In my latest YouTube video I discuss the sex comedy classic Come September (1961) starring Rock Hudson, Gina Lollobrigida, Sandra Dee and Bobby Darin. Available on blu-ray from Kino Lorber!
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Thank you to Kino Lorber for sending me a copy to review!
For those who love the era, Hot Saturday (1932) is a time capsule of early 1930s frivolities. Cary Grant's character Romer is driven by a chauffeur in this car with what almost looks like a rumble seat. Romer and his date sit with their laps covered by a partial hood which the chauffeur has to lift it up to let them out. (If anyone has more details on this car please let me know!). It's fascinating to look at but seems quite dangerous. At Romer's lakeside mansion party, he has a custom made hot dog/milkshake cart which is wheeled around the party to serve the guests. Carroll wears a variety of fun outfits including cloche hats and secretary style blouses and dresses.
Hot Saturday (1932) is available on Blu-ray from Kino Lorber. It includes subtitles in English, a reversible cover (see both sides below) and commentary from film historian Lee Gambin. The commentary was really fascinating. There is a lot of cultural context given and some really interesting insights into how the film portrays the societal mores and gender politics of the time. There were times I didn't agree with Gambin's perspective. He notes that Edward Woods comes off as a good guy in the role of Connie and then he takes an unexpectedly dark turn. As a woman I knew from the very first scene that Connie was up to no good so his character's story arc was no surprise. This is definitely a movie that women and men will interpret differently.
Thank you to Kino Lorber for sending me Hot Saturday (1932) for review!
What would you do for a million dollars? For Patricia O'Day (Marion Davies), she would go as far as live her life as a boy so that her family could inherit what was rightfully theirs. When Patricia's rich American uncle passes away, she and her father John (J.M. Kerrigan) are visited in Ireland by the uncle's proprietor. The uncle's will stipulates that the sole heir of the $1 million fortune is Patrick O'Day (Stephen Carr), Patricia's brother. Patrick has two months to travel to New York to claim the inheritance or lose it forever. However, Patrick is gravely ill and won't survive the treacherous journey over the Atlantic.
Upon arrival, Patricia plays the part of her brother by donning a page boy haircut and boys clothes. She meets Larry Delavan (Harrison Ford, the other one!) whom everyone, including Larry himself, thought would inherit his step-father's fortune. The story follows Patricia as she plays the part of Patrick, enters high society, invests in steamboat technology, gets caught up in the world of sports gambling, faces an identity crisis and falls in love.
Little Old New York (1923) was a box office hit for star Marion Davies. The film was so popular that it beat box office sales for the previous record holder Robin Hood (1922). Based on the play by Rida Johnson Young, the film adaptation was produced by William Randolph Hearst's company Cosmopolitan Corporation and filmed at his studio on 127th Street and 2nd Avenue in New York City. A fire broke out at the studio while filming was still underway. The negatives for the film, which at that point was two-thirds complete, were miraculously salvaged. However, costumes and sets had to be recreated.
A big marketing push for the film included a press conference with Davies, an invitation for the public to be extras in one of the scenes and having theater usherettes dress like characters in the movie (not sure if they were made to mimic Marion Davies' boy look or the other female characters wearing 19th century garb). The film premiered at Hearst's Majestic theatre in Columbus Circle and a couple months later premiered in London. Little Old New York was remade in 1940 with Alice Faye in the lead role.
Marion Davies is absolutely charming as the lead character. She uses her feminine wiles and masculine energy to adeptly play this binary role. I'm really drawn to stories about gender representation especially when they spotlight stereotypes in a way that criticizes them (whether intentional or not). I would recommend this film to fans of silents, Marion Davies and period pieces.
At 1 hour and 47 minutes, Little Old New York feels a bit too long. A natural resolution to the story could have happened much earlier in the film. Overall, the movie watched more like chapters in story of Patricia/Patrick O'Day's adventures rather than one cohesive feature film.
Little Old New York (1923) is available on DVD from Undercrank Productions, in association with Edward Lorusso, and features a lively original score by accompanist Ben Model. According to Undercrank's website, the film is presented from a 2k digital scan made from the Library of Congress's 35mm nitrate print. The DVD is a result of a Kickstarter campaign and also includes an excerpt from Hold Fast (1916).
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Thank you to Undercrank Productions for sending me a copy for review!
Director Daniel Raim continues his quest to champion the art of filmmaking with his latest documentary Fiddler's Journey to the Big Screen (2022). Narrated by Jeff Goldblum, this documentary takes a deep dive into the making of Fiddler on the Roof (1971), director Norman Jewison's personal and professional journey and all of the key players who came to together to make one of the greatest musical films of all time.
Fiddler on the Roof was the brainchild of composer Jerry Bock, lyricist Sheldon Harnick and writer Joseph Stein. The inspiration came from a selection of short stories by Yiddish writer Sholem Aleichem called Teyve and his Daughters as well as artist Marc Chagall's 1912 painting The Fiddler. The play opened on Broadway in 1964 and there was some concern that the story would only appeal to a small Jewish audience. However, Fiddler's tale of a Jewish dairy farmer who attempts to marry off his five daughters in pre-revolutionary Russia, is a story of family, tradition and the inevitability of change. This gave the story a universal appeal and along with the excellent story and top-notch musical numbers, Fiddler was an international success. And naturally it was destined to become a film.
Fiddler's Journey to the Big Screen explores the history behind the Broadway show, how Norman Jewison came to be involved, the casting, musical direction, art direction, location scouting, choreography, cinematography and many other elements that came to make the film as well as Fiddler's legacy. There is so much here to take in but it never feels overwhelming.
The documentary includes interviews with director Norman Jewison, lyricist Sheldon Harnick, musical director John Williams, actresses Rosalind Harris (Tzeitel), Michele Marsh (Hodel) and Neva Small (Chava) and film critic Kenneth Turan. There are also archival interviews of Jewison back in 2000 as well as actor Topol and art director Robert F. Boyle. The interviews add so much to this documentary. There is nothing quite like first hand accounts of an important moment in film history. And much like Daniel Raim's other documentaries, there are illustrations from artist Patrick Mate as well as plenty of archival footage and behind-the-scenes photographs. The documentary is also is chock full of interesting facts even beyond just the making of Fiddler on the Roof. Watching it felt like I was getting two documentaries for the price of one: the making of a film and the biography of its director.
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| Courtesy of Zeitgeist Films and Kino Lorber |
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| Courtesy of Zeitgeist Films and Kino Lorber |
"My documentaries preserve film history and depict the art, craft, and soul of the movies through intimate portraits of cinema artists." — Daniel Raim
I was already a fan of Daniel Raim's other work, especially Harold and Lillian: A Hollywood Love Story which continues to be my favorite documentary. I also really loved Image Makers: The Adventures of America’s Pioneer Cinematographers and In Search of Ozu (available on the Criterion Channel). He scores another win with Fiddler's Journey to the Big Screen.
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| Credit: Philippe Le Tellier/Paris Match via Getty Images |
Paul Newman and Joanne Woodward are the subjects of a new documentary streaming later this year on HBO Max. Told in six chapters, The Last Movie Stars chronicles Newman and Woodward's acting careers, including the sixteen films they made together, and their enduring love story. I had the privilege of attending the world premiere of the first chapter at this year's SXSW Film Festival and am thrilled to share a bit about this documentary with you.
The Last Movie Stars is the brainchild of producer Emily Wachtel who was close friends with the Newman-Woodward family and was able to get access to recordings, photos and home videos used in the film. Ethan Hawke directed the film and gave the project an "actors on actors" perspective.
The project began just as the pandemic put us all in isolation. The film embraces the constraints of the pandemic and is primarily composed of archival footage, movie clips, narration and Zoom interviews. This works quite well in the first chapter and I'm curious to see if continues to work or if it will bog down the rest of the film.
To offer some background, some years ago Paul Newman started working on a memoir. He invited friends and family to tell their stories about their relationships with him including his wife Joanne Woodward, his ex-wife Jackie Witte, his friends and fellow collaborators Gore Vidal, Karl Malden, Sidney Lumet, Elia Kazan and more. He also recorded himself discussing different aspects of his life and career. It's uncertain why but Newman eventually destroyed all of these recordings. Lucky for us, they were all transcribed and those transcriptions survived.
In The Last Movie Stars, Ethan Hawke invites his actor friends to read the transcriptions in the voices of the various subjects. George Clooney plays Paul Newman, Laura Linney plays Joanne Woodward, Zoe Kazan plays Jackie Witte, Vincent D'Onofrio plays Gore Vidal, etc. Other actors include Mark Ruffalo, Billy Crudup, Sam Rockwell, Oscar Isaac and Steve Zahn. Along with their narrations, there are Zoom interviews with all of the actors. They share their mutual admiration for Newman and Woodward with Hawke who guides the story. There are also of other interviews with figures like Sally Field and Martin Scorsese who don't narrate but offer their perspectives and stories. It's a very meta approach. The audience follows along with the creation of the documentary as they learn more about these two fascinating subjects from film history.
The documentary's core purpose which is to tell the story of Paul Newman and Joanne Woodward. Chapter one focuses on how they became actors, their affair which lead to the break-up of Newman's first marriage and the beginning of their lifelong adventure together. One takeaway from the first chapter is that Woodward very much came into her own at the beginning of her career while it took Newman to really discover himself as an actor. Newman eventually overshadowed Woodward as his fame skyrocketed. However, the two had a mutual respect for each other and Woodward was able to find a deeper meaning to her life and career. With The Last Movie Stars, producer Emily Wachtel and director Ethan Hawke are reintroducing Newman and Woodward to a new generation with the hope that telling their story will help reinforce their legacy as the great actors they were.
Watching The Last Movie Stars reinvigorated me. My purpose has always been to keep film history alive and share the joys of classic movies with others. This documentary does just that. Having seen the first chapter, I am anxious to see the next five. At the world premiere, Hawke shared that the first three chapters are completed but the last three are still in the editing process. He estimated that they'll be done by June. A streaming date has yet to be announced.
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| Paramount Theatre in Austin, Texas |
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| Ethan Hawke introducing The Last Movie Stars at SXSW |
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| Q&A after the world premiere. Left to Right: Richard Linklater, Emily Wachtel, Ethan Hawke |
I hope to do a full review once all six chapters of the documentary are available.
Note to add: While Joanne Woodward is still with us, she suffers from alzheimer's disease and was not able to be interviewed for this project.
Directed by Camille Hardman and Gary Lane, Still Working 9 to 5 (2022) chronicles the making of 9 to 5 (1980), its impact on our culture and its legacy while also examining the continued struggle women face in the workplace.
In the late 1970s, a movement was gaining steam. With every passing year women were becoming a bigger and bigger part of the workforce. However, they were paid less than their male counterparts, had to endure sexual harassment and were shut out of potentially lucrative positions. 9to5, the National Association of Working Women, became an integral part of the women's movement, advocating for equality in the workplace. And it was out of this rallying cry for change that the dark comedy 9 to 5 (1980) was born.
9 to 5 stars Dolly Parton, Jane Fonda and Lily Tomlin as a trio of office workers who seek revenge on their manipulative boss, played by Dabney Coleman.
The film was the brainchild of Jane Fonda and producer Bruce Gilbert. Originally it was meant to be more of a drama. It was a decided that a comedy would be more palatable to audiences and would be a more effective way of delivering the movie's social message. Many of the dramatic elements remain and this comedy has plenty of dark and disturbing moments along with the humor. The story was written by Patricia Resick and Colin Higgins was hired as both director and co-screenwriter. 20th Century Fox picked up the project for production and distribution. The intention was to have five female leads but that was pared down to just the three. The roles of Judy, Violet and Doralee were written with Jane Fonda, Lily Tomlin and Dolly Parton in mind. Fonda was known for her activism, Tomlin had a hit Broadway show and Parton was a rising country music star. The three were at the top of their game and ready to launch this film into the stratosphere.
9 to 5 (1980) was an amazing success thanks to the film's message, the three dynamic leads, Coleman's excellent villain role and Dolly Parton's theme song 9 to 5 which she wrote and performed for the film.
Still Working 9 to 5 (2022) features interviews with star trio Fonda, Tomlin and Parton as well as Dabney Coleman, writer Patricia Resick and producer Bruce Gilbert. Having access to so many key players adds a wealth of insight that makes this documentary so valuable. Other interviewees include Rita Moreno, who starred in the TV spinoff, Allison Janney, who starred in the Broadway production, and activists, particularly those involved with the 9to5 organization.
9 to 5 was both a product of its era but also timeless and the documentary expertly weaves behind-the-scenes information with context to demonstrate this. Along with the interviews are archival footage of the movement, TV clips from the film's media tour, clips from 9 to 5 and a new rendition of the theme song performed by Dolly Parton and Kelly Clarkson. Just like the original film, the documentary has a clear social message: while we've made strides towards equality, we still have a long way to go.
"I withdrew this cash and came down here to enjoy myself or live a little... but I realize I don't know how." — Mr. Williams
Premiering this week on Turner Classic Movies is the excellent documentary Dean Martin: King of Cool. Directed by Tom Donahue and produced by Ilan Arbodela, this film chronicles the life and career of Dean Martin, from his early days singing in the nightclub circuit, becoming one half of the outrageously popular comedy duo with Jerry Lewis, to his film career, his time with the Rat Pack and his personal struggles. We learn about how Dean Martin went from being part of a close knit Italian community in Steubenville, Ohio, to making waves in Hollywood and Las Vegas. Martin was the epitome of cool and part of this was his sense of mystery. He kept everyone, including his family members, at arms length. He went by the notion of "keep yourself to yourself" and lived his life as a menefrigista (he who doesn't give a f***). Martin was also just an extraordinary talent. He mastered singing, drama, comedy and dance, was the consummate host and improvised with the best of them. There were no mistakes. He kept rolling with the punches and everyone loved his mesmerizing personality.
“What an incredible, joyous labor of love it has been to tell the story of one of the 20th Century’s greatest entertainers... The more I learned, the greater and deeper my appreciation and affection for this man became.” — Tom Donahue
What's truly extraordinary about this documentary is the sheer number of people who were interviewed. Half the fun is seeing so many familiar faces, including Martin's peers, friends, family and even classic film authors (whose books I've reviewed on this blog!).
Dean Martin: King of Cool airs Friday November 19th with an encore screening Friday November 26th. Check out the dedicated Dean Martin line-up programmed for each evening:
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| Photo by Susan Johann |
"As a writer you strive for a sense of truth." — Horton Foote
Playwright Horton Foote (1916-2009) had been honored with many awards and nominations in his lifetime including Emmy awards, Tony nominations, the National Medal of Arts and a Pulitzer Prize for Drama. He won the Academy Award for Best Adapted Screenplay for To Kill a Mockingbird (1962) and the Academy Award for Best Original Screenplay for Tender Mercies (1983). But chances are, despite his widespread recognition, you may not have heard his name.
Directed by Anne Rapp, Horton Foote: The Road to Home shines a spotlight on a talented and sensitive writer who was often misunderstood and underappreciated by Hollywood. Foote grew up in Wharton, Texas, a small town that would be the inspiration for his many plays for theater, television and film. His original stories were inspired by his local community. He changed real names to fictitious ones and Wharton transformed itself into Harrison, Texas, to protect the locals, and frankly himself from scrutiny. He was particularly attracted to sensitive characters who faced great challenges but still continued on. His stories weren't grandiose nor were they commercial. But they were powerful. And unlike many of his peers, Foote wrote great parts for women. Vulnerable but strong, these women were central to the stories and not just moving pieces that only served the plot.
In the 1950s and 1960s, Foote wrote many teleplays for shows like American Playhouse, The Dupont Show of the Mount, Playhouse 90 and more. He preferred to write original pieces or adapt his own work but would sometimes adapt other writers work to screen. Foote almost turned down the opportunity to adapt Harper Lee's To Kill a Mockingbird to screen but was convinced by his wife and business partner to give it a go. The result was a resounding success with Foote winning, much to his surprise, his first Academy Award. For Foote, adapting another writer's work was something he did sparingly. He really had to like the material and sympathize with the writer. He called it a painful process because it required him to be both involved in the material and to also be objective. Hollywood saw potential in Foote but didn't know how to work with him. Foote took criticism well however he was firm in his convictions. His work had to be authentic and true to his vision. A commercial writer he was not. He wrote many movie screenplays but only a handful made it to the screen with To Kill a Mockingbird and Tender Mercies being his best known work.
"A gentle, sweet man who had a sharp eye and a sharp mind." — Edward Albee
Rapps' documentary takes the viewer on a journey into the world of Horton Foote. There are interviews with Foote's daughters as well as Edward Albee, Robert Duvall, Matthew Broderick, directors, actors, filmmakers and others who worked with Foote during his lifetime. Although Foote died in 2009, the documentary has a lot of footage of Foote talking about his life and career, his love of Wharton and his never ending desire to tell stories. Throughout the film are theatrical scenes, mostly acted out soliloquies from Foote's theatrical plays.
Horton Foote: The Road to Home is a loving and tender tribute to a great dramatist.
Filmmaking couple Chris (Vicky Krieps) and Tony (Tim Roth) head to Fårö Island, Sweden to take up residency while Chris works on her latest screenplay. Fårö (i.e. Bergman Island) is where Swedish director Ingmar Bergman lived and worked. The house the couple are staying at was used in the making of Scenes from a Marriage (1973). They talk to locals about Bergman, watch Cries and Whispers (1972) on 35 mm and explore the island to find different spots important to Bergman and his work. The hope is that being in this space will inspire Chris to write her screenplay. The movie shifts then to a movie within a movie where Chris is dictating her script to Tony. In that story, Amy (Mia Wasikowska) and her former lover Joseph (Anders Danielsen Lie) reunite on Fårö Island to attend a mutual friends wedding where they rekindle their secret affair.
Directed by Mia Hansen-Løve, Bergman Island is steeped in appreciation for Ingmar Bergman. It is also a tad pretentious. While the film-within-a-film format works quite well, the stories get muddled. There is also a plot point in the screenplay that is never revealed leaving the audience hanging. And it's unclear what truly motivates these characters. Chris and Tony are both supposed to be Bergman fans but don't really demonstrate much knowledge about the filmmaker. However, that actually works in their favor because their curiosity helps deliver a lot of information to the viewer about Fårö and Bergman. Krieps and Roth are terrific in the story and the film boasts plenty of shots of Fårö Island including a peek inside Bergman's home, shots of various filming locations and a visit to Bergman's grave. The quiet, bucolic nature of Fårö really comes through.
A must for Ingmar Bergman fans or anyone who enjoys stories about the creative process. If you don't fit into either category, you may want to skip this one.
Bergman Island is part of the 2021 Toronto International Film Festival Gala Presentation slate. It also screened at the Cannes Film Festival. It's distributed by IFC Films.
"One of the horrors of a society... is the break with the past, a lack of continuity. Young people know nothing of the past. For that matter even people who lived in the past have forgotten it... the New Deal, The Arts Project, is a good case in point. It's as though it never existed." — Studs Turkel
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| Photo courtesy of Corinth Films |
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| Image courtesy of Corinth Films |
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| Photo courtesy of Corinth Films |
"She's an original and can't being that every minute of her life." — Norman Lear
