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Archive for the ‘Films That Need a DVD Release’ Category

Manoel de Oliveira’s Last Film: “Visit, or Memories and Confessions”

Monday, November 30th, 2015

Manoel de Oliveira left a surprise after his recent death at age 106; a film shot in 1982, but never released.

Readers of this blog will know that of all filmmakers working in the 20th century, I value Manoel de Oliveira above everyone else; this is a purely personal choice, and anyone would be foolish to discount the value of such auteurs as Renoir, Bresson, Ozu, Dreyer – the list goes on and on – but Oliveira speaks to me the most clearly, and I find his best films inexhaustible treasures that can be visited and revisited over and over again, yielding new insights with each viewing.

Oliveira was also a trickster of sorts; many of his films have surprise endings, which you can’t see coming in the distance, and now, in death, his estate has released Oliveira’s last film, shot in 1982, but which Oliveira insisted could not be screened until after his death – on April 2, 2015 – and until the first screening of Visit, or Memories and Confessions, the film sat in a vault for more than thirty years.

Finally – though frankly I wish that Oliveira had lived another twenty years, and made twenty more films, rather than see this posthumous effort – Visit, or Memories and Confessions was shown at the Cannes Film Festival this past May. As critic Ben Kenigsberg wrote of the occasion, “Portuguese director Manoel de Oliveira made a film in the early 1980s that he requested not be shown to the public before his death.

That turned out to be more than three decades after the film was shot: Oliveira died in April at 106, following the most prolific period of his career; his recent films include The Strange Case of Angelica and Gebo and the Shadow. Titled Visit, or Memories and Confessions, this unearthed film, slightly more than an hour long, screened at Cannes Classics last night—on celluloid, no less.

Funded in 1981 (the festival catalog gives the completion date as 1982), Visit is—it should come as a surprise to no one—an intensely personal movie, essentially a family album in motion. ‘It’s a film by me, about me,’ Oliveira says in voiceover as the movie begins. ‘Right or wrong, it’s done.’ Cued by an alternating man-and-woman narration, the movie is largely set on the grounds of a house that Oliveira tell us he has lived in since 1942. Part of the occasion for making the movie, it seems, is that he has had to sell the home to pay some debts.

At the risk of reading too much into Oliveira’s intentions, you can see why he might have wanted the movie released as a sort of ghost story. Much of Visit concerns the haunting emptiness of this once-bustling home: We hear constant footsteps and watch doors open, Jean Cocteau–style, as we move from room to room, but a good portion of the film goes by before we actually see a human being. The first is Oliveira himself, who appears at the typewriter where he writes his treatments and turns to the camera to address us.

His musings are as idiosyncratic as they are private. He waxes philosophical, shows us photographs and film footage of his family, and recalls visits to the house by such figures as the great film theorist André Bazin. His wife turns up briefly (‘You can’t separate the artist from the man,’ she says), but this is primarily Oliveira’s reflection on his own life.

Late in the film, in a powerful anecdote, he speaks of his 1963 arrest by the secret police under Portugal’s then-repressive government. ‘I’ve always sacrificed everything so I could make my films,’ he says. Visit closes with a flourish suggesting that this director who lived more than a century remained eternally young.”

I’d love to see this on DVD, but I doubt that will ever happen; one last gift from the great Manoel.

Godfathers of Comic Book Films

Friday, November 27th, 2015

Before the Marvel and DC Universe, these were the pioneers who created the comic book film.

In this one astonishing shot, taken at a nostalgia convention in 1973, some of the greatest action directors of all time stand with cast members, a cinematographer, and stunt men who helped to create such classic serials as Spy Smasher, Captain America, Superman, Batman and many others – in their original versions as Saturday morning serials in the 1940s and 50s – working for most part for Republic Pictures, the studio that created the modern action film.

From left to right, director William Witney, who helmed numerous serials with his friend and colleague John English, in addition to directing a stack of classic Westerns – and incidentally, he’s Quentin Tarantino’s favorite director; Billy Benedict, a reliable sidekick in numerous action films of the era; Spencer Gordon Bennet, dean of serial directors, with hundreds of films to his credit; and Bud Thackery, sporting a goatee, an ace action cinematographer who later finished up his career at Universal in the 1960s.

Continuing on, stuntman George DeNormand stands in the back; Frank Coghlan Jr., who played the role of Billy Batson, Captain Marvel’s alter-ego in the serial of that name; Kirk Alyn, the original Superman in two serials, both directed by Spencer Gordon Bennet; legendary stuntman “Crazy Duke” Green, whose specialty was running up walls and then launching himself into space during a fight scene; the equally capable stuntman and actor Tom Steele; and stuntman Davey Sharp, whose credits as a stunt double number into the thousands.

Just watching these amazing professionals at work, knocking out three and four hour serials in 30 days on budgets in the $200,000 range, or lower, is an amazing sight – a look into the past of motion pictures, before CGI and motion capture replaced feats of genuine athleticism and skill. None of these people thought twice about working twelve hour days, or longer, six days a week, for decades at a clip, to deliver the thrills that entranced audiences in the middle part of the 20th century.

Let’s not forget them now – they created the comic book film.

Lost Walt Disney / Ub Iwerks Cartoon Found

Thursday, November 26th, 2015

A print of the silent cartoon Sleigh Bells – long thought lost – has been found at the BFI Archive in London.

As The British Film Institute notes on their website, “The BFI National Archive and Walt Disney Animation Studios are pleased to announce the rediscovery of a rare, long-lost, Walt Disney animated film, Sleigh Bells (1928) featuring the first ever Disney character, Oswald the Lucky Rabbit, a long-eared precursor to Mickey Mouse.

Oswald the Lucky Rabbit was invented by Walt Disney in 1927 and was loved for his mischievous and rebellious personality. A number of other films do survive but Sleigh Bells has been, until now, a lost film, unseen since its original release. The animation in the film was accomplished by Walt Disney and Ub Iwerks, both of whom went on to create the character of Mickey Mouse, following a contractual disagreement with Universal Pictures, for whom they had created the Oswald films.

The print of Sleigh Bells (1928) was preserved in the collections of the BFI National Archive. The exciting rediscovery was made by a researcher browsing the online catalogue of the BFI National Archive’s holdings. Walt Disney Animation Studios have taken this unique surviving film print and created both a new preservation print and digital copies. The film has a running time of approximately six minutes.”

It’s not surprising to me that the film turned up in the BFI Archives; they’ve been way ahead of the United States since the 1940s in cataloguing and preserving classic films from all over the world, when the Hollywood studios themselves did little to preserve the treasures of the past. But now you can see this bit of history for yourself, thanks to an archive that really cares about the history of the cinema. Hats off the to the BFI!

Click here, or on the image above, to see a clip from Sleigh Bells.

Lost Landscapes of Los Angeles

Wednesday, November 18th, 2015

Rick Prelinger’s new film is a fascinating look into the history of Los Angeles.

As Carolina A. Miranda wrote in The Los Angeles Times on November 15, 2015, “A camera pans the streets of downtown Los Angeles from the window of a moving car, cruising past Mickie’s Café, John’s Dog House, an Orange Julius, the Angel’s Flight Café and the Burbank Burlesque, boasting a chorus line of ‘ California Beauties.’

If these places don’t sound familiar it’s because they’re long gone — shuttered, reborn as restaurants or discount clothing shops or torn down to make way for Bunker Hill’s towering Financial District.

But in a beguiling new film by Rick Prelinger, the Bay Area filmmaker known for working with bits of found film, they have come back to life. Lost Landscapes of Los Angeles splices together home movies and studio outtakes, primarily stock driving footage that serves as background in scenes where characters ride in cars or buses.

The film, whose footage dates from the 1920s to the 1960s, is more about mood than in telling a literal story — a nonlinear, highly poetic gathering of moving images that examine our city as it no longer exists.

It also doesn’t contain a soundtrack — which means the audience is free to chat or name a location they might be familiar with as the film screens. Says Prelinger: ‘I really like the idea of people talking and making the soundtrack and coming to an understanding together.’

The film is one in a series of movies that Prelinger has made in this way — including 10 on San Francisco and five on Detroit. He also made the 2013 film No More Road Trips, which tells the story of a road trip — from one side of the country to the other — by employing an array of amateur footage.”

A really interesting project – check it out if you can.

Gwendolyn Audrey Foster’s “Disruptive Feminisms” – Sneak Preview

Friday, November 6th, 2015

Click here, or on the image above, for a sneak preview of Disruptive Feminisms.

Gwendolyn Audrey Foster’s new book, Disruptive Feminisms: Raced, Gendered, and Classed Bodies in Film, from Palgrave Macmillan, is a really groundbreaking book in every respect. As the publisher’s comments on the book note, “Amy Schumer and Betty White use subversive feminist wit to expose sexism and ageism in film and TV. This is but one example of ‘disruptive feminism’ discussed in this groundbreaking book. Disruptive Feminisms: Raced, Gendered, and Classed Bodies offers a revolutionary approach to feminism as a disruptive force.

By examining texts that do not necessarily announce themselves as ‘feminist,’ or ‘Marxist,’ Foster brings a unique critical perspective to a wide variety of films, from the classical Hollywood films of Dorothy Arzner and Ida Lupino, to the subversive global films of Carlos Reygadas, Claire Denis, Michelangelo Antonioni, Luis Buñuel, Paul Thomas Anderson, and many others. In highlighting these filmmaker’s abilities to openly challenge everything from class privilege and colonial racism, to sexism, ageism, homophobia and the pathologies of white privilege, Disruptive Feminisms fills a fresh and much-needed critical perspective, that which Foster dubs disruptive feminism’.”

As Foster herself writes of the book, “In my research, I’ve found that ‘disruptive feminism’ often lurks in unlikely and unexpected places – from the dry feminist humor of Amy Schumer, Betty White, Dorothy Arzner, Ida Lupino, and Luis Buñuel, to the more serious and contemplative postcolonial films of Carlos Reygadas and Claire Denis. Filmmakers who are not so obviously read as ‘feminist’ or ‘marxist’ seem to find their way onto my radar. My scope is wide; I include work from classical Hollywood, early television, and global filmmakers. I  highlight the ways that film and media can disrupt, challenge, and potentially overturn ‘norms’ of race, gender, age, sexuality, and class. Indeed, I hope this book disrupts feminism itself, because it can always use some shaking up.”

Here are some advance reviews.

“I think the book is superior in many ways, just simply a jewel. Gwendolyn Audrey Foster’s peculiar and enchanting magic is to blend keen socio-critical attention with an unyielding poetic sensitivity to the world of hints, provocations, resonances, and allusions. Through the films examined here, and through Foster’s eyes, gender, class, and race fly beyond rhetoric and come alive.” – Murray Pomerance, Ryerson University, author of The Eyes Have It: Cinema and The Reality Effect

“This book passionately advocates a cinema that challenges injustice and oppression across the globe by disrupting ‘normative values’ and ‘received notions’ of race and class as well as gender. Not least of the book’s strengths is its illumination of culturally and aesthetically diverse works ranging from Carlos Reygadas’ Post Tenebras Lux (2012) and Claire Denis’ No Fear, No Die (1990) to Betty White’s television programs of the 1950s.” – Ira Jaffe, Professor Emeritus, University of New Mexico and author of Slow Movies: Countering the Cinema of Action.

“Written with a strong sense of personality, and even stronger and laudable political commitments, Gwendolyn Audrey Foster’s Disruptive Feminisms extends her ongoing endeavor to provide meaningful critiques of film and film culture.  This thoughtful book demonstrates how a number of films, from around the world and from different genres, disrupt the status quo through a feminist and postcolonial analysis.” – Daniel Herbert, author of Videoland: Movie Culture at the American Video Store

“An excellent volume – Foster establishes at the outset that she writes as a global cultural feminist. By shrewdly focusing on specific films (and TV shows and star personas) that ‘disrupt, challenge, and overturn the norms of race, gender, age, sexuality, and class,’ this volume provides a much-needed alternative to the approaches that dominate the field today, although Foster uses those methodologies judiciously in her treatment of cinema as a political art form. Clear, well written, and without jargon, Disruptive Feminisms could easily be a valuable textbook, not just a volume for film scholars. Brava!” – Frank P. Tomasulo, Visiting Professor of Film Studies, Pace University.

Right now, you can see a sample of the text by clicking on the image above. Happy reading!

Too Many Films Stuck in The Vaults

Saturday, October 24th, 2015

Too many great films are still stuck in the vaults, with no way to see them in any format.

As Michael Hiltzik writes in The Los Angeles Times today, “Will McKinley, a New York film writer, is dying to get his hands on a copy of Alias Nick Beal, a 1949 film noir starring Ray Milland as a satanic gangster. For classic film blogger Nora Fiore, the Grail might be The Wild Party (1929), the first talkie to star 1920’s “It” girl Clara Bow, directed by the pioneering female director Dorothy Arzner.

Film critic Leonard Maltin says he’d like to score a viewing of Hotel Haywire a 1937 screwball comedy written by the great comic director Preston Sturges. Produced by Paramount Studios, these are all among 700 titles assumed to be nestled in the vaults of Universal Pictures, which inherited Paramount’s 1930s and 1940s film archive from its forebear MCA, which acquired the collection in 1958. They’re frustratingly near at hand but out of reach of film fans and cinephiles.

Like most of the other major studios, Universal is grappling with the challenging economics of making more of this hoard accessible to the public on DVD, video on demand or streaming video. Studios have come to realize that there’s not only marketable value in the films, but publicity value in performing as responsible stewards of cultural assets.”

I, too, would love to see a legitimate copy of Alias Nick Beal, one of my favorite noirs, but it’s probably not going to happen anytime soon. To date, Universal has done almost nothing in this regard. As just one example, I’ve been waiting for years for a DVD of William Castle’s The Night Walker (Universal, 1964), which, as Wikipedia notes, is “one of the last black and white theatrical features released by Universal Pictures, and Barbara Stanwyck’s last motion picture, [but] The Night Walker is one of the few William Castle films from his ‘horror’ period that is unavailable on DVD.”

Yet Hiltzik’s article demonstrates that there’s clearly a market for these older films, beyond the canonical classics. As George Feltenstein, who heads the Warner Archive imprint of on-demand DVDs of classic films notes, the WB service, launched in March 2009 with 150 titles, has proved “far more successful than we even dreamed. I thought that all the studios would follow in our footsteps, but nobody has been as comprehensive as we’ve been.” And that’s putting it mildly – to date, no other major studio has stepped up to the plate with the same commitment as WB has.

This isn’t altruism. As Feltenstein candidly told Hiltzik, “‘my job is to monetize that content, make it available to the largest number of people possible and do so profitably.’ That gives [Warner Archive] a window into values that others might miss. Take B-movie westerns made in the 1940s and 1950s that landed in the Warners vault. To Allied Artists and Lorimar, their producers, ‘these films were worthless and they said it’s OK to let them rot,’ Feltenstein [said].

Instead, Warner Archives packaged them into DVD collections, ‘and they’ve all been nicely profitable.’ Feltenstein says Warners is releasing 30 more titles to its manufacturing-on-demand library every month. ‘It’s growing precipitously and there’s no end in sight.’”

Yet much more work clearly needs to be done, and especially since all films made before 1950 were shot on cellulose nitrate film, which decomposes rapidly and is highly flammable, things have to move along at a much faster clip if we’re going to preserve what’s left of our cinematic heritage. I’ve been noting this for a long time, in any number of articles, but even though Warner Archive is leading the pack, there’s plenty of films left that need a solid DVD release – not streaming, thank you, but on a DVD, which can be permanently kept in one’s collection.

Let’s get these films out where everyone can see them – now!

Interview on NPR’s “Inquiry” With Mark Lynch

Thursday, October 22nd, 2015

Mark Lynch’s NPR program Inquiry interviewed me on my new book, Black & White Cinema: A Short History.

You can see what Mark wrote above as an introduction to the interview – it was a fun session, and Mark always asks all the right questions – plus, he knows what he’s talking about, so it’s always a pleasure to converse with him. Inquiry comes from WICN, the New England NPR station, and Mark Lynch really does his homework – and it shows. There’s really no need to say anything further – just click here, or on the image above, to go to the interview, and listen for yourself – it runs about 30 minutes, which absolutely flew by.

Thanks, Mark- much appreciated!

The Paramount Vault Channel on YouTube – Free Feature Films!

Monday, October 19th, 2015

The Paramount Vault has an excellent selection of classic and contemporary feature films.

As J.E. Reich reports in Tech Times, Paramount Pictures is throwing open its vault of feature films from the 1930s to the present on a free You Tube channel which showcases some of the studio’s biggest hits, along with more esoteric films, many of them well worth watching.

As he writes, “Norma Desmond proclaimed in Paramount’s Sunset Boulevard, “I am big. It’s the pictures that got small!” True to the word of one of the studio’s greatest films, Paramount has brought its bigger pictures to the small screen: by making them available to watch for free on YouTube.

Named The Paramount Vault, the studio’s newly-minted YouTube channel allows viewers to stream a plethora of the studio’s titles, ranging from the timeless screeners (Indiana Jones and the Raiders of the Lost Ark, Invasion of the Bodysnatchers, Breakfast at Tiffany’s, Star Trek I) to more off-beat indies . . . the selection is generally veritable, mixing popular selections with forgotten gems.

Paramount Vault also gives a gift to would-be GIFers and movie buffs: clips from indelible moments in cinema history, such as Indiana Jones taking some lackeys to task after they mess with the wrong guy in the aforementioned Raiders, Cher Horowitz ferreting out driving tips in Clueless, a creepy neighbor making a seemingly normal housecall in Rosemary’s Baby, and — you guessed it — Norma Desmond getting ready for her close-up in Sunset Boulevard.

What remains unclear is the shelf life of each movie: whether each title will remain on the channel after it’s posted or if they’ll be on a type of rotation or phase cycle (i.e., phased in and out), essentially on a system akin to a streaming site like Netflix.”

Adds Joe Blevins of The A.V. Club, “Paramount Pictures, which has recently launched a YouTube Channel called the Paramount Vault where it will be making many of its full-length motion pictures available for free streaming. Since the studio is responsible for such popular films as Grease, Airplane!, Top Gun, Sunset Boulevard, Clueless, and Ghost, as well as such mighty franchises as Star Trek, Transformers, and Indiana Jones, this is potentially big news.

As it is, the Paramount Vault already has plenty of hours of free-of-charge entertainment awaiting the adventurous viewer. Under the science fiction category, for instance, [one can see] The Deadly Bees and The Space Children, as well as such cult favorites I Married A Monster From Outer Space and . . . the indescribable Marcel Marceau vehicle Shanks, among others.

Among the designated Paramount classics, perhaps the most striking selection is Bernardo Bertolucci’s once-controversial 1900 from 1976, starring Robert De Niro. Those without the patience for full-length movies will find clips to share and comedic moments, too, as well as a smattering of digital series. Viewers might well find themselves wandering around in the Paramount Vault for hours or days, unaware of how much time they’ve been spending there.”

You should spend some time there, too. Check it out!

Black & White Cinema: A Short History on Amazon Now!

Sunday, October 11th, 2015

My new book is out now on Kindle, and in paperback and hardcover on Amazon!

From the glossy monochrome of the classic Hollywood romance, to the gritty greyscale of the gangster picture, to film noir’s moody interplay of light and shadow, black-and-white cinematography has been used to create a remarkably wide array of tones. Yet today, with black-and-white film stock nearly impossible to find, these cinematographic techniques are virtually extinct, and filmgoers’ appreciation of them is similarly waning.

Black and White Cinema is the first study to consider the use of black-and-white as an art form in its own right, providing a comprehensive and global overview of the era when it flourished, from the 1900s to the 1960s. Acclaimed film scholar Wheeler Winston Dixon introduces us to the masters of this art, discussing the signature styles and technical innovations of award-winning cinematographers like James Wong Howe, Gregg Toland, Freddie Francis, and Sven Nykvist. Giving us a unique glimpse behind the scenes, Dixon also reveals the creative teams—from lighting technicians to matte painters—whose work profoundly shaped the look of black-and-white cinema.

More than just a study of film history, this book is a rallying cry, meant to inspire a love for the artistry of black-and-white film, so that we might work to preserve this important part of our cinematic heritage. Lavishly illustrated with more than forty on-the-set stills, Black and White Cinema provides a vivid and illuminating look at a creatively vital era, as featured on Turner Classic Movies in the series “Artists in Black and White.”

Critical Commentary:

“Dixon, no stranger to film history, gives us a complete overview of the black and white movie era, from the 1900s through the 1960s. He introduces us to the masters and talks about the styles and innovations of cinematographers long gone. Dixon also tells us how the crews working behind these cinematographers helped shape a bygone era of cinema . . . this book will help to inspire others to think about the artistry so that that this classic era of cinema is never forgotten. With more than 40 photos, the book provides a look at a vital era of film.” – Daniel Solzman, Flicksided

“Like artists painting with light and shadows, [cinematographers] perfected the lighting techniques and other innovations that often turned commerce into black-and-white art . . . Covering a hitherto neglected subject, this should be essential reading to all those with an interest in cinema history.” —Roy Liebman, Library Journal

“There’s an interesting new book by Wheeler Winston Dixon called Black & White Cinema: A Short History, and it tells the history of black and white movies, its origins and impact, and it’s really well worth reading. It’s filled with all kinds of insights about black and white cinematography, and the many artists who mastered the tricky interplay in capturing light and shadow.” – Robert Osborne, Turner Classic Movies

“Dixon covers the entire history of black and white movies in one volume, and talks about the films and cinematographers who created these films, and often got little credit for their work. Fascinating and compelling, this is essential reading for anyone who loves movies.” – Robert Downey Sr. director, Putney Swope

“Dixon has an encyclopedic knowledge of film history, and a subtle and well-honed aesthetic sense. He rescues important films from oblivion, and finds fresh angles of approach to films that are already familiar.” -Steven Shaviro, author of Connected, or What It Means to Live in the Network Society

“Wheeler Winston Dixon’s colorful study of black-and-white cinema reaffirms yet again his unfailing expertise as a critic, historian, and dazzlingly fine writer. Indispensable for students, scholars, and movie buffs alike.” – David Sterritt, Chair, National Society of Film Critics

“In his latest book, Black and White Cinema, Wheeler Winston Dixon rediscovers the art of cinematography in those glorious black-and-white movies from Hollywood’s classic age.” –Jan-Christopher Horak, Director, UCLA Film & Television Archive.

My thanks to all who helped bring this book to life, and to the great cinematographers who inspired it.

Black & White Cinema – A Short History on TCM

Thursday, October 8th, 2015

I was honored to have Robert Osborne discuss my book Black & White Cinema on TCM last night.

For a special evening of black and white films on October 7, 2015 entitled “Artists in Black and White,” showcasing the work of such brilliant cinematographers as James Wong Howe, Gregg Toland, Haskell Wexler and Karl Freund, Robert Osborne and Turner Classic Movies ran a series of five films that best exemplify the brilliance of monochrome cinema during the classical Hollywood studio era, including Orson Welles’ Citizen Kane (photographed by Toland) and Mike Nichols’ Who’s Afraid of Virginia Woolf? (shot by Wexler).

Introducing the films, Osborne remarked that “there’s an interesting new book by Wheeler Winston Dixon called Black & White Cinema: A Short History, and it tells the history of black and white movies, its origins and impact, and it’s really well worth reading. It’s filled with all kinds of insights about black and white cinematography, and the many artists who mastered the tricky interplay in capturing light and shadow.”

Needless to say, I thank Robert Osborne and TCM for their interest in my work, and TCM, as always, is a national treasure – the last place on television where one can see the classics, complete and uncut, in their original aspect ratios – with no commercials. Many thanks, and long may TCM continue into the future! You can see Robert’s introduction for Citizen Kane by clicking here, or on the image above.

Black and White Cinema is available in Kindle, paperback and hardcover formats – check it out now!

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 or

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