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Son of Frankenstein Makeup Tests – In Color (1939)

Thursday, June 18th, 2015

Ever wonder what the Frankenstein monster, as played by Boris Karloff, looked like in color?

In this incredibly rare, one minute piece of 16mm home movie footage shot in Kodachrome color on the set of Rowland V. Lee’s Son of Frankenstein (1939), you can get a good idea of just how skillful Jack Pierce’s makeup was. In the opening section, the viewer is treated to a wide shot of Boris Karloff lumbering around the set in the heavy makeup, while a stagehand works behind the scenes, seen through the window, to prepare for the next take. Then there’s a closeup, capped by Karloff playfully sticking his tongue out for the camera, clearly taking the whole thing with a huge grain of salt.

In the film’s final moments, Karloff ostensibly sneaks up on Pierce and pretends to strangle him, but obviously, it’s all in fun. Son of Frankenstein is notable as the last time Karloff played the monster, although he continued to make horror movies, of course, for the rest of his career, and it’s also an odd film in that the sets were built and ready before the script was completed. The result is an eye-popping but somewhat disjointed film, yet still an honorable effort, and one of the last great classics from the Golden Age of Universal horror. And now you can see this rare piece of cinema history – a real find.

Thanks to the fan who posted this, with disabled comments, which is great – no comments needed!

Jurassic World – Diminishing Returns – But Not at The Box Office

Saturday, June 13th, 2015

Variety’s Scott Foundas has the best review I’ve seen yet of the new blockbuster Jurassic World; read it here.

As Foundas writes, in a deeply knowledgeable and sharply observed critique of the film, “‘No one’s impressed by a dinosaur anymore,’ notes one character early on in Jurassic World, and it’s easy to imagine the same words having passed through the lips of more than one Universal Studios executive in the years since Michael Crichton and Steven Spielberg’s 1993 Jurassic Park shattered box-office records, along with the glass ceiling for computer-generated visual effects. Two decades and two lackluster sequels later, producer and studio have spared few expenses in crafting a bigger, faster, noisier dinosaur opus, designed to reclaim their place at the top of the blockbuster food chain. What they’ve engineered is an undeniably vigorous assault of jaw-chomping jolts and Spielbergian family bonding that nevertheless captures only a fraction of the original film’s overflowing awe and wonderment.

If the first Jurassic Park served as a game-changing harbinger of the CGI-era tentpole movie (as well as the movie-as-theme-park-attraction-as-movie), Jurassic World can be seen as a self-aware commentary on the difficulties of sustaining a popular franchise in an age when spectacular “event” movies are the rule more than the exception. The galloping gallimimus herd and screen-filling T-rex head of ’93 now seem almost as quaint as the stop-motion ape of the 1933 King Kong after the VFX breakthroughs of Lord of the Rings, Avatar and the two Planet of the Apes movies (whose writer-producers, Rick Jaffa and Amanda Silver, share Jurassic World screenplay credit with director Colin Trevorrow and Derek Connolly). And when Jurassic World begins, a similar dilemma faces the operators of the eponymous theme park, which, after rocky start, is running incident-free on that doomed Costa Rican isle of Isla Nublar, where it has become a full-fledged, Disney-like resort, complete with luxury Hilton hotel (one of the many brands seemingly unfazed by placing its products in a movie about a literal tourist trap).

Business is booming at Jurassic World, yes, but in the tourism business as in Hollywood, stasis is a kind of death. The public — and, moreover, generous corporate sponsors — want ever more bang (and teeth) for their buck, observes the no-nonsense Claire (Bryce Dallas Howard), a loyal corporate flack who oversees park operations for Simon Masrani (Irrfan Khan), the Indian billionaire who inherited Isla Nublar from the late John Hammond (Richard Attenborough). So it’s time for a little razzle-dazzle cooked up by ex-Hammond geneticist Dr. Henry Wu (BD Wong, the sole Jurassic Park cast member to reprise his role here): a new, hybrid dinosaur breed known as Indominus rex (or, more precisely, Verizon Wireless Indominus rex), made from T-rex DNA and whatever else tumbled into the gene splicer. Will these people never learn? Not as long as the thrill-seeking public keeps queuing up for more.”

Meanwhile, the film has grossed roughly $511.8 million globally at the box office – just for openers.

Dreams of Jules Verne: Karel Zeman’s Invention of Destruction

Saturday, June 13th, 2015

I have a new article in Senses of Cinema #75 on Karel Zeman’s classic film Invention of Destruction.

As I write, in part, “Like so many others in the United States, I was first exposed to Karel Zeman’s exotic adventure film Vynález zkázy (Invention of Destruction, 1958), when it was released in the West in a dubbed and retitled as The Fabulous World of Jules Verne in 1961. Zeman was one of the greatest of all Czech animators and special effects artists, and used a process unique in Vynález zkázycombining 19th century pictorial steel engravings with live action photography. This created a fantastic vision of what can be identified today as a steampunk past, where elaborate mechanical devices, hot air balloons, oddly constructed airplanes, submarines, and other infernal machines were brought to life in a manner at once poetic and yet deeply sinister.

Jules Verne (1928-1905) was in many ways one of the most forward thinking of all imaginative popular writers, and his works were both commercially and critically successful. Films such as De la Terre à la Lune (From the Earth to The Moon, 1865, famously made into an early film by Georges Méliès in 1902), Vingt Mille Lieues sous les mers (Twenty Thousand Leagues Under The Sea, 1869-1870), Le Tour du monde en quatre-vingts jours (Around the World in Eighty Days, 1872), and L’Île mystérieuse (Mysterious Island, 1874-75) consolidated his reputation as a prolific and prophetic futurist. Verne’s works have been filmed countless times, either as straight adaptations or updated versions, but Zeman’s film stands alone as perhaps the most faithful of all filmic versions of Verne on the screen. It embraces not only his then-fanciful (and now all too real) vision of the future, but also remains faithful to the iconic images of Verne’s own era.”

You can read the entire essay by clicking here, or on the image above.

A Deadly Adoption – Will Ferrell and Kristen Wiig’s Lifetime Movie

Friday, June 12th, 2015

Will Ferrell and Kristen Wiig are both big Lifetime movie fans – so now, they’ve made one of their own.

Lifetime movies live in a world all their own; predictable scripts, constant peril and deception, people living in enormous houses that are way beyond the means of most of us, and most noticeably, they trade in truly outrageous melodrama.

Ferrell and Wigg have long been fans of the genre, and now they’ve taken the next logical – or illogical – step, and created a Lifetime movie all their own, which despite the over-the-top premise they’re going to play straight – a rather remarkable coup for Lifetime, whose films are usually populated by unknowns and fading stars.

As Lifetime’s website for the film notes, “inspired by a true story [but of course!] A Deadly Adoption is a high-stakes dramatic thriller about a successful couple (Ferrell and Wiig) who house and care for a pregnant woman (Jessica Lowndes, “90210″) during the final months of her pregnancy with the hopes of adopting her unborn child” – but as you can see from the brief teaser trailer by clicking here, or on the image above, things don’t go too smoothly along the way.

As Wikipedia notes of the film’s somewhat unusual production process, “on April 1, 2015, it was revealed that Will Ferrell, Kristen Wiig, and Jessica Lowndes were set to star in the film as a parody to the genre of Lifetime films, with Rachel Lee Goldenberg directing and Andrew Steele writing the screenplay.

The next day, Ferrell issued a statement regarding the film saying ‘We are deeply disappointed that our planned top-secret project was made public, Kristen and I have decided it is in the best interest for everyone to forgo the project entirely, and we thank Lifetime and all the people who were ready to help us make this film,’ [thus] shooting down the prospect of the film being released.

However, on June 2015, a billboard for the film was spotted with a release date of June 20, 2015. On June 12, 2015, a teaser trailer was released. The premiere of the film coincides with the 25th anniversary of Lifetime’s movie franchise.”

The billboard announces that the film will be released on “Sunday, June 20th.” June 20th is a Saturday.

Ruby Dee – Actor and Activist – Dies at 91

Friday, June 12th, 2015

Here’s a superb tribute to the great Ruby Dee by Sarah Halzack of The Washington Post.

As Ms. Halzack wrote, in part, “Ruby Dee, an actress who defied segregation-era stereotypes by landing lead roles in movies and on Broadway while maintaining a second high-profile career as a civil rights advocate, including emceeing the 1963 March on Washington, died June 11 at her home in New Rochelle, N.Y. She was 91. In a career spanning seven decades, Ms. Dee was known for a quietly commanding presence opposite powerful leading men, including Sidney Poitier, Denzel Washington and James Earl Jones.

As a young woman, she won acclaim as a chauffeur’s steadfast wife in the Broadway and film versions of A Raisin in the Sun, starring Poitier, and then earned an Academy Award nomination for her supporting role as the mother of a drug kingpin played by Washington in American Gangster (2007).

In 1965, Ms. Dee became the first black actress to perform lead roles at the American Shakespeare Festival in Stratford, Conn., playing Kate in The Taming of the Shrew and Cordelia in King Lear. Moreover, critics consistently praised Ms. Dee’s ability to make the most demanding roles seem effortless. Off-Broadway in 1970, in Athol Fugard’s Boesman and Lena, she was commended for her searing portrayal of a South African woman beaten down by society and physically abused by her husband, played by Jones.

Ms. Dee’s marriage to actor and playwright Ossie Davis was widely regarded as one of Hollywood’s most enduring and romantic, lasting 56 years, until his death in 2005. The couple’s careers were deeply intertwined as they co-starred in films such as Do the Right Thing (1989) and Jungle Fever (1991), both directed by Spike Lee; collaborated on the comedic play Purlie Victorious, which Davis wrote and in which Ms. Dee starred on Broadway in 1961; and even partnered on a memoir, With Ossie and Ruby: In This Life Together.

When Ms. Dee and Davis received Kennedy Center Honors in 2004, it was said that they opened ‘many a door previously shut tight to African American artists and planted the seed for the flowering of America’s multicultural humanity.’ In 2008, Ms. Dee described the epitaph to Jet magazine: ‘If I leave any thought behind, it is that. We were in this thing together, so let’s love each other right now. Let’s make sense of things right now. Let’s make it count somehow right now, because we are in this thing together.’”

Ruby Dee – one of the most unforgettable actors in the history of the cinema.

The Lesson – A Stunning New Film From Bulgaria

Sunday, June 7th, 2015

The Lesson is a stark, gripping feature film from Bulgaria, which is thankfully attracting attention here.

Shot on a microscopic budget in 19 days, with a brilliant performance by Margita Gosheva in the leading role of Nadezhda, a grade school English teacher in Bulgaria who is barely getting by on her pitiful wages, The Lesson is a hard-edged morality tale, with a distinctly bleak view of human society, from neophyte directors Kristina Grozeva and Petar Valchanov. Nadezhda puts up with students who steal money from her purse, a ne’er do well husband who doesn’t pay the mortgage so he can put the money into his worthless RV, a father from whom she is understandably estranged, and most of all, a governmental system that is thoroughly corrupt, designed to keep the poor in a state of perpetual penury, forcing Nadezhda to borrow from a brutal loan shark to keep her home when all other avenues of help fail.

Shot in long takes, with absolutely no music on the soundtrack (though, perhaps predictably, there is a light score in the film’s trailer), The Lesson inevitably recalls the stripped-down austerity of the Dardenne brothers, as well as Robert Bresson, but compared to the Dardennes’ recent Two Days, One Night, which I admit I was quite taken with – given the swill that floats around theaters and VOD today – The Lesson is every way more uncompromising, more brutal, less cosmetic, and more convincingly open-ended; in the film’s final moments, we don’t know precisely what will happen to Nadezhda as a result of her last-ditch attempt to pay off the loan sharks, but we get the distinct feeling that it won’t be something good.

As the directors of the film make clear, The Lesson – the title can be taken in many different ways – is an indictment of a world in which only power and money rule, and all other considerations are summarily swept aside. As they note, “We wanted to tell the story harshly, as a part of life. We strived to be real to the extreme, to create a painfully authentic film story. We got deep into the teacher’s inner world, we tackled her inner conflicts, her fight with her own morality.

One of the main tasks for us as directors was to develop rich and deep human personalities. Together with [our cinematographer] Krum Rodriguez we decided that the camera had to be unnoticed and contemplative, to look carefully at the details and the action, without being obvious. The film was shot in a real provincial town. Most of the small parts were played by real people, not actors. Our main actors had to blend in naturally, they had to partner with the non-professionals, and their performances had to be as authentic and real as possible. Our goal was that the audience wouldn’t be able to tell an actor from a non-actor in the finished film.

Margita Gosheva is a real discovery for us in this sense. After she read the script we changed some lines and situations, but the main work was done on set when she was put in the real situations with the real class of 30 children. The sense of authenticity and real life was leading in each element – make-up, costumes, set design, light and sound.

In the beginning we started shooting just different episodes of the film as a teaser while we were trying to find money for the production, but the cast and crew were so inspired by the story that they didn’t want to stop until we had finished the last shot. Everyone worked for deferred payments and we are truly thankful to the cast and crew who were fully devoted to the filmmaking process despite the minimal time we had for the shooting, and the difficult conditions we were working due to our micro budget.

The film didn’t receive production funding by the Bulgarian Film Center –just like our previous film, Jump (which went on to receive numerous awards at festivals and was nominated for the European Film Awards last year). Both films we financed ourselves, looking for private investors willing to risk their money. We’re forced to make films without the support of the only national funding body we have in Bulgaria.

Despite this we strive to keep making our films. The Lesson is the first feature in a planned trilogy. The three stories are inspired by the living reality, but we don’t intend to tell biographical stories, we use this inspiration only as a creative start. The unifying element between the three stories is the theme of the quiet rebellion of the little person against the mercantile, soulless and cynical world we live in.”

As Joe Leydon noted in his review of the film on September 28, 2014 in Variety at the San Sebastian Film Festival, “thanks in large measure to the sympathy Gosheva elicits and the strength she conveys, Nadezhda’s ultimate solution to her daunting problems comes off as equal parts triumph and tragedy. Indeed, a second viewing of the film underscores just how slyly Gosheva and her co-directors lay the groundwork for Nadezhda’s actions to seem, given the particulars of her character and her situation, inevitable. The Lesson earned for Grozeva and Valchanov the New Directors award at the San Sebastian Film Festival. Don’t be surprised if other accolades follow.”

And indeed they did: The Lesson went on to win the Ingmar Bergman Debut Award at the Goteborg Film Festival, and was an official selection at the Toronto International Film Festival, the San Sebastian Film Festival, the Reykjavik International Film Festival, the Warsaw Film Festival, the Tokyo Film Festival, the Palm Springs Film Festival, and the Goteborg Film Festival. Now, finally, the film is receiving limited release in the US via VOD from Film Movement, a very interesting distribution company which seeks out international films that might otherwise pass under the radar, and releases one film per month on VOD, and later DVD, as a subscription model.

Film Movement is thus providing an invaluable service for all those who love the cinema; none of the films they select would probably get a US release otherwise, and by focusing on younger, more innovative filmmakers, Film Movement thus takes the place of the old art house circuit of 35mm theaters that used to dot the international landscape, but which have disappeared thanks to the ongoing predations of Netflix and other mainstream content providers. So, see The Lesson if you possibly can – it’s an uncompromising, and absolutely fearless example of new independent international cinema, something that all thoughtful viewers should absolutely support.

The Lesson – one more example of a film that deserves the widest possible audience.

Let’s All Go To The Lobby!

Saturday, June 6th, 2015

This hypnotic intermission promo was ubiquitous in 1950s and 60s American cinemas.

In the 1950s and 60s, you simply couldn’t go the movies without seeing this classic short animation. It usually evoked the desired effect;the house lights would come up, and patrons would stream up aisle seeking candy, coffee, ice cream and soft drinks – not to mention popcorn – before the second feature started. As Wikipedia notes, “Let’s All Go to the Lobby is a 1953 animated musical [short, produced by the Filmack Corporation] played as an advertisement before the beginning of the main film. It featured a family of four talking concession stand products, singing ‘Let’s all go to the lobby to get ourselves a treat’ and walking to the concession stand.

The Chicago-based Filmack Studios, originally known as Filmack Trailer Company, was founded in 1919 by Irving Mack. The founder was a former journalist. The company specialized in the production of newsreels and promotional material for theaters. By the 1950s, the sales of the concession stands represented a significant portion of movie theaters’ revenue. Filmack commissioned a series of Technicolor trailers aimed at informing audiences about a theater’s newly installed concession stand. Let’s All Go to the Lobby was one of these films.

Four anthropomorphic, animated food items (from left to right: chewing gum, popcorn, candy, and a soda) are depicted walking leftwards. In the foreground before these characters are silhouettes of audience members, creating an illusion of depth. Later, a group of four consumers are depicted enjoying their purchased food items. In 2000, Let’s All Go to the Lobby was selected for preservation in the United States National Film Registry by the Library of Congress as being ‘culturally, historically, or aesthetically significant.’” So  . . .

Let’s all go to the lobby;
Let’s all go to the lobby;
Let’s all go to the lobby
To get ourselves a treat!

Delicious things to eat;
The popcorn can’t be beat.
The sparkling drinks are just dandy;
The chocolate bars and nut candy.
So let’s all go to the lobby
To get ourselves a treat.
Let’s all go to the lobby
To get ourselves a treat!

Click here, or on the image above, to see this classic theater advertisement.

Babadook’s Jennifer Kent To Direct New Film

Thursday, June 4th, 2015

Jennifer Kent, whose film The Babadook was such a surprise hit last year, has a new project in the works.

As Mike Fleming Jr. reports in Deadline, “Sidney Kimmel Entertainment has acquired rights to the Alexis Coe non-fiction book Alice + Freda Forever. Jennifer Kent, who directed the sleeper The Babadook, will helm and will write the script. Berlanti Productions is producing, and SKE President of Production Carla Hacken acquired it and SKE will develop it, finance the film and produce with Berlanti Productions. The book tells the story of a budding romantic relationship between two young girls in 1892 Memphis, Tennessee that incited a sensational murder and shocked the nation. Sidney Kimmel will produce along with Greg Berlanti and Sarah Schechter. Hacken will be exec producer.

Coe based her book on research that included more than 100 love letters, maps, artifacts, historical documents, newspaper articles and courtroom proceedings to tell the tragic, real-life love story of Alice Mitchell and Freda Ward. After their love letters were discovered, the women were forbidden to ever speak again. Ward adjusted to this with apparent ease, and that left Mitchell heartbroken. The result was fatal, jealous rage. Ward’s murder trial was one of the most sensational of its time. The book was published in 2014 by the Zest Books imprint Pulp. ‘From the moment we saw The Babadook, working with Jennifer became not only a priority but a passion,’ Hacken said.

Said Sarah Schechter, who runs Berlanti Productions: ‘Jennifer Kent was my first choice from the moment I read Coe’s exceptional book. Jennifer’s debut film was one of the most accomplished I have ever seen, and I’m thrilled she shares the same passion for telling this powerful, intense and unfortunately still timely story.’ Kent’s breakthrough came on The Babadook, the film that premiered at 2014 Sundance and was released by IFC. It won Kent the Australian Directors Guild Award for Best Feature and the Australian Academy Awards for Best Director and Best Original Screenplay.”

This should be one to watch out for.

Maggie Gyllenhaal “Too Old” To Play A Romantic Lead – Hollywood

Monday, June 1st, 2015

Maggie Gyllenhaal speaks out on an issue of real concern in Hollywood, and actually, in cinema worldwide.

As Margarita Noriega, Jonathan Allen, and Javier Zarracina report in Vox, “Maggie Gyllenhaal rapped Hollywood last week by revealing she was turned down for a role as the love interest of a 55-year-old leading man because she was ‘too old.’ She is 37. Her experience frustrated and surprised many, and we wanted to know just how typical it is of the way Hollywood really works.

A woman’s sex appeal sunsets on Sunset Boulevard in remarkably shorter time than its genetic reality, and Gyllenhaal’s story is part of a trend of female leads disappearing from romantic roles in top box office films after the actors turn 30. The average age of a romantic female lead is about 30.

In a review of the top-grossing romantic films since 1978, among the two primary romantic subgenres (comedies and dramas) the average age of female leads is about 30 [see the complete chart here].

Only a handful of actresses over 30 played romantic leads in these films, and usually as older seductresses of young men. And if they’re women of color, forget it. On the big screen, women go from Lolitas to Yentes so fast it seems like they’re living in dog years.

Just 12 percent of the 100 top-grossing films last year had female protagonists, says Patricia White, chair of film and media studies at Swarthmore College: ‘The disparity corresponds to erroneous market wisdom that only films by, about, and targeted to men (especially young ones) make money. Films are judged by opening weekend grosses with worldwide releases now common.’”

As Gyllenhaal told Sharon Waxman in The Wrap, “there are things that are really disappointing about being an actress in Hollywood that surprise me all the time. I’m 37 and I was told recently I was too old to play the lover of a man who was 55. It was astonishing to me. It made me feel bad, and then it made me feel angry, and then it made me laugh.”

Read the entire article by clicking here, or on the image above – essential reading.

Behind The Scenes – San Andreas Without Special Effects

Sunday, May 31st, 2015

Click here, or above, to see some great “raw” footage from the disaster film San Andreas, courtesy of Sploid.

The tagline on this video is how “ridiculous” San Andreas looks without the finished special effects work, but I think that’s completely off the mark. Just a casual look at this video – with intensive under water work, harnesses pulling stunt performers into the air, gigantic crowd scenes, helicopter stunts and the like, demonstrates once again that movie making is brutally hard work – something that most people simply don’t understand.

You want to experience a really tough work environment? Then crew on a feature film. Every day, day after day, you have to get up, create complex set pieces, haul tons of equipment from place to place, deal with meal penalties, overtime, safety regulations which are more than necessary, all in the service of creating a series of images that will pass by fleetingly on the screen, and then be forgotten. With the typical crew for a film such as this in the hundreds simply during physical production, and a great deal of genuine risk involved, this is nothing to fool around with.

The movie “is what it is,” in one of my least favorite phrases – it’s a big budget disaster movie directed by Brad Peyton, whose other credits include the “aggressively unambitious” Journey 2: The Mysterious Island (2012), which I actually suffered through on Pay Per View in a hotel in California, appropriately enough – and the whole enterprise is designed to do precisely one thing: make money.

But despite that, there’s a considerable amount of craftsmanship that went into the final film, and this video will give you a glimpse of that. Really, it’s a remake of Mark Robson’s 1974 film Earthquake, and in every way an improvement on the original. The special effects are better, and while The Rock is certainly no Sir Laurence Olivier, he doesn’t pretend to be – he’s an action star, and proud of it.

It really isn’t so easy to shoot such an ambitious spectacle – try it sometime, and see for yourself.

About the Author

Wheeler Winston Dixon

Wheeler Winston Dixon, Ryan Professor of Film Studies at the University of Nebraska-Lincoln, is an internationally recognized scholar and writer of film history, theory and criticism. He is the author of thirty books and more than 100 articles on film, and appears regularly in national media outlets discussing film and culture trends. Frame by Frame is a collection of his thoughts on a number of those topics. All comments by Dixon on this blog are his own opinions. To contact Prof. Dixon for an interview, reach him at wdixon1@unl.edu or wheelerwinstondixon.com

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