Noir Bar by Eddie Muller

Noir Bar
Cocktails Inspired by the World of Film Noir
by Eddie Muller
TCM and Running Press
Hardcover ISBN: 9780762480623
May 2023

248 pages

Amazon — Barnes and Noble — Larry Edmund's — Powell's 

“Noir Bar offers a booze-based excursion through America’s most popular film genre, pairing easy-to-master recipes with the kind of behind-the-scenes anecdotes I like to include in my film intros and books.... This book is designed to be a drinking companion for anyone taking a deep dive into the glamorous and gritty world of noir.” — Eddie Muller

Cocktails and film noir make for a perfect pair in TCM host Eddie Muller's latest book: Noir Bar. Presented in alphabetical order, Noir Bar features 50 different films, each with a cocktail recipe to accompany it. Muller's curation of titles is as exciting as the cocktails he picks for each. The recipes were carefully selected by Muller—who is both the Czar of Noir and an experienced mixologist—to tie into the movie. The connection between noir and cocktail can be as simple as a reference to the title, protagonist or one of the actors. Some are thematic based on elements of the story. And there are numerous Eddie Muller originals. As someone who loves both film noir and cocktails, I had fun reading how Muller ties the cocktail to the movie and his reasoning behind each choice.

Here are some of my favorite film noir and cocktail pairings:

• The Blue Gardenia (1953) — The Pearl Diver — This is a hat tip to the Tiki cocktail that Raymond Burr's character buys for Anne Baxter in order to get her intoxicated. Not many cocktails in the book have a direct connection
• D.O.A. (1949) — The Last Word — The name is a reference to the protagonist's plight to get the "last word" on his murder. The cocktail recipe ingredients put together look reminiscent of the luminous poison from the film.
• Hell’s Half Acre (1954) — Mai Tai — This film noir takes place in and was filmed on location in Hawaii. As someone who has enjoyed many a Mai Tai in Oahu, I appreciated Muller's tips on how to make a quality Mai Tai at home.
• Odds Against Tomorrow (1959) — Johnny & Earle — Named after Robert Ryan and Harry Belafonte’s characters, this Eddie Muller original is probably the most clever cocktails in the whole book. He writes: “My mixology strategy here is obvious and symbolic—like the end of the movie. Two base spirits that rarely engage with each other are unexpectedly combined: Jamaican dark rum… and Southern Comfort… In the spirit of the story, my formula calls for fifty-fifty use of the two spirits…The bitters and the Allspice Dram smooth things out between two headstrong leads.”
• Pickup on South Street (1953) — Bloody Mary — Eddie Muller prides himself on his signature recipe and this cocktail happens to be director Samuel Fuller's drink of choice.
• Suspense (1946) — Belita — This frozen cocktail is named after the film's star Belita and is a hat tip to her career as an ice skater.

And of course I had to make the Out of the Past (1947) Paloma. In the book Muller writes, 

"this [is a] humble concoction of tequila, lime, and grapefruit soda... Mitchum, of course, would have waved off grapefruit soda in his tequila. Granted. This one's for Jane [Greer]." 

I've had Palomas in the past but have never made one at home. I'm not terribly experienced when it comes to crafting cocktails. I appreciated Noir Bar's front matter which includes Muller's introductions on spirits, garnishes and tools to have on hand as well as a guide to basic cocktail making techniques. And for those of you who love to look up old cocktail recipes and are often dismayed by how many of them contain egg whites, fear not because this book only has one such recipe!

The mix of titles include some of the most famous entries into the film noir canon as well as some obscure titles I've never heard of—and everything in between. Two of my favorites, Double Indemnity (1944) and The Postman Always Rings Twice (1946), were missing but that didn't take away from my enjoyment of the book.

Each film noir has a 4-6 page entry complete with a brief foray into the film's history, an explanation of the cocktail pairing, a recipe and some images from the film. Some of the cocktails are presented with a stylized photograph that has a sort of hazy 1980s neo-noir vibe to it that gave me a twinge of nostalgia. The book is a nice compact size but because of its binding and dark matte gloss pages, I do suggest placing it in a cookbook holder for reading and reference purposes if you can. I would not recommend this for someone who abstains from alcohol because the book leans heavily on the cocktail related content. They are not sections you can just skip.

Interior spread courtesy of Running Press. Champagne Cocktail to accompany Sunset Blvd. (1951).

Noir Bar is the perfect companion for film noir enthusiasts who enjoy a well-made cocktail.

Don't forget to drink responsibly!

Thank you to Running Press for sending me a copy of Noir Bar to review!

2023 TCM Classic Film Festival: Day #4 Recap

 

The last day of the TCM Classic Film Festival was a tough one for me. I was only able to attend two more events, both in the afternoon and evening and only after spending all morning resting up. I assumed I was suffering from extreme exhaustion so I prioritized the two events most important to me.

After having a quick lunch with a friend, I headed over to the Hollywood Legion for a special 35th anniversary screening of Stand and Deliver (1987). The film is both a modern classic of Latinx cinema but also really important as an inspirational tool for students and teachers. I had never seen it before and I'm glad that I saved my first viewing for this special event.

This screening was part of TCM's theme to celebrate Warner Bros.' 100th anniversary. It began with a Warner Bros. trailer then an introduction by Luis Reyes, film historian and author of the book Viva Hollywood which I reviewed here. Reyes discussed the film and pointed out two of the actors in the audience who played students in the movie. He also spoke briefly about actress and long-time TCM fan Vanessa Marquez who was tragically killed back in 2018. She plays Ana Delgado in the film.

The moment we were all waiting for was for the interview with Reyes and Stand and Deliver stars Edward James Olmos and Lou Diamond Phillips. I really enjoyed listening to them discuss how they came to the project, the impact the film had on their careers and on countless teachers and their mutual respect for each other. 

Despite feeling under the weather, I was completely engrossed in the film and was swept away by the excellent storytelling, the fantastic characters and performances and the opportunity to cheer on some fellow Latinos in their pursuit for intellectual excellency!

I stayed at the Hollywood Legion to get in line for my next and last event of the festival, a screening of the Rin Tin Tin silent film Clash of the Wolves (1925). TCM host Jacqueline Stewart introduced silent film accompanist Ben Model who then introduced the film. I've been to several performances by Ben Model and he's a unique talent with his ability to respond to the actions and emotions on the screen with his music. His scores are never written down so each performance is a unique experience.

The event didn't disappoint! We all had fun with this nail-biting Rin Tin Tin adventure. My friend Annie and I had a good cry when Rin Tin TIn was injured and left to die. But of course, with Rin Tin Tin being the star of the show, he not only survives but he thrives!

The plan for me was to try to go to the Closing Night Party but my body gave up on me and I decided to call it a night. I'm sad that I wasn't able to say a proper goodbye to my friends. But my decision was ultimately the best one I could make for everyone involved.

Some observations on the festival overall:

• The festival was scaled back quite a lot this year. There was no imprint ceremony, no big announcement at the media event (see more details on Day #1's recap) and fewer big name guests. I imagine a lot had to due with budget cuts given the recent merger. However, TCM still put on a great lineup of movies, panels, and events for all of us to enjoy. Looking at the schedule you wouldn't guess anything was scaled back.
• Queueing up for films can be tricky and there had been problems in previous years. This year the volunteers did a stand-up job handling the lines. Line drama was kept at a minimum.
• There were some nice surprises during the festival including the last minute addition of George Clooney at a screening of Ocean's 11 (2001). And not so nice surprises like a shelter-in-place order due to a shooting on Hollywood Boulevard.
• Quite a few festival goers caught COVID, including yours truly. I suspect that a combination of the colder weather and the rain made for a fertile breeding ground for the virus. I didn't quite realize that I had it until I got tested right after the festival. I just assumed I was really tired.
• There was a sense of sadness that hung over us primarily in the days right before the festival. I mostly sensed this from the festival regulars. On the flip side, there were so many first-time festival goers this year and many of them were brimming with enthusiasm.
• The festival has morphed into something a bit different with time. When I started attending the festival in 2013, each year was absolutely magical. It would be a long weekend packed with once-in-a-lifetime experiences, ones that I would be talking about until the next festival rolled around. With the passage of time and the loss of Robert Osborne and many of the classic film stars who were special guests at the festival over the years, it'll be hard to keep that spark going. This was inevitable and if the festival continues TCM will do a great job trying to give festival goers the best experience they can even as things inevitably change.
• The most special aspect of the festival has been and will always be the people. The TCM hosts, the presenters, the TCM staff, the volunteers and the passholders all make the festival a social event like no other.

A special thank you to all the folks at TCM for this year's festival!

2023 TCM Classic Film Festival: Day #3 Recap

 The sun was shining on the third day of the TCM Classic Film Festival. I got up early to attend my number one pick for festival events: a screening of Seven Brides for Seven Brothers (1954) with Russ Tamblyn in attendance! I was excited not only to see Tamblyn and hear him speak about his experience on set but also to watch one of my favorite musicals of all time on that gigantic TCL Chinese Theater screen! (I heard it's the largest screen in North America!)

On my way to the screening, I rode the elevator down to the lobby of my hotel and it stopped at the third floor. And guess who walked in? RUSS TAMBLYN! I stood right next to the man I was literally going to queue up to see. What a thrill! The lady who was with him asked us in the elevator what we were excited to say and I perked up and said Seven Brides for Seven Brothers and that I recognized Russ Tamblyn right away. What a thrill! 

TCM host Dave Karger sat down with Russ Tamblyn ahead of the screening for an interview. Tamblyn talked about how he was cast for the film, how they coordinated the red hair and the different acting/dancing/singing skills among the seven brothers, his crush on Janie Powell, as he called her, and more. He's the last surviving of the seven brothers and Tamblyn joked that he can now say what he wants and there is no one to contradict him. It was a very memorable interview and I only wish it lasted a bit longer. 

And yes it was absolutely breathtaking to see Seven Brides for Seven Brothers on that big screen. I got emotional and was a "sobbin' woman" during the screening.

Russ Tamblyn and Dave Karger. Photo courtesy of TCM

I took a brief break from the festival to visit with my friends Daniel and Lillian and was back in Hollywood in time to head over to the Hollywood Legion for the next special event.

Donald Bogle and Ben Mankiewicz. Photo courtesy of TCM

I have never been to a Robert Osborne Award Ceremony and there had been three held so far for Martin Scorsese, Kevin Brownlow and Leonard Maltin. I made it a point to go this year especially since film historian Donald Bogle, an author I great admire and whose work I use a lot in my research, was the newest honoree.

The ceremony included an introduction by TCM host Ben Mankiewicz, a tribute video, speeches by Debra Martin Chase and Louis Gossett, Jr. Mankiewicz presented the award to Bogle who followed up with an acceptance speech and an introduction to the movie Carmen Jones (1954) which screened immediately after. Bogle was very moved by the ceremony and it was really great to hear how he got his start, his early days working with Otto Preminger and his intro to the movie.

Louis Gossett Jr. 

I had planned to attend a screening of Unfinished Business (1941), introduced by film historian and author Sloan De Forest, but my body broke down and I slept for 12 hours instead. I didn't fare much better the next day. Stay tuned for my fourth and final recap!

2023 TCM Classic Film Festival: Day #2 Recap

 

My festival experience this year was scaled back immensely due to unforeseen circumstances, both good and bad. For the rest of the festival I was able to attend two events each day while also building in some time with friends.

On the first full day of the festival, I sat down with documentarian Daniel Raim whose films Harold and Lillian: A Hollywood Love Story, Image Makers: The Adventures of America's Pioneer Cinematographers and Fiddler's Journey to the Big Screen I have reviewed on here. He has some exciting projects coming up and I look forward to checking them out!

Then I got in line for Blood on the Moon (1948), Robert Wise's noir western starring Robert Mitchum. I'm a huge Robert Mitchum fan and have been disappointed to attend every year and not see a Mitchum film on the line-up. A few were shown the first year I went and I attended River of No Return (1954) which was life-changing. I looked at the schedule every year I attended and couldn't find another Mitchum film (unless I missed one!). So I was particularly thrilled for this opportunity.

Blood on the Moon was a hot ticket at TCMFF and it quickly sold out. Introducing the film was Alan K. Rode who recently wrote and published a book exclusive about the film with the University of New Mexico Press.

I had a new appreciation for this film seeing it up on the big screen with a crowd. The noir elements, Wise's direction and Mitchum's charisma really enhance what might have been just a standard Western.

After Blood on the Moon, I headed over the pool at the Hollywood Roosevelt hotel for a special screening of Beach Party (1963). A lot of us got there early. In fact I was there two hours in advance to get a good spot to see the screen and to catch a glimpse of special guest Frankie Avalon.

Photo courtesy of TCM

TCM host Dave Karger introduced Frankie Avalon before the screening and Frankie still has that youthful spirit you see in the movies. He talked about working with Annette Funicello, how he only had to take one pie in the face, how he thinks the dancing hasn't aged well and more. There was a shooting (!!!) that happened nearby so a news helicopter was hovering over us which made it a little difficult to listen to. But we were all safely tucked away and thrilled to see Frankie Avalon and Beach Party. The true fans stayed afterwards to watch the whole movie.

During the introduction, a photographer was literally in the pool getting shots of the main stage. He got some cool ones like this photo which makes it look like Dave Karger and Frankie Avalon are hovering over an abyss!

Photo courtesy of TCM

2023 TCM Classic Film Festival: Day #1 Recap

 

Greetings from rainy Los Angeles! The 2023 TCM Classic Film Festival kicked off on Thursday April 13th but the festivities have been going on all week.

On Tuesday I met up with some classic film friends for dinner at Smoke House, a Burbank steak house that's been operating since 1946.

Before dinner, I met up with my friends Aurora, Laura and Doug at the Forest Lawn Cemetery: Hollywood Hills. Many of our beloved classic movie stars and directors are laid to rest there. It's a huge cemetery so you have to come with a game plan and ready access to Find a Grave. We had limited time but we were able to pay our respects to some of my favorite people including Bette Davis, Telly Savalas, Sandra Dee, Ernest Borgnine, Buster Keaton, Stan Laurel and Charles Laughton. I'm a huge fan of The Mills Brothers and I found Donald Mills in the Columbarium of Radiant Dawn. 

On Wednesday I picked up my media badge and received a book themed tote bag (But Have You Read the Book by Kristen Lopez) as well as a copy of Mark Vieira's new book Warner Bros. 100 Years of Storytelling.

 Later in the afternoon I attended the Media Welcome Event in the Blossom Room at the historic Hollywood Roosevelt hotel. TCM transforms the Blossom Room into Club TCM for the festival. The space includes a mini museum of props as well as a bar. There are events happening at Club TCM throughout the festival and it becomes the central hub for the long weekend. This year they had a really cool display of Warner Bros. memorabilia for the 100th anniversary. I was particularly taken with the three remaining intact violins from one of Busby Berkeley's numbers in the Gold Diggers of 1933. They also had Berkeley's large leather scrapbook on display too! Both were very cool to see.

There wasn't a big announcement this year at the Media Welcome Event. Last year it was announced that Pam Grier was the special guest for The Plot Thickens podcast. No such announcement this year. But we did get to mingle with the hosts. I got this Oscars-style selfie with some friends and TCM host Alicia Malone. She's as kind and gracious in person as you'd expect her to be!

The festival kicked off in earnest on Thursday afternoon. Every year I conduct interviews on the red carpet but this year I decided to scale back a bit. This allowed me the opportunity to attend So You Think You Know the Movies, Bruce Goldstein's trivia event that has opened pretty much every festival to date. The event started with a musical number from Good News (1930) which is by far my favorite musical rarity. It's based on a Broadway musical and was remade in 1947 with June Allyson and Peter Lawford. I love both versions but the 1930 has a special place in my heart especially when I get to see Dorothy McNulty's crazy dance moves (she later became known as Penny Singleton). The first question in the contest was about her and of course I had to help my team out with that one. 

I'm not terribly good at trivia but I was able to help with another question about the Nicholas Brothers. The question was about the youngest brother and which silent film star he was named after. I knew it was Harold Lloyd from having read Donald Bogle's biography on Dorothy Dandridge who was briefly married to Harold Nicholas. It's funny because Donald Bogle was standing right behind me during the trivia game. What a delight! Things like this only happen at the TCM Classic Film Festival.

Later that evening I met up with my friend Jessica and my editor at DVD Netflix Annie for dinner at Musso and Frank's Grill. I've always wanted to go especially because of the restaurants history of famous classic movie stars and writers dining there over decades. Orson Welles, Charlie Chaplin. Marilyn Monroe, the Rat Pack, were all regulars there. 

After dinner we headed over to the Chinese Multiplex to line-up for the Doris Day and Cary Grant sex comedy That Touch of Mink (1962). Alicia Malone gave a great introduction before the film and it was so much fun to see this film with an audience. I've seen this film several times before but have a new appreciation for the film including the supporting players Audrey Meadows and John Astin. 

Stay tuned for more updates from the TCM Classic Film Festival!

 

Viva Hollywood by Luis I. Reyes

Viva Hollywood 

The Legacy of Latin and Hispanic Artists in American Film

by Luis I. Reyes

TCM and Running Press

Hardcover ISBN: 9780762478484

September 2022

Amazon — Barnes and Noble — Larry Edmund's — Powell's

"Latinx artists both in front of and behind the cameras are committed to creating entertaining, compelling stories, unforgettable characters, and indelible images of humanity that will bring a greater understanding of the society and the world we live in. They have a long history in the evolving art of motion pictures since its inception and are taking a more prominent place in the present and future of Hollywood and the world’s cinematic landscape.” — Luis I. Reyes

Hispanic and Latino artists have been part of the fabric of Hollywood from the very beginning. Because we are such a diverse mix of races and ethnicities, these actors and actresses have been cast to play a variety of roles that ranged from the exotic to the stereotypical and everything in between. Stars like Rita Hayworth had to change their name and appearance to become more mainstream. While others like Anthony Quinn had a look that was ethnically ambiguous enough that they were cast in everything except for their own ethnicity. Some represented certain ethnic types like the Latin lover, the spitfire/señorita or the bandito. Unfortunately, when there were big Latin roles to play, like Maria in West Side Story (1961), Hollywood preferred to cast white actors in brownface rather than their equally talented Latino counterparts. When Hollywood wasn't ready to make room for Latino artists to be their authentic selves, they persisted, carving a path for themselves and for future talent to change perceptions and open up potential for better representation.

In his new book Viva Hollywood: The Legacy of Latin and Hispanic Artists in American Film, author Luis I. Reyes takes on the monumental task of sharing the stories of the many, many Hispanic and Latino artists, both in front of and behind the camera, who contributed to film history in their own unique ways. The majority of the book focuses on the classic film history but there is still plenty of information about artists working today.

The chapters are organized both chronologically and thematically. I was was most interested in the discussions on early matinee idols, how the Good Neighbor policy opened doors for Latino artists during WWII, problem/race pictures of the 1950s and 1960s, and the influx of Latino-focused movies during the 1980s and 1990s. 

Each chapter includes individual biographies of key figures where relevant. Some of these individuals include: Gilbert Roland, Dolores Del Rio, Antonio Moreno, Ramon Novarro, Lupe Velez, Rita Hayworth. Carmen Miranda, Cesar Romero, Maria Montez, Olga San Juan, Ricardo Montalban, Anthony Quinn, Rita Moreno, Raquel Welch, etc.

Interior spread courtesy of Running Press via Edelweiss

Interior spread courtesy of Running Press via Edelweiss

Here are some interesting facts from the book:

• “When [Dolores Del Rio] was promoted in the press as Spanish or Castilian being white and European was considered superior to being Mexican, with its Indigenous pedigree, a discriminatory view that has not wholly disappeared today—she quickly insisted on being correctly described as Mexican.”

• “At the peak of her Hollywood career in 1945, Carmen Miranda was the highest-earning female performer in the United States.”

• “After the war, Romero and his good friend and fellow Fox star Tyrone Power took off on a two-month goodwill promotional tour of Latin America, sponsored by the studio and the US State Department. Power, who had served as a marine pilot during the war, flew a twin-engine Beech aircraft on the twenty-two-thousand- mile trip aided by a copilot. Romero, who spoke Spanish, acted as principal translator.”

• “[Xavier] Cugat decided to follow his musical calling, and inspired by the Afro- Cuban rhythms he was exposed to in his youth, he formed a Latin dance band with six musicians. This was a daring move in the 1920s, when Latin music was virtually unheard of in mainstream America except for the [Argentine] tango, which was labeled “gigolo music.”

• “In 1969, actors Ricardo Montalban, Val de Vargas, Rodolfo Hoyos Jr., Carlos Rivas, Henry Darrow, Gilbert Avila, Luis de Córdova, Robert Apodaca, and impresario Tony De Marco formed Nosotros (the Spanish word for “we, the people”), an actors’ advocacy organization dedicated to improving the image of Latino/Latina and Spanish-speaking peoples in Hollywood movies, television, theater, and radio.”

• “Stand and Deliver has become one of the most widely seen movies of any made in the United States through all media platforms, but also because it has been showcased in middle schools and high schools across the country as an inspirational and motivational teaching tool.”

As with many other TCM and Running Press books, Viva Hollywood is beautifully designed. I enjoyed the color palette (red, gold, orange, light purple and teal) as well as the recurring Art Deco style motifs. 

With that said, I was mostly disappointed with the book, especially in how it presented its information. The themed chapters started with a few pages of history and context. These were interesting and I wish they were fleshed out essays. Instead they served like introductions to a series of Wikipedia style biographical portraits. There were so many of these that they became laborious to get through. I admire the author for cramming in as much information as he possibly could. There are so many artists covered from actors, actresses, directors, musicians, dancers, etc. You'll be hard pressed to find someone who was left out. However, this came at the cost of an enjoyable reading experience.

I would recommend Viva Hollywood as a reference guide to dip in and out of rather than a book to read from cover to cover. 

Thank you to TCM and Running Press for sending me a copy of Viva Hollywood to review! Please check out my reviews of other titles from their imprint.

Rock on Film: The Movies That Rocked the Big Screen

Rock on Film

The Movies That Rocked the Big Screen

by Fred Goodman

foreword by Sir Michael Lindsay-Hogg

TCM and Running Press

Hardcover ISBN: 9780762478439

July 2022

288 pages

Amazon — Barnes and Noble — Powell's

“One of the beauties of rock movies is that sometimes they capture the time and sometimes, dangerously, they’re ahead of the time.” — Sir Michael Lindsay-Hogg

If your love for music runs as deep as your love for film, Rock on Film: The Movies That Rocked the Big Screen deserves a spot in your book collection. Written by former Rolling Stones editor Fred Goodman, Rock on Film features 50 must see movies that captured the heart of rock and roll. Each film is also paired with a viewing, making each recommendation a double bill and adding many more rock movies to the mix. The book also covers movies that feature hip hop, R&B, punk and other genres but primarily focuses on how rock and roll transformed popular culture as we know it.

Some notable films discussed include The Girl Can't Help It (1956), Jailhouse Rock (1957), The TAMI Show (1964), Viva Las Vegas (1964), A Hard Day's Night (1966), Don't Look Back (1967), Gimme Shelter (1970), Woodstock (1970), The Rocky Horror Picture Show (1975), La Bamba (1987), etc. And those are just some of the early films as dates range from the 1950s to the present day. Goodman does a great job connecting the present with the past and demonstrating the evolution of how film portrayed musicians on screen. A bounty of knowledge, Goodman's insights are both informative and illuminating. In his introduction Goodman writes, 

"the fifty films profiled in this book... are intended to be illuminating rather than definitive. Since the intention is to showcase both crowd-pleasers and buried treasure, the compendium begins with appreciation for the films that most fans see as indispensable, and they constitute a context and yardstick for the films that follow... My aim is to mix the serendipity of new discoveries with an added appreciation for familiar favorites while guiding you through the history of rock as seen through the insightful lens of Hollywood and independent filmmakers."

 

Each film is given its own 4 page chapter. There many color photographs throughout and the book is presented in a nice jacketed hardcover edition. It does have quite a potent "new book smell" but it's nothing that won't dissipate over time.

Interior Spread courtesy of Running Press

Here are some of my favorite quotes from the book:

“When the prominent use of the song “Rock Around the Clock” by Bill Haley and His Comets provided a big box-office boost to 1955’s youth-gone-bad drama Blackboard Jungle, it marked the first time Hollywood took notice of rock’s growing appeal.” — Fred Goodman

“The industry responded with the first generation of rock and roll films: a raft of low-budget jukebox musicals whose shallow plots were jerry-built around nightclubs, talent searches or disk jockeys–setups that made dropping in performances simple.” — Fred Goodman

“There’s a striking difference between the way the Beatles and the Rolling Stones approached film projects: essentially every film the Beatles made during their career was directed by a commercial journeyman, while the directors selected by the Rolling Stones reads like an art house who’s who, including Jean-Luc Godard, Robert Frank, Martin Scorsese, Hal Ashby, Albert and David Maysles and Charlotte Zwerin.” — Fred Goodman

“The music became a character in my movie. It was really the narrator. In a way, music is how you write the story.” — John Waters

“The biggest piece of the puzzle is Ann-Margret. Viva Las Vegas is the only Elvis film with a strong leading lady who can match him for moves and sex appeal. She was also the only actress to receive co-star billing with Elvis.” — Fred Goodman

“A triumph of Gimme Shelter is that there is no mythology here. The Maysles brothers, part of the direct cinema movement that was the American doppelganger of France’s cinema verite, created their art by standing back and capture what developed.” — Fred Goodman

Rock on Film includes interviews with five filmmakers: Cameron Crowe, Jim Jarmusch, Penelope Spheeris, Taylor Hackford and John Waters. I've read and reviewed many TCM/Running Press books and this is the first one I've seen to featured extensive interviews.

I enjoyed how Goodman examines all the different ways films used rock and roll and was most intrigued by the documentaries featured. A couple of which I watched immediately upon reading the book. In order to really appreciate this book, you must be interested in both rock and roll and music history especially since there is a heavy focus on that element.

***GIVEAWAY***

Fill out the form below by September 25th for a chance to win a copy of Rock on Film!

The giveaway is now over. Congratulations to the winners Angela M. and Devan V.!

This is my sixth and final book review for this year's Classic Film Reading Challenge.

Thank you to Running Press for sending me a copy of Rock on Film to review!

Danger on the Silver Screen: 50 Films Celebrating Cinema’s Greatest Stunts

Danger on the Silver Screen 

50 Films Celebrating Cinema's Greatest Stunts 

by Scott McGee

TCM and Running Press

288 pages

Paperback ISBN:9780762474844

April 2022

Amazon — Barnes and Noble — Powell's — Larry Edmunds (signed copy)

“Stunt work taps into our brains, giving us pleasure by simply watching human beings do things we, the audience, cannot. Marvelous acts like jumping out of a window and surviving thrill us and remind us that while we are safe in our seats, others are capable of doing amazing things for the camera.” — Scott McGee

There's nothing quite like the thrill of watching an action movie. Stuntmen and stuntwomen brave great danger—fast speeds, hairpin turns, nerve-wracking heights and literal fire with often a scant margin of error—to give us, the audience, an experience that we can't duplicate in real life. If you've ever watched an action sequence and wondered "how did they do that?" then I have the book for you.

Danger on the Silver Screen: 50 Films Celebrating Cinema's Greatest Stunts by Scott McGee is your definitive guide to action movies and stunt techniques. While the book focuses specifically on a list of 50 action movies, you'll find many more mentioned throughout. The movies presented range from silent era classics to modern action thrillers beginning with Way Down East (1920) and ending with Baby Driver (2017).

This paperback book features French flaps and full color pages. Each chapter focuses on 1 action movie (or a pair of movies). Little time is spent on the plot and the majority of the text breaks down the stunt sequences, how they were executed and the masterminds behind them. The chapter starts with an image (still or poster), a quote from a reviewer or stuntman, a brief cast and crew list as well as a listing of the stunt team members. This last bit is important since stuntmen and stuntwomen often did not get on screen credit for their work. McGee does a fantastic job breaking down the particulars of the stunts, explaining them, giving the reader background on the stunt team as well as providing screenshots to help visualize. I recommend heading to YouTube where you'll find clips of many of the stunt sequences McGree writes about. This helps with really appreciating the work that went into making that stunt look effortless. The chapters also include other images and newspaper-style article about a related stunt from another movie or something relevant to the article. 

For those of you more interested in the older movies, here are some of the early ones that the author writes about at length: Way Down East (1920), Robin Hood (1922), The Black Pirate (1926), Safety Last! (1923), Wings (1927), Hell's Angels (1930), Steamboat Bill Jr. (1928), Stagecoach (1939), Ben-Hur (1925 and 1959), How the West Was Won (1962), The Great Escape (196, It's a Mad, Mad, Mad, Mad World (1963), Bullitt (1965), Butch Cassidy and the Sundance Kid (1969) and more. James Bond fans will be delighted that many of the films in the series are featured here.

Some notable stuntmen and stuntwomen mentioned include: Richard Talmadge, Yakima Canutt, Bud Ekins, Charles H. Hickman, James W. Gavin, Hal Needham, Dar Robinson, Grant Page, Debbie Evans, etc. There is also much attention put on the actors who did the stunts themselves like Buster Keaton, Douglas Fairbanks and Harold Lloyd.

Here are some of my favorite quotes from the book:

“In epic adventures, fantasies and contemporary action pictures, it was [Douglas] Fairbanks who made the impossible seem easy.”

“The airplane has been a crucial vehicle for movie stunt work, almost since its invention. Things really took off after the end of WWI, when former fighter pilots, looking for paths to apply their skill set and a penchant for taking risks, landed in the movie business.”

On Steamboat Bill Jr. “When the wall started to move, and it landed perfectly with a tremendous thud, Keaton’s bravery and commitment was that much more impressive because he stayed completely in character.”

“In terms of sheer grandiosity and cinematic impact, the chariot race in the 1959 Best Picture winner Ben-Hur is among the greatest action scenes ever.”

“[It’s a Mad, Mad, Mad, Mad World] was one of the first major Hollywood productions to put stunt work front and center, not just as an element in the filmmaking, but as a selling point to the general audience.” 

“Great stunt scenes throughout history depend on the collaborative nature of filmmaking, drawing upon cinematography, editing, acting, and direction. The Bullitt car chase was a textbook example…”

“The Bond stuntmen, mostly British, were among the best working in the world. They brought ingenuity, execution, and visual appeal to the films’ action, setting the template for what audiences worldwide expected from the rough and physically demanding world of 007... The attention to cinematography in capturing not just the visceral excitement of the stunt work and action but the beauty of the surroundings has remained a mark of the Bond films to this day.”

“The craftsmen and artists of taking the falls, crashing the planes, and enduring the flames suffer the ignominy of going unmentioned or, when they are credited in print, being misspelled.”

“Tom Cruise is a modern-day Hollywood star whose fearlessness makes him seem like a direct descendant from stuntmen-stars of the past. As a Fairbanksian star and producer, Cruise is his own boss when making the calls, whether he’s outside skyscrapers or helicopters or wherever a normal person would not go.”

Danger on the Silver Screen is as fascinating as the stunts described within its beautifully designed pages. McGee does an excellent job giving the reader context and background. Describing stunts is no small feat considering but its done quite well here. You don't have to have seen the movie discussed to appreciate the chapter but watching a trailer or clips online will definitely improve the reading experience. Stunt work has been a male dominated field since the beginning of the film industry. I appreciate that some attention was given to the work of stuntwomen (and actresses too). I wish there had been pictures of the stunt team members because that would have helped to put a face with the name.

I want to hear from you! What's your favorite movie stunt? How about your favorite action movie?

This is my 5th review for the Classic Film Reading Challenge.

Thank you to TCM and Running Press for sending me a copy of Danger on the Silver Screen for review!

2022 TCM Classic Film Festival: Day #4 Recap

 

Waterloo Bridge (1940)

Bright and early on the final day of the festival, I headed over to the Chinese Multiplex for a special screening of Waterloo Bridge (1940). 

The film was introduced by author Sloan De Forest. I'm a big fan of her books and it was great to finally see her in person (had a great chat with her afterwards!). Waterloo Bridge (1940) stars Vivien Leigh and Robert Taylor as two lovers from completely different social sets who get separated during WWI only to have a devastating reunion sometime later. It's based on a 1930 play and was adapted to screen as a pre-code in 1931. Unbeknownst to us and even to De Forest, the print being screened was the British censored version which cut out the more suggestive scenes in relation to Vivien Leigh's character.

Club TCM

A brief visit to Club TCM helped me rest and recharge for the final hours of the festival. On display were costumes from a few notable classic films. It was difficult to take pictures so I did my best to snap one of these costumes Ingrid Bergman and Paul Henreid wore in Casablanca (1942)

Live Read: I Married a Monster from Outer Space (1958)

I've never been to a live read before so I jumped at the chance to attend this one. Led by Dana Gould, a group of comedians reenacted the cheesy sci-fi movie I Married a Monster from Outer Space (1958). The script was read by actors David Koechner, Laraine Newman, Jonah Ray, Janet Varney and Baron Vaughn. Musician Eban Schletter performed live music and sound effects for the event. 

I wasn't sure what to expect but I did think they would show the actual movie, or at least clips of it, during the live read. Instead, it was just the actors taking turns at the mic to read the dialogue with a static background on the screen behind them.

The live read was a helluva lot of fun. I was in the second row with some friends and we had the best view in the house.

Coffy (1973)

The closing night movie was one of my top selections for the festival. There was a massive line to get in and I'm glad I made it. The event started with an interview by TCM host Prof. Jacqueline Stewart and Coffy star Pam Grier. I think Stewart only got two questions in because Grier had much to say and a lot of love to share. And what better way to enjoy this blaxploitation classic for the first time with the film's star and a lively crowd in attendance.

Closing Night Party

The closing night party is always bitter sweet. It's an opportunity to catch up with anyone you may have missed and to say goodbyes. I didn't stay long because the poolside party was quite crowded. I did get an opportunity to chat with former child star Gordon Gebert. (A big thanks to Laura who helped get his attention for me!). This was a real joy. I was able to tell him how much Holiday Affair (1949) means to me. He must have heard that a million times that evening. He was so gracious and told me stories about working with Robert Mitchum, Janet Leigh, Burt Lancaster and Norman Lloyd.

So you may be asking, what was the best part of the TCM Classic Film Festival? The people of course! I got to spend so much quality time with good friends, acquaintances and complete strangers. The festival is like a big reunion for me and I cherish all the moments I get to spend with all of my far away friends. I didn't share much about my friends in these posts. However, I shared plenty on my social media. Make sure to head over to Twitter and look up #TCMFF @raquelstecher to see all the fun we had during the festival. I appreciate the TCM staff as well as all my amazing friends for making this a festival to remember.

I hope you enjoyed my TCMFF coverage!

Day #1 Recap

Opening Night Red Carpet Event

Day #2 Recap

Day #3 Recap

TCMFF YouTube Videos