bruce Lee was a master of the martial arts combat known as Wing Chun. Lee studied other forms of combat and idolized Muhammad Ali whose boxing moves Lee incorporated into his own work. Originally Lee had plans to start a nationwide chain of martial arts schools but at a Long Beach Tournament he was spotted by hairdresser Jay Sebring who told his client producer William Dozier about Lee. Dozier had been looking for an Asian actor to appear in the television series The Green Hornet. Lee auditioned and got the part.

Credit: Bruce Lee Family

The rest should have been smooth sailing for Lee but it was anything but. Lee had everything going for him. He was handsome, charming, incredibly fit, a supremely talented athlete and had an on screen persona that was just electric. But being a Chinese American with a thick accent held him back in an industry that was just not ready or willing to accept him. Lee understood that making it in Hollywood was the Holy Grail of success. He went back to Hong Kong to make films hoping that would elevate his star power. There he proved that he was a film star. Bruce Lee was about to take Hollywood by storm with Enter the Dragon and his work on an upcoming feature film Game of Death. Tragically, he died in Hong Kong at the age of 32. He didn't live to see the success he could have in Hollywood or the legend that he would become.

"I'm sure that my father did not fully appreciate the behemoth he was up against. How deeply systemic it is. That said I don't think he was naive. He just believed in himself so deeply. He knew he had something to share that was worthwhile. He knew how hard he was willing to work." - Shannon Lee

Be Water is one of the best biographical documentaries I've ever had the privilege to see. And I don't make that statement lightly. Nguyen does an incredible job chronicling Bruce Lee's life and career, weaving in Lee's struggles as a Chinese-American man and the treatment of Asians in the entertainment industry. There are moments that are just infuriating like seeing how Lee had to fight to get dialogue for his character Kato in The Green Hornet and how he lost the role in the TV series Kung Fu to actor David Carradine. Throughout the documentary we get a sense of Lee's free spirit, his love for his family, his natural confidence, outgoing nature and strong work ethic. Lee was a proactive participant in his journey; never complacent, always fighting for better roles and representation.

The documentary is solely made up of archival footage including clips from his films and television appearances, home videos, audition tapes, family photos, interviews, newsreel footage and more. It is narrated by the interviews with those who knew him best including his daughter Shannon Lee, his wife Linda Lee Caldwell, his brother Robert Lee, Kareem Abdul-Jabbar, Nancy Kwan, close friends, film producers and others. If you watch this film, do not stop before you get to the end credits. Perhaps the best end credits I have ever seen. I really love what Nguyen did with this. It was quite touching and I was very moved. When you watch the film you'll know what I mean.

"As a child of Vietnamese war refugees, I grew up in America where depictions of Asians and Asian Americans were through a very skewed and narrow lens... It wasn’t until I saw a young man named Bruce Lee onscreen did that all change. I saw someone who looked like me for the first time, with an unapologetic confidence and magnetism that resonated on every inch of the silver screen. Since then and through the making of this film which has taken me over 5 years, I have learned about the racial struggles that Bruce Lee had to overcome to become a cultural icon and it has always been my hope to share his personal story with all the fears, struggles, and vulnerabilities that made him human." Bao Nguyen

Be Water premieres on ESPN as part of their 30 for 30 series on June 7th at 9 PM EST.

Olivia (1950) on OVID

Directed by Jacqueline Audry, Olivia (1950) is a little-known French drama about an English student who, while attending a French finishing school, falls in love with her headmistress. The film is based on the semi-autobiographical novel by Dorothy Bussy and stars Marie-Claire Olivia as the title character. The young English teen struggled to fit in at her previous school and finds the new school more welcoming. The girls at the new school are separated into two cliques: one clique favors Mademoiselle Julie (Edwige Feuillere) and the other favors Mademoiselle Cara (Simone Simon). Mademoiselle Julie is a competent headmistress. However Mademoiselle Cara is volatile, emotionally manipulative and suffers from a mysterious ailment that may be a figment of her imagination. When Mademoiselle Julie whisks Olivia away for a private field trip to Paris, Olivia's feelings for her headmistress deepen. Back at the finishing school, tensions arise. Secrecy, jealousy, tragedy. What will become of Mademoiselle Julie and Olivia?

Olivia (1950) is a rare gem. A lesbian drama directed by a woman is not unusual to find these days but back in 1950 it was virtually unheard of. Olivia is not the best film. It's overblown and a bit convoluted. Simone Simon is in her element as the temperamental and pouty Mademoiselle Cara. Feuillere and Olivia are  dutifully restrained in their performances. But if you've seen such films as Portrait of a Lady on Fire (2019), which is a masterpiece in its own right (you can read my review here), and want to watch an equivalent from a different era, Olivia is a good companion film. I had never heard of this film before discovering it on OVID.tv, a newer streaming service that I've been having a great time exploring. Olivia was recently restored and is currently distributed through Icarus Films. I highly recommend you seek out this rarity if you get a chance.

OVID streams a variety of independent and foreign films. Visit OVID.tv for more information about their offerings.

Cursed Films: Review by Ally Russell

Review by Ally Russell

Cursed Films is a five-part documentary series about some of Hollywood’s most troubled horror movie productions. From real skeletons on the set of Poltergeist (1982) to The Omen (1976) star Gregory Peck’s airplane being struck by lightning, Cursed Films examines the factual and fictional stories surrounding The Exorcist (1973), Poltergeist, The Omen, The Crow (1994), and Twilight Zone: The Movie (1983).

These films were plagued with on-set accidents, seemingly supernatural occurrences, and even tragic deaths, like that of young film star Heather O’Rourke (Poltergeist, 1982). But were these films actually cursed (or blessed by the Devil himself—as claimed by the crew of The Omen)…or did they simply suffer from a series of untimely but purely coincidental occurrences?

Beauty Day (2011) was filmmaker Jay Cheel’s debut documentary, and in addition to it premiering at the New York Museum of Modern Art as part of the Canadian Front Programming series, the film was also nominated for a Genie Award in the Best Doc category and was an official selection at the Hot Docs. Cheel is also the co-host of the podcast Film Junk.

Considering his enjoyable and compelling film short Twisted (2016) and the subject matter of his 2016 documentary How To Build a Time Machine, writer and director Jay Cheel is no stranger to subjects that are taboo or just plain weird, including urban legends and curses.

I was granted access to episodes two and three of Cursed Films (2020). Episode two, which focused on the 1982 film Poltergeist, was outstanding. Woven throughout with commentary from horror fans and expert interviews from individuals like film critic April Wolfe and science writer Matthew Hutson (The 7 Laws of Magical Thinking), episode two offered insightful analysis on society’s obsession with one of the horror industry’s most beloved films.

The episode delved deep into the film’s history with interviews from Special Make-Up Effects Artist Craig Reardon (Poltergeist, 1982) and Director Gary Sherman (Poltergeist III, 1988), both of whom serve up some sage advice about our collective ability to get swept up in the sensationalism of Hollywood horror and its gory details.

What I found most enthralling about episode two of Cursed Films was Jay Cheel’s treatment of the subject matter. Cheel is careful to avoid cheap thrills and instead handles the topic with sensitivity—letting the horror of the history speak for itself.

With commentary and past footage, Cheel explores the anxiety, fear, and grief that the cast and crew experienced and gently reminds viewers about the unfortunate loss of human life that occurred during and after the filming. That combination of horror and heart makes for a strong documentary episode about the tragic legacy of a film that has touched the lives of many horror fans.

Episode three, which focuses on the 1976 film The Omen, is enjoyable and worth watching, but it is noticeably less cohesive than episode three. And while episode two is emotionally charged, episode three seems to lack that same sentiment because we don’t spend as much time with the cast and crew.

The beginning and end of episode three focus on the unfortunate events surrounding the production of The Omen, including airplane and automobile accidents, but the remainder of the episode is dedicated to commentary from expert occultists. Commentary from these individuals is interesting and provides viewers with a new perspective on the occult and curses in popular media. However, interviews with these experts shift the focus of the narrative away from the film itself, so viewers who are hoping to get an in-depth look at the dark history of The Omen may be disappointed with the change in tone between episodes two and three.

For those reasons, episode three of Cursed Films felt slightly disjointed and didn’t seem to complement episode two.

It’s undeniable that Cheel has respect for the genre and endeavors to give horror fans more than the recycled and regurgitated content that we’re used to. So, despite the contrast between episodes two and three, I’m still looking forward to watching the remainder of the series when it premieres on AMC’s streaming video service Shudder.

Opting for sentiment over sensationalism, Cursed Films gives horror lovers the documentary series they deserve; a worthwhile watch for horror fans and film history buffs alike.

Ally occasionally creates content for the Horror Writers Association’s Young Adult & Middle Grade blog, SCARY OUT THERE. She also hosts the FlashFrights podcast, which can be found on Apple Podcasts and SoundCloud. Ally lives in Boston and works in publishing. She can be found on Instagram at @OneDarkAlly.

The Great McGinty (1940)

Dan McGinty's (Brian Donlevy) life had a meteoric rise and fall and now he finds himself on the other side of things. Working as a bartender in a banana republic he entertains a drunk American banker Tommy (Louis Jean Heydt) and his gal pal (Steffi Duna) with his life story. Told in a flashback, we follow McGinty has goes from being a hobo to the governor of his state. At first he's hired by Skeeters (William Demarest), the right hand man to crooked mobster known as The Boss (Akim Tamiroff), to vote under assumed names in a rigged election. McGinty, wanting to make an extra buck, votes a whopping 37 times impressing The Boss who takes him under his wing. McGinty is transformed into a mayoral candidate complete with a new wife Catherine (Muriel Angelus) and her two children. McGinty is along for the ride until things get complicated. He finds himself falling for Catherine despite their strictly business arrangement, for family life and pushes back when The Boss makes certain demands of McGinty once he's governor.

The Great McGinty (1940) is Preston Sturges directorial debut. Up until this point he had been a screenwriter working on dialogue and adapting screenplays. Sturges wrote The Great McGinty, originally entitled The Story of a Man. The story goes that Paramount offered him $10 for his original script but Sturges refused to sell it unless he could direct the film as well. This was a brilliant career move. The film went on to be a box office hit and won Sturges an Academy Award for Best Writing, Original Screenplay. He went on to direct a dozen more films including The Lady Eve (1941), Sullivan's Travels (1941), The Palm Beach Story (1942) and Unfaithfully Yours (1948). In his film The Miracle of Morgan's Creek (1943), Brian Donlevy and Akim Tamiroff reprise their roles as McGinty and The Boss.

The Great McGinty is a charming picture. It's lighthearted approach to the rather heavy topic of political corruption and morality makes this a big spoonful of medicine you want to take. Donlevy is fantastic as the stubborn vagabond with a heart of gold. If you know me, you know that I simply adore Akim Tamiroff and will watch him in anything. The Boss is a plum role for Tamiroff and he gets a lot more screen time than he usually does in a film and he has some great conflicts with Donlevy that are just fun to watch. And of course William Demarest is at his best as The Boss's sidekick schemer. I was sad to read that this was Muriel Angelus's final film. She plays Catherine McGinty with grace and charm and left Hollywood after that to return to the theater. The wardrobe in this film especially McGinty's flamboyant suits and Catherine's fabulous gowns were designed by the great Edith Head.

Kino Lorber Classics recently released The Great McGinty (1940) on Blu-ray. This edition includes a brand new 4K master restoration which looks fantastic. It also includes English subtitles (which I mention because I use these all the time), audio commentary by film historian Samm Deighan and Kino Lorber Classics movie trailers.

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Thank you to Kino Lorber for sending me a copy of this set for review.

Bombshells and Dollies

Inspired by the look of classic pin-up queens and movie stars like Lauren Bacall, Hedy Lamarr, Rita Hayworth, Betty Grable, Ava Gardner, etc., modern day pin-up models embrace the aesthetic of a bygone era. They embody a classic feminine beauty, there is also an acceptance of all women regardless of their nationality, ethnicity, body shape or whether they have tattoos or not. The vintage lifestyle extends beyond hair, makeup and clothing to music, cars and of course classic movies. 

The new documentary Bombshells and Dollies, directed by Daniel Halperin, chronicles the 2015 Viva Las Vegas 18 pin-up competition. Viva Las Vegas is a weekend long Rockabilly festival held every year in April. Over 25,000 vintage enthusiasts travel to Las Vegas every year for live music, car shows, burlesque shows, Tiki parties, bowling, dancing and much more. Twelve women compete to be chosen as Miss Viva Las Vegas. Five competitors are chosen by judges, one is chosen by those five, and the audience chooses the other six. In Bombshells and Dollies we get to meet each of the 12 competitors as well as other Viva Las Vegas regulars, organizers and the vintage pin-up queen herself Dita Von Teese. The pin-ups are from around the world: the U.S., Canada, Brazil, South Africa, New Zealand and Australia. One of the competitors, Miss Victory Violet, is one of my favorite vintage models on INstagram and I was excited to watch the documentary to learn more about her. 

The documentary follows the competition up until the winners are chosen: best wardrobe, best hair, best makeup, second runner up, first runner up and Miss Viva Las Vegas. The interest in 1940s and 1950s style and even WWII era culture is discussed at length. For those classic film fans who are interested in vintage looks and have interest in or have been to Viva Las Vegas themselves, this documentary is a must watch. There are a few classic film references and one of the competitor's outfits was even inspired by something Linda Darnell wears in My Darling Clementine (1946).

Bombshells and Dollies is available on digital through TriCoast Entertainment. You can find the documentary on Amazon Prime, InDemand, DirecTV, AT&T, FlixFling, Vimeo on Demand, Vudu and FANDANGO.

Image Makers: The Adventures of America’s Pioneer Cinematographers

When we talk about the art of classic film many of us tend to focus on the work of the director. It's easy to do that. Their names are directly linked with their work in a way that other crew members, beyond the cast, are not. It's easy to ignore the contributions of the cinematographers who do so much with framing, composition, lighting, focus and movement of the camera to create the masterpieces we love.

Director Daniel Raim's new documentary Image Makers: The Adventures of America's Pioneer Cinematographers celebrates the work of seven early visionaries who learned their craft through practice, curiosity and invention. Their work is simply incredible because there was no precedent. Cinematographers developed their art form from scratch and their techniques would lay the foundation for technicians for decades to come. The film calls them a "fraternity of light" and they would share their craft with their fellow cinematographers through apprenticeship and collaboration.

Image Makers spotlights seven notable cinematographers from the 1910s to the 1950s. These seven include Billy Bitzer, Charles Rosher, Rollie Totheroh, William Daniels, Karl Struss, Gregg Toland and  James Wong Howe. Bitzer was one of the early pioneers who came from nothing to establish a career working with D.W. Griffith. Totheroh was a former baseball player who had a background in illustration and his talent for being able to frame a shot lead to his long-time collaboration with Charlie Chaplin. Rosher had a background in photographer, gained the trust of Mary Pickford and became a master at lighting. Daniels worked with Greta Garbo at MGM developing techniques to best display Garbo's stunning countenance. Struss collaborated with Rosher on Sunrise (1927), used German camera movement techniques and even invented his own lens. Toland tragically died young at the age of 44 but during his short career photographed some majors including Citizen Kane (1941), Wuthering Heights (1939) and The Grapes of Wrath (1940). Wong Howe developed a love of photography as a child and after a brief career as a boxer found himself working in the film industry and quickly adapted to sound, color and widescreen working through the 1930s and into the 1970s.

"Cameraman Billy Bitzer and director D.W. Griffith ignite Hollywood spectacle with Intolerance (1916)"

"Cameraman James Wong Howe trailblazes on roller-skates for his breakthrough boxing film Body and Soul (1947)"

"Greta Garbo surrenders lovingly to William H. Daniels’ camera for the pre-code talkie Romance (1930)"

Film discussed at length include Intolerance (1916), Way Down East (1920), The Kid (1921), City Lights (1923), Greed (1924), Flesh and the Devil (1926), Sunrise (1927), Dr. Jekyll and Mr. Hyde (1931),  The Thin Man (1934), The Best Years of Our Lives (1946), Body and Soul (1947) and Hud (1963). Other cinematographers mentioned include Karl Freund (the inventor of the unchained camera technique) and Harry Stradlings.

The documentary is directed, produced and edited by Daniel Raim. I really enjoyed his film Harold and Lillian: A Hollywood Love Story and the focus of his work is primarily on those in the industry who work behind the scenes. Illustrator Patrick Mate, who did wonderful artwork for Harold and Lillian, fills in the blanks with vibrant and expressive illustrations. They are always such a joy and add a unique energy to the documentary that archival images just cannot by themselves. The film has plenty of film clips, behind-the-scenes photographs and archival audio clips of cinematographer interviews in addition to the illustrations. 

Image Makers is narrated by Michael McKean and features interviews with various experts including the father of silent film research Kevin Brownlow as well as film historian and critic Leonard Maltin who wrote the book The Art of the Cinematographer (which I need to get my hands on!). Other talking heads include cinematographers John Bailey and Rachel Morrison, director of the Margaret Herrick Library, curator of the ASC Camera Museum Steve Gainer, David Totheroh, grandson of Rollie Totheroh, Lothia Toland, daughter of Gregg Toland, among others. One of the highlights of the film is a scene with Kevin Brownlow and David Totheroh as they geek out over a makeshift camera projector that Rollie Totheroh and Charlie Chaplin used back in 1916. 

Image Makers is an enlightening and informative documentary that shines a much needed spotlight on the work of early pioneers in cinematography. TCM fans, especially those who want to learn more about film history, will definitely want to check this one out.

Image Makers: The Adventures of America’s Pioneer Cinematographers is a TCM original documentary and premieres on the channel on November 6th. Check your local listings for air times.

Check out my interview with the director Daniel Raim on the TCM website!

TIFF: Judy (2019)

Image courtesy of TIFF

Directed by Rupert Goold, Judy avoids the cradle-to-grave story and focuses on two of the most difficult periods in the life of Judy Garland. The story flashes back to 1939 when a teenage Judy Garland (Darci Shaw) is on the MGM lot making The Wizard of Oz (1939). It's there that she faces long working hours, an overbearing mother and a temperamental Louis B. Mayer. To maintain her weight she's restricted from eating the foods a teenager would typically indulge in and is put on a regimen of pills to reduce her appetite and to help her sleep. It's clear that Judy loves the spotlight but seeks the happiness that comes with living a normal life. As the years pass her two desires seems to be mutually exclusive.

Present day is the last months of Judy Garland's (Renee Zellweger) life. It's 1969 and Garland is struggling to make ends meet. She's forced to come to the decision to leave her children Lorna (Bella Ramsey) and Joey with their father Sidney Luft (Rufus Sewell) and take a job in London. It's there that she finds a welcoming audience of devoted fans. But she's struggling with anxiety, sleepless nights, anorexia and a dependency on pills and alcohol. Her new assistant, the strait laced Rosalyn (Jessie Buckley) is her rock, helping her get on to that stage when no one else seems to be able to. Mickey Deans (Finn Wittrock), a young man she met at her daughter Liza's (Gemma-Leah Devereux) party comes to London to sweep her off her feet. Their whirlwind romance is over as soon as it started. As Garland starts to decline, she must leave London but not without making one last splash, with the help of some good friends.

Image courtesy of TIFF

Judy was adapted by Tom Edge and Peter Quilter from the stage play End of the Rainbow. Zellweger really gives her all to play the part of Judy Garland. She hones the voice, the mannerisms and the presence which is no small task. Zellweger sings in the film and while she's no Judy Garland in the voice department it does add a layer of authenticity to her performance. This depiction of Judy gave me a real appreciation for the legend and why we love her and continue to love her as we do. She was just so genuine. She had an amazing talent, one that superseded anything us mere mortals could ever dream of. But at heart she was just a woman who wanted happiness and love. The story includes her time with her children and we see the pain she feels being away from them. They also added a plot line where she befriends two fans, a gay couple, to drive home the point that she was not only a gay icon but felt deeply for others.

By the end of the film I was really emotional. I found myself swept into this world and deeply moved by the legend of Judy Garland. I did feel the story was overly simplistic especially in how it depicted old Hollywood. Everything was presented as good or bad with very little in between. Mickey Rooney shows up in those early scenes as Judy's first crush and her MGM co-star but we don't see much about their lifelong friendship.

Does a Hollywood biopic have to be factually accurate to capture the true essence of a movie star? With so many biopics coming out we have to wonder if telling the truth is even the point. Or is it necessary to have a blend of fiction and reality to make magic on screen? I'm no Judy Garland expert so I can't speak to the inaccuracies but I do think die-hard Garland fans will take issues with the fictional parts and the focus on Garland's darkest days. I hope they see beyond that and give the film a shot.

This film did remind me of Stan & Ollie, the Laurel and Hardy biopic which also travels to the other side of the Atlantic and tells the story of the legends' last hurrah. I reviewed that film here and also discussed the film and the inherent problems with biopics in my discussion with Carl Sweeney over on The Movie Palace Podcast.

Judy explores the darkest days of Judy Garland's life while also capturing what made her such a beloved legend. Zellweger shines despite the film's flaws.

Judy had its Canadian premiere at the 2019 Toronto International Film Festival.