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Web Changes Everything for Indie Films and TV Series

Monday, April 13th, 2015

This is a key moment – Netflix and other web providers are producing both “TV” series and theatrical films.

As Dina Gachman reports in Studio System News, “Netflix is buying feature films, Woody Allen is making an Amazon show, and A-list Oscar winners have no problem taking a role in a TV show or miniseries, even at the height of their career. In other words, it’s an exciting time for television. The landscape is changing so rapidly it’ll give you whiplash.

That’s all great news for actors, writers, and producers – and maybe not-so-great news for theater chains, whose owners were recently up in arms about Netflix buying Cary Fukunaga’s feature film Beasts of No Nation for a reported $12 million. Features and television are experiencing an indie revolution – just look at the Best Picture Oscar nominees this year. The vast majority of the nominees were made outside of the studio system, with Warner Bros. American Sniper being the oft-cited exception.

In television, the traditional process of getting a pilot made is still the norm, but there are more channels, more online platforms, and more opportunities for writers and producers to get their project made than ever before. Going the independent route and shooting the pilot yourself is one option, and the stigma of making a pilot DIY-style is quickly becoming a thing of the past [and] while it hasn’t become the norm, indie pilots are definitely becoming an increasingly common route for creators who want to get their passion project off the ground, by any means necessary.

Former House EP Katie Jacobs and veteran indie producer Nick Wechsler (Drugstore Cowboy, Reservation Road, Magic Mike) have recently teamed to produce an independent pilot called Dr. Del, with John Hawkes starring and John Sayles writing. They’ll shoot the pilot on their own, with total creative freedom, and then take it to cable and broadcast network.”

As she puts it, “there really is no excuse not to make your pilot anymore.”

Victor Halperin’s Supernatural (1933)

Saturday, April 11th, 2015

Victor Halperin’s Supernatural is a forgotten horror classic – now on DVD.

After the amazing boxoffice and critical success of his film White Zombie (1932), independently produced for a mere $50,000, and starring Bela Lugosi hot off his success with Dracula, Adolph Zukor, the head of Paramount Pictures, decided that with some real resources at his command, director Victor Halperin could create an even greater boxoffice success, and offered him a chance to make a major studio production. The result was Supernatural, surely one of the most unusual and poetic films ever made in Hollywood during the Pre-Code era.

Roma Courtenay (Carole Lombard) is a rich young heiress whose brother John (Lyman Williams) has recently died in an unspecified accident. Inconsolable, she turns to phony psychic Paul Bavian (Alan Dinehart), who promises to contact her brother during a séance. Meanwhile, convicted murderess Ruth Rogen (Vivienne Osborne) has been found guilty in the strangling death of three men, something that Bavian had knowledge of, and betrayed her to the police. After Rogen’s death in the electric chair, her body is claimed by psychologist/scientist Dr. Carl Houston (H.B. Warner), whos attempt to stop Rogen’s malevolent spirit from passing on to someone else.

Roma, however, stumbles into Houston’s laboratory just as the doctor is attempting to exorcise Rogen’s spirit, which immediately takes possession of Roma’s body, forcing Roma to carry out Rogen’s plan of revenge against Bavian. In yet another subplot, Bavian’s landlady Madame Gourjan (Beryl Mercer) discovers Bavian’s plot to steal Roma’s money through a series of supposed “messages from the beyond” from her deceased brother.

In response, Bavian promptly murders her, and then throws her body on the elevated railway tracks to cover up evidence of the killing. I’ll stop with the plot summary at this point, if only because I don’t want to give any more away – suffice it to say that events continue in a downward spiral until a rather reasonably happy ending brings the film to a satisfatory conclusion.

At just 65 minutes, the film is more a mood piece than anything else, and Halperin used most of his technical crew from White Zombie to create the film, albeit on a much more generous budget. Randolph Scott, in an early role, plays Grant Wilson, Roma’s predictable love interest, but has little to do in the film, and it’s clear that Halperin is more interested in creating a sensuously sinister atmosphere than anything else, as in another Paramount entry from the same period, Erle C. Kenton’s Island of Lost Souls.

With richly detailed camerawork by the gifted Arthur Martinelli, Supernatural proceeds as a fever dream devoid of logic but suffused with an odd sensibility of eternal waiting that was Halperin’s trademark; sadly, the film was not as successful as White Zombie, and has more or less fallen out of the public consciousness.

Writing in The New York Times upon the film’s initial release in 1933, critic Mordaunt Hall noted that “notwithstanding the incredibility of many of its main incidents, Supernatural, the present picture at the Paramount, succeeds in awakening no little interest in its spooky doings. It not only depicts the various tricks of a charlatan spiritualist but also undertakes through camera wizardry to show the spirit of a dead murderess entering the body of a wholesome girl and causing her to behave like a savage.

The story, which owes its origin to one written by Garnett Weston, is worked out shrewdly and the scenes are for the most part pictured in a fashion suited to the eerie happenings. At the outset one is reminded that Confucius issued a warning to treat all supernatural beings with respect, but to keep aloof from them. Mohammed and the New Testament also are quoted and to put the spectator in a receptive mood there are wind and rain and dirgelike music.

Allan Dinehart plays the crooked spiritualist, Paul Bavian, who is to be congratulated on the thoroughness of his methods to extort money from a wealthy girl named Roma Courtney. Bavian had been on intimate terms with Ruth Rogen, who, after killing three of her lovers, expiates her crimes in the electric chair. It is the theory of a Dr. Houston that the spirits of dead evildoers continue to commit crimes through other flesh and blood mediums. He has more than a mere suspicion that Ruth Rogen’s spirit will be running amuck and that susceptible women had better keep out of its way.

It is not disclosing any great secret to say that Bavian has an easy way of getting rid of those who thwart him. A little poison in a ring, a handshake and they die. This sinister faker writes to Roma telling her that he has heard from the spirit of her brother, who recently died, and that he (Bavian) was requested to summon her. This missive subsequently leads to Roma and others visiting Bavian’s apartment, where the crook pretends to go into a trance and in an artful manner impresses the girl.”

The film received similarly respectful notices from most other critics, but ultimately, Supernatural was too subtle to entice the public to see it in droves; and Lombard was apparently unhappy with her role as a possessed killer, feeling much more at home in comedy – and she was right; the film remains an interesting one-off in her screen career, which ended with her tragic death in 1942 while on a War Bond tour. Nevertheless, Supernatural remains a peculiar, but deeply felt project, and one of the most innovative and neglected films of Hollywood in the early 1930s.

An odd film in every respect, Supernatural deserves your attention; it’s a film that resonates in one’s memory.

So That Happened – Jon Cryer’s New Memoir

Wednesday, April 8th, 2015

Jon Cryer’s memoir of his long and checkered career makes for surprisingly thoughtful, entertaining reading.

Show biz memoirs are usually “and then I did this” or “and then I met” or else redolent of both scandal and self-promotion, but despite the high octane material Jon Cryer has the ability to exploit, with the whole Two and A Half Men saga just a part of his many decades as an actor, Cryer’s So That Happened deals most effectively not with shock, but rather introspection – into his personal life, but more importantly, into the craft of comedy itself.

After his initial hits in films, Cryer wandered in the wilderness with a string of failed television pilots until he was considered within the industry to be almost “the kiss of death” for any new project, until, by a long and torturous route, he finally landed the gig on Two and a Half Men.

But his major discovery was that, for some reason, his mere presence on a set seems out of place for audiences, who are almost waiting for some misfortune to befall him, and when he registers confusion, disbelief, or irritation, the result is amusement, as if his very being is perpetually alien.

He also discusses the mechanics of building a joke; how the auditioning process in Hollywood has become completely corrupted by the fact that one has sign an agreement merely to audition for a part, with no assurance of getting it; how the entertainment industry is so mercurial that success can vanish literally overnight; and how his oldest friends sadly fell away when fame finally came to him.

Sad, ruminative, literate and deeply analytical, this book is a real surprise, and offers some genuine insight into why the entertainment world is so stratified today, into the superstar brackets and nothing else, as the middle class of movies, music, books and other media are shuffled off into VOD oblivion.

For Cryer, it’s a craft, but it’s also job, and you have to hit your marks and perform, no matter what. So That Happened is about the triumph of professionalism. As Cryer notes, “you can’t do television shows caring whether or not the network picks you up. You can only do them enjoying the work, because if you’re always on pins and needles about whether you’ll be picked up, you’ll lose your mind. I learned that the hard way.”

All in all, very much worth reading.

230 Cars Destroyed for Furious 7

Wednesday, April 8th, 2015

Give the public what they want, and they’ll come out for it.

According to Steve Knopper in The Wall Street Journal, roughly 230 cars were destroyed during the making of the latest, wildly successful film in the Fast and Furious franchise, Furious 7. Interesting, at least to me, that the series got its name from a Roger Corman film in 1955 – see Corman’s explanation of how Universal got him to agree to the use of that title for their series by clicking here – but no matter how you slice it, this is one franchise that goes through a heck of lot of cars to achieve the mind-blowing effects you see on the screen.

As Knopper writes, “not long after stuntpeople for Vin Diesel, Michelle Rodriguez and the rest of the Furious 7 crew filmed their usual death-defying car chases on a twisty mountain road west of Colorado Springs, Colo., Richard Jansen received a call. Somebody from the movie had seen his ‘we buy junk cars’ highway sign, and wondered if the owner of Bonnie’s Car Crushers could haul away 20 or 30 vehicles smashed beyond repair, including several black Mercedes-Benzes, a Ford Crown Victoria and a Mitsubishi Montero. ‘Sure,’ Mr. Jansen said.

Then Mr. Jansen and his crew, based in nearby Penrose, spent several days loading the cars onto a semitrailer truck to haul them away. Filmmakers insisted he shred or crush them all, to prevent anyone from fixing one up and getting hurt in a damaged movie car. So today, a large, black, scrap-metal Benz cube once driven in a Furious 7 car chase exists somewhere in the world. ‘It was kind of unusual, to see some relatively late-model Mercedes-Benzes, all crunched up and good for nothing,’ Mr. Jansen says.

How cars are built and prepped for action movies has been well documented: The process involves mechanics, roll cages, drag tires and fuel cells. But after the movie ends, what happens to the cars that parachute out of planes, plunge off cliffs and get run over by tanks? ‘It’s pretty easy,’ says Dennis McCarthy, picture car coordinator for the Fast and the Furious franchise, whose latest installment, Furious 7, premiere[d] in theaters this week. The film crew has to follow a specific protocol, documenting every step for both accounting and liability reasons, he says. ‘We have to account for every single car destroyed in each film.’

Fast and Furious filmmakers wreck hundreds of cars every movie—more than 230 alone for Furious 7. For 2013’s Fast & Furious 6, when a tank bursts out of a military transport and flattens numerous cars on a highway in Tenerife Island, Spain, Mr. McCarthy’s people made deals with local junkyards and used-car lots. ‘We’d wreck 25 cars a day, they’d come out at night, scoop ‘em up and bring us 25 more,’ he says. ‘It was a round-the-clock process, with multiple tow trucks and car carriers’ . . .

After filming the Furious 7 mountain-highway chase on Colorado’s Monarch Pass, the car crew stowed its crashed cars in the parking lot of the small nearby Monarch Ski Resort. Mr. Jansen had two days to remove them so the resort could prepare for its opening season. ‘We probably destroyed 40-plus vehicles just shooting that sequence,’ Mr. McCarthy says.”

Such is modern action filmmaking; read the whole article by clicking here.

Transformers Universe?

Sunday, March 29th, 2015

Paramount wants to make the Transformers films into a “Marvel Universe” style franchise.

Somebody out there must be watching these filmsthey make a fortune, even though my students routinely dismiss them as special-effects driven trash, without even the slightest narrative thread to hold anything together. But in Hollywood, especially in 2015, the bottom line rules, so here comes the “Transformers Universe.” As Germain Lussier reports in Slashfilm,

“Marvel is doing it, DC is doing it, Lucasfilm is doing it, the Ghostbusters are doing it and now it looks like Transformers will be doing it too. Deadline [arguably the top Hollywood inside business journal] reports that Akiva Goldsman, the Oscar-winning writer of a A Beautiful Mind (and the writer of Batman and Robin, among other films) is in negotiations with Paramount to lead a brain trust of writers with the aim of upping the output of Transformers movies for the studio. Goldsman will join executive producers Michael Bay, Steven Spielberg and Lorenzo di Bonaventura in the hiring of a collection of writers to create ‘a potential multi-part Transformers sequel, and come up with potential spinoff films.’

Deadline broke this news and say things are expected to come together quickly. Bay, who has directed the last four uber-successful Transformers films, is currently expected to come back for Transformers 5. (Which is tentatively set to come out in 2016, but 2017 seems more likely.) He’s about to start production on 13 Hours and the hope is, once he’s done with that, a plan and script will be in place for him to work on. They also report that while Goldsman might be the leader of this group, he isn’t likely to write the movies himself.

With Transformers being such a monster hit for Paramount, this really isn’t a big surprise. It’s how Hollywood is going. Plus, the last few movies have had a very cut and paste feel about them with very little cohesion or logic. If a group of people get hired to keep everything straight, that’s a good sign. In addition, the last film definitely left the franchise in a place where there was a pretty blank slate. All we do know is Mark Wahlberg will likely be back.”

Along with Michael Bay, and of course, the Transformers.

The Bedford Incident (1965)

Friday, March 27th, 2015

The Bedford Incident is yet another brilliant yet forgotten film; watch the trailer by clicking here.

We have only so much time on this earth, and so what we do with it is important. We can spend our time making junk, or watching junk, or we can give our time to some more serious films – past and present – that come our way. One such film is James B. Harris’s The Bedford Incident, a 1965 US/UK production from the novel by Mark Rascovich that toplines Richard Widmark as the unbalanced and resolutely hawkish captain of the destroyer the USS Bedford, which, on a routine reconnaissance mission, detects the presence of a Soviet submarine off the coast of Greenland, and unrelentingly gives chase. As a contributor to Wikipedia astutely notes,

“The American destroyer USS Bedford (DLG-113) detects a Soviet submarine in the GIUK gap near the Greenland coast. (Specifically, they are in Greenland territorial waters at the entrance to the J.C. Jacobsen Fjord, which is due northwest from Iceland.) Although the U.S. and the U.S.S.R. are not at war, Captain Eric Finlander (Richard Widmark) harries his prey mercilessly, while civilian photojournalist Ben Munceford (Sidney Poitier) and NATO naval advisor, Commodore (and ex-World War II U-boat captain) Wolfgang Schrepke (Eric Portman), look on with mounting alarm.

Because the submarine is not powered by a nuclear reactor, its submerged run distance is limited, critical when it also needs breathing air and to recharge its batteries. This gives Finlander an advantage, but also means the Soviets will be more desperate. Also aboard the ship are Ensign Ralston (James MacArthur), an inexperienced young officer constantly being criticized by his captain for small errors, and Lieutenant Commander Chester Potter, USNR (Martin Balsam), the ship’s new doctor, who is a reservist recently recalled to active duty.

Munceford is aboard in order to photograph life on a navy destroyer, but his real interest is Captain Finlander, who was recently passed over for promotion to rear admiral. Munceford is curious whether a comment made by Finlander regarding the American intervention in Cuba is the reason for his non-promotion, perhaps betraying veiled aggression. He is treated with mounting hostility by the captain because he is seen as a civilian putting his nose where it does not belong and because he disagrees with Finlander’s decision to continue with an unnecessary and dangerous confrontation. Finlander is hostile to anyone who is not involved in the hunt – including the doctor, who will not stand up to the captain and advise that the pressure on the crew be reduced.

The crew becomes increasingly fatigued by the unrelenting pursuit during which the captain demands full attention to the instruments. When the submarine is found and ignores Captain Finlander’s demand to surface and identify itself, Finlander escalates the situation by smashing into the submarine’s snorkel, calling it ‘floating debris.’ Finlander then orders Bedford to arm weapons and withdraw a distance, where he will wait for the submarine’s crew to run out of air and be forced to surface. He reassures Munceford and Schrepke that he is in command of the situation and that he will not fire first, but: ‘If he fires one, I’ll fire one.’

Ensign Ralston mistakes Finlander’s remark as an order to ‘fire one’ and launches an anti-submarine rocket, which destroys the submarine. Their sonar then detects a salvo of four nuclear-armed torpedoes coming at the destroyer. Finlander initially gives basic orders to evade, then goes outside. Munceford follows him, frantically pleading, but Finlander does nothing more to save his ship, perhaps because he recognizes that there is no way to escape and believes that it’s justice that his ship be lost, since his own actions brought about the unnecessary destruction of the submarine and crew. The film ends with still shots of various crewmen “melting” as if the celluloid film were burning as Bedford and her crew are vaporized. The last image is an iconic, towering mushroom cloud from the torpedo detonations.”

Described by a number of observers as “near science fiction,” this Cold war parable is made all the more effective by the obvious commitment of everyone in the film, especially star Richard Widmark, who co-produced the film with Harris. An expert in playing unsympathetic roles, going all the way back to his debut in Henry Hathaway’s crime drama Kiss of Death, Widmark took on the project both because he believed that the threat of a nuclear accident was very real, and also because it provided him the chance to work with Sidney Poitier as Munceford, the journalist who sees that everything is spinning out of control, but is powerless, as a civilian, to stop it.

But perhaps the most interesting character in the film is Eric Portman’s ex-Nazi U boat captain, Wolfgang Schrepke, who seems much more sane that Captain Finlander, perhaps because he has seen too much violence and death in World War II. His world-weary yet clear-eyed view of Finlander’s mounting mania is the clearest indicator of where The Bedford Incident is ultimately heading – like similar films of the 1960s that dealt with the threat of nuclear destruction, such as Dr. Strangelove and Fail Safe, one gets the feeling from the outset of the film that the entire affair will end very badly indeed, and that there will be no happy ending tacked on as a sop to the audience. That Schrepke’s role is now that of a bystander, a NATO advisor, does not diminish his importance within the narrative for a second.

Dr. Strangelove, of course, played the whole concept of mutually assured nuclear destruction for grim laughs, but The Bedford Incident, with its claustrophobic mise en scene – taking place entirely on board the destroyer, with no escape for either the audience or the crew members – is perhaps the grimmest project of the lot, because even after the final frames of the film have melted away, one knows instinctively that the destruction of a battleship and a submarine won’t be the end of the conflict; that indeed, this one small incident will in all likelihood trigger an all out nuclear war, which we will never witness (thankfully), because we have, in a sense, perished along with the crew of the the Bedford.

Shot in cold, efficient monochrome by the supremely gifted Gilbert Taylor, The Bedford Incident is the kind of thoughtful, high-stakes film project that has been pushed aside in the comic book era by the latest DC or Marvel project, films that play with the same concepts explored in this film, but never with anything real at stake, and the assurance of upbeat “narrative closure” always taken as a given. So The Bedford Incident has several strikes against it, which prevent it from being seen more often; it’s thoughtful, it’s unforgiving, it’s intelligent, and it’s frightening as hell – and, of course, it’s in black and white. Which it should be.

But you should see it anyway – check out the trailer by clicking on the image above, and get the DVD.

David Cronenberg’s Hollywood Nightmare – Maps To The Stars

Friday, March 6th, 2015

David Cronenberg’s Maps to The Stars may be the truest film ever made about the real world of Hollywood.

Working from a twenty-year old script by Bruce Wagner, which hasn’t aged one bit, Cronenberg’s corrosive film about the Hollywood mythos easily outstrips such films as Sunset Boulevard, The Big Knife, Day of the Locust, and other critical examinations of the American movie capital. For Maps to The Stars isn’t a satire at all, or a dark comedy – a melodrama, perhaps, but firmly rooted in fact. As Bruce Wagner noted in several interviews, “Hollywood [Wagner's home town] is so much a part of me. The thought of writing a straight satire about Hollywood – I would reach for my revolver, as they say . . .

I don’t see this as satirical. I see it simply as a melodrama that’s closer to August Strindberg or Joe Orton than it is to anything like The Player (1992) or Mulholland Drive (2001). David [Cronenberg] and I thought we were making our Sunset Blvd. (1950), in a way. The original script [of Sunset Boulevard] began with a scene of cadavers in a morgue talking about how they had died, how they had come to our demise. Our script is filled with ghosts as well . . .

I don’t see anything in Maps to the Stars that’s an exaggeration in order to expose a truth. It’s more realism than anything else. It’s is a fever dream, it’s a melodrama, I don’t see it as a satire. The default is to call anything that makes one uncomfortable and in which someone may laugh something satirical or quote ‘dark’. I’ve been hit with that label all my life. I don’t believe in only darkness; I’m not interested. I’m interested in the poles: Darkness and light. Extreme poverty and extreme wealth. Extreme fame, anonymity. The sacred and the profane. Without the profane, I’m not interested. Without the sacred, I’m not interested.”

The cast members are uniformly excellent; Julianne Moore (above) won Best Actress at the Cannes Film Festival in 2014 for her work in the film, and Cronenberg was nominated for the Palme d’Or; John Cusack is suitably repellent as a new age “self fulfillment” guru whose entire life is a sham; and Mia Wasikowska, Robert Pattinson, and Evan Bird – Bird is especially effectively as an absolutely hateful child star, already over the hill at 13 – are all utterly compelling in their roles. The entire film is so immaculately shot, edited, and scored (by the gifted Howard Shore) that I watched it straight through twice back to back, and it seemed to move even faster the second time than the first.

The reviews have been all over the place, from outright pans to critical raves, but those who dismiss the film, or who try to pigeonhole it as “satire” have never really lived in Hollywood, and don’t know how it works. This is a town that is ruled by franchises, in which selfishness and greed are necessary commodities if one wants to get ahead, a place where every conceivable human character flaw is exploited for gain or momentary advantage.

With echoes of Jean Cocteau and Paul Eluard in its script – which fit in here beautifully – Maps to the Stars is that rare thing; a film about the industry that tells the truth about a system that destroys people and then spits them out. Perhaps that’s why it’s been so ignored by Academy – what am I saying? of course it is! - and why the film is more or less being dumped in VOD slots rather than in mainstream theaters. But don’t let that stop you.

See this brilliant film at once – not for the faint of heart, but an absolutely mesmerizing experience.

Why Isn’t The Restored Version of Too Late for Tears on DVD?

Thursday, March 5th, 2015

There’s no more hardboiled screen duo than Dan Duryea and Lizabeth Scott in Too Late for Tears (1949).

Too Late for Tears, directed by Byron Haskin, is a cult noir film that currently only survives in truly terrible Public Domain DVDs that can only be watched for archival purposes – if you watch one of these versions, you’ve sort of seen the film, but you haven’t really experienced it. Splices, scratches, rips, tears – they’re all part of the Public Domain print, and it provides only an approximation of the watching the 35mm original. You see, the copyright for the film expired long ago, so anyone can put out a DVD – using any materials at hand, and what’s available – until now – has been really substandard.

However, as Rick Paulas wrote on August 6, 2014, in Pacific Standard Magazine, one man is making it a lifetime mission to track down and preserve these genre gems before they’re lost forever. As Paulas notes, “Eddie Muller is the president and founder of the Film Noir Foundation, a non-profit working to locate and repair films from the classic era. His work has led to 12 years of film festivals in San Francisco’s Castro Theater, the rescue of six films, and a badass nickname from legendary noir novelist James Ellroy: ‘The Czar of Noir.’ But when it came to restoring Too Late for Tears, The Czar was nearly crying tears of his own. ‘It was by far the toughest,’ he says.

While Internet streaming may make it seem as if we can watch anything whenever we want, that’s just not the case. Every migration to a new medium relegates a portion of films to the dustbin of history. There’s a triage that occurs when 16mm leads to VHS, to DVD, to Blu-ray. Conversion takes time and money, two resources that movie studios aren’t going to waste on titles that don’t generate sales. ‘It’s a funnel,’ Muller says. ‘It may seem like there are more titles than ever before, but I guarantee you this is an illusion.’

Martin Scorsese’s Film Foundation estimates that half of all American films made before 1950, along with over 90 percent made before 1929, are gone for good. While there are high-profile ‘Holy Grail’ lost films that collectors have been obsessing over for years—Erich von Stroheim’s nine-hour director’s cut of Greed, which only 12 people ever saw; Lon Chaney’s detective/horror movie London After Midnight, the last print reportedly burned in the tragic MGM vault fire of 1967—there are crates more on nobody’s radar. The hardest to locate, by far, are ‘orphans’: independently produced films seemingly not owned by any studio [. . .]

The first move for Muller during any restoration is to ask the community for any and all elements they have. This means 35mm prints, 16mm, good digital transfers. Anything but circulation prints—prints that have been sent out to theaters—which have wear-and-tear that makes a restoration nearly impossible. The prize is an original negative or duplication that’s been created for the sake of protection, but those are nearly impossible to come by.

Eddie’s calls for Too Late for Tears elements netted him a few nibbles. One was a 35mm print from a private collector, the quality of which was uncertain. Another was a 35mm print that somehow ended up in the Jones Film Archive at Southern Methodist University. (‘You can fall down a rabbit hole when you start investigating this stuff.’) UCLA also had a print after a French collector dumped loads of canisters on them. (‘Luckily, their print didn’t have subtitles.’)

But the question at hand was whether or not Muller wanted to pour his limited funds into a restoration using this unproven trio or hunting the rumors of a Baltimore projectionist’s pristine nitrate print [. . .] Under the watchful eye of UCLA restoration manager Scott MacQueen, the best parts of the three prints were spliced into one. Finally, on January 25, 2014, Muller premiered the restoration of Too Late for Tears at the 12th-annual Film Noir Fest in San Francisco to rapturous applause.”

But for those of us not in New York, Los Angeles, or San Francisco, I have a simple question; when is the restored version of Too Late for Tears, one of the toughest and most unrelenting of all noirs, going to be available on DVD? Another noir film that Muller was instrumental in saving, Robert Parrish’s acerbic Cry Danger (1951), starring Dick Powell, was restored in 2011, screened theatrically, and then made the jump to DVD, and it goes without saying that I bought one of the first copies of the restoration available.

But now Too Late for Tears has been restored, yet as far as I can find out, no DVD or Blu-ray release is imminent. So, as Johann Sebastian Bach might ask – and indeed ask, although obviously in another context – “oh, when will that day come?” Too Late for Tears is one of Haskin’s finest films, one of Dan Duryea’s most desperately corrupt performances, and surely one of Lizabeth Scott’s most brutal turns as a femme fatale, one who really knows what the term means – she’s lethal, in every sense of the word. So it’s great that Too Late for Tears has been rescued and restored – cue the applause for Eddie Muller, seriously – but when will we get the DVD?

Until we get the DVD or Blu-ray, or both, we won’t really have the film back in circulation.

The 87th Annual Oscars – A Night of Surprises

Monday, February 23rd, 2015

The 87th Annual Oscars were a night of surprises.

And The Winners Are:

  • Best Picture – Birdman or (The Unexpected Virtue of Ignorance) – a real surprise to me; I thought Boyhood was the one here, but it was neck and neck.
  • Best Actress – Julianne Moore, Still Alice - an excellent film, and a much deserved win, though Marion Cotillard was superb in Two Days, One Night
  • Best Actor – Eddie Redmayne, The Theory of Everything - this was a real upset – everyone thought Michael Keaton had this one in the bag.
  • Directing  – Alejandro G. Iñárritu, Birdman or (The Unexpected Virtue of Ignorance) - if you think the film was good, then Iñárritu wins.
  • Best Supporting Actress – Patricia Arquette, Boyhood – her win was no surprise; but the film was completely shut out in every other category.
  • Best Supporting Actor – J.K. Simmons, Whiplash – absolutely deserved for his performance here, and a lifetime of work.
  • Animated Feature Film - Big Hero 6 – honestly can’t speak to this; not a category I follow.
  • Documentary Feature – Citizenfour - another surprise, and hardly a safe choice, with an impassioned acceptance speech from the stage.
  • Foreign Language Film – Ida (Poland) – I’d go for Two Days, One Night – not enamored of this film at all, but it’s a small, sincere film.
  • Adapted Screenplay – Graham Moore, The Imitation Game – good choice here; Moore’s acceptance speech was raw and honest.
  • Original Screenplay – Alejandro G. Iñárritu, Nicolás Giacobone, Alexander Dinelaris, Jr. & Armando Bo, Birdman or (The Unexpected Virtue of Ignorance) – OK.
  • Original Score – Alexandre Desplat, The Grand Budapest Hotel – don’t like the film, don’t like Wes Anderson, but he’s a cult favorite, so it wins.
  • Original Song – “Glory” from Selma - the most moving moment of the evening, with an electrifying performance of the song, which got the evening’s first standing ovation & tears in the audience.
  • Film Editing – Whiplash - picked this, and agree with it; in this small scale film, the editing had to be razor sharp, and it was.
  • Production Design – The Grand Budapest Hotel - if you insist.
  • Sound Editing – American Sniper – deserved; whatever you think of the film, the sound editing was utterly complex, and multi-layered.
  • Sound Mixing – Whiplash - again, a great and deserving win for a film about a world of music – harder to mix that one might think.
  • Visual Effects – Interstellar - dull film, average SPFX; I would have preferred Captain America, Winter Soldier here.
  • Cinematography – Emmanuel Lubezki, Birdman or (The Unexpected Virtue of Ignorance) – superb cinematography, and a worthy win.
  • Costume Design – Milena Canonero, The Grand Budapest Hotel - again, if you insist.
  • Makeup and Hairstyling – Frances Hannon and Mark Coulier, The Grand Budapest Hotel - it picks up all these minor awards, but nothing major.
  • Animated Short Film – Feast – haven’t seen it.
  • Live Action Short Film – The Phone Call – haven’t seen it.
  • Documentary Short Subject – Crisis Hotline: Veterans Press 1 - a really good documentary; searing, honest, timely.

Those are my major thoughts; Neil Patrick Harris kept things moving, but the “predictions in a box” bit was lame and over-stretched; he seemed bored with the whole thing, and more or less just pushed things along; the songs keep slowing things down, especially the one after the memorial reel, which should just have been a fade to black; Selma will get a lot of much deserved traction as a result of the Glory performance, which was the standout moment of the evening for raw sincerity and passion; but it’s still not right that the director, Ava DuVernay, wasn’t nominated, but Glory did the most with what it had at hand. I predict that down the line it will get more attention than it has now; it certainly deserves it.

It was nice to see Jean-Claude Carrière win in the Governor’s Awards highlights reel for his many screenplays, especially for his work with the great Luis Buñuel; the tech awards deserve more than 30 seconds, and you could cut some of the endless musical numbers to give them just a bit more space; seen in 100 countries and 24 time zones by roughly half a billion viewers, the telecast of the 87th Oscars once again affirms, more than anything else, the continuing commercial dominance of the American cinema; but at the same time it’s interesting to see that the big budget “tent pole” movies were almost completely ignored in favor of smaller, more personal visions from the margins, where all the best ideas come from anyway.

The studios are stuck in this pattern of releasing big budget spectacles at enormous expense to drag viewers into the theaters, but while the Marvel and DC movies make money, it’s clear that the industry doesn’t really respect them – they want content, and thoughtful filmmaking. All in all, I was surprised by the end of the ceremonies – it’s always an ordeal, but people were allowed to speak their minds on any number of controversial topics from the stage. Some people went on & on forever, and got played off at the start of the ceremonies, but when someone had a real message to deliver, I noticed that the orchestra held back on a number of occasions.

The impassioned speech after the Glory production number was a real stunner, and Patricia Arquette’s call for equal pay and equal rights for women was met with resounding approval from the audience, and a raised fist shout out from Meryl Streep and others in support. However, as much as Julie Andrews is a cinematic icon, I thought the placement of the Sound of Music salute was bizarre to say the least, though Lady Gaga demonstrated that she’s learned a thing or two from Tony Bennett lately, singing the songs rather than belting them. All in all, a mixed bag that kept one thinking. No one film swept the awards, which was great – instead they seemed to be spread out over a number of interesting films, all of which will now get a lift at the box office and on VOD.

All in all, the Academy could have done much worse; glad it’s over until next year. See you then!

The 2015 Oscar Run-Up

Sunday, February 22nd, 2015

So, the 87th Annual Academy Awards are tonight.

Bob Fischbach of the Omaha World Herald asked me for my thoughts, and here in part is what he wrote: “Wheeler Winston Dixon [of] the University of Nebraska-Lincoln said academy voters are interested in celebrating new ideas that could rejuvenate the film industry, which he sees as under attack from streaming video and instant-access online services like Vimeo.

‘Small-budget movies have more original ideas than Marvel,’ said Dixon, who has written books about independent film and industry trends. Birdman was a technical marvel with its long takes and fluid camera motion. Boyhood took a risk in filming a family story over 12 years. The actors mature before your eyes. “’When you see a movie being made in which Superman meets Batman, that’s the sign of a genre collapsing into its baroque period,’ Dixon said.

Captain America and Spider-Man are [creatively] bankrupt.’ He compared it to the horror genre, which began with Frankenstein and Dracula but eventually doubled and tripled up on monsters to the point of ridiculousness.

Dixon said the Oscar shift has been going on for a while. When The Hurt Locker won best picture in 2009, it beat the digitally driven action fantasy Avatar, even though Avatar made 55 times more money — $2.7 billion globally . . . [Dixon noted that] big-budget tentpole movies ‘are committee movies that have to appeal to the lowest common denominator. Whiplash and Still Alice can afford to take risk[s] because they’re not going to break anybody’s bank.’

When they do catch fire, he said, the arty, independent films Oscar loves are increasingly being seen online and at home. ‘That’s the future. We’re going to see a real transformation of the Academy and what constitutes a movie, as film becomes more and more a solitary viewing experience.’”

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

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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