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Classic Film Screenings in Atlanta
The Emory Cinematheque is in full swing with a semester-long look at "Movie Magic: Special and Visual Effects from 1896 to Now." Screenings occur every Wednesday evening, in 208 White Hall, and are free and open to the public. The lineup is as follows:
> Jean Cocteau's Beauty and the Beast (1946) on October 17
> Godzilla (1954) on October 24
> Jason and the Argonauts (1963) on Halloween, October 31
> 2001: A Space Odyssey (1968) on November 7
> An Evening with World-Renowned French Filmmaker Claire Denis on November 14
> Brazil (1985) on November 28
> The Host (2006) on December 5
With the exception of Beauty and the Beast, all films will be 35mm projections. For driving directions parking information, and other queries, please visit the Emory Cinematheque website here. - Comment
Press Releases
New Books
1939: The Making of Six Great Films from Hollywood's Greatest Year
By Charles F. Adams
Gone With the Wind, The Wizard of Oz, Stagecoach, Mr. Smith Goes to Washington, The Hound of the Baskervilles, and The Adventures of Huckleberry Finn were all made in perhaps the most revered year of Hollywood filmmaking, 1939.
Film critics and historians are virtually unanimous in considering 1939 the greatest year in the history of motion pictures--a year that produced many of the greatest films of all time and launched such stars as John Wayne, Judy Garland and James Stewart, to name but a few..
To commemorate the 75th anniversary of this amazing year in Hollywood history, 1939: The Greatest Year in Motion Picture History profiles the aforementioned six films from that remarkable year.
Each of these films was based on a great story, and 1939 reveals in detail how those stories came into being, how long they languished before finding fame in film and how the movies inspired by them eventually made motion picture history.
The book plunges deep into the reality behind the Hollywood dream factory with behind-the-scenes stories that include:.
-Why it was nearly impossible to film in the perfect replica of the U.S. Senate chamber that Frank Capra built for Mr. Smith Goes to Washington.
-Which set in The Hound of Baskervilles was so large and complex that the actors actually got lost inside it.
-Why the best line in Twain's novel does not appear in the film of The Adventures of Huckleberry Finn.
-Why Shirley Temple was not cast as Dorothy in The Wizard of Oz.
-Plus many more inside stories, production details, and personal revelations about the greatest movie stars of all time.
1939 also describes the business deals that made each film possible and the Hays Office censorship that mandated careful handling of social and sexual themes, as well as the colorful personalities in front and behind the camera and their sometimes disordered personal lives. Hollywood in the 1930s was crass, commercial, restrictive, and frequently dysfunctional--but it produced immensely enjoyable films that are still watched with pleasure today.
Charles F. Adams is the award winning author of a number of books, including Murder by the Bay and The Complete Geezer Guidebook. 1939 is his first book of film history. He lives in San Francisco. - More >
Mama Rose's Turn: The True Story Of Americas Most Notorious Stage Mother
By Carolyn Quinn
Gypsy Rose Lee led a very colorful life and the story of her early years in vaudeville made for great stories. Arthur Laurents wrote the book for the Broadway musical, Gypsy: A Musical Fable based on her story. Stephen Sondheim and Jule Styne wrote the lyrics and music. But actress Ethel Merman stole the show as Lee's overbearing stage mother, Mama Rose. A Hollywood musical soon followed with Rosalind Russell starring as Mama Rose and Natalie Wood as Gypsy.
"Why did I do it? What did it get me? Scrapbooks full of me in the background." --"Rose's Turn," Gypsy Those who have seen Gypsy are familiar with the saga of Mama Rose and her daughters. But that, apparently, is only part of the story. Mama Rose's life was, in some ways, is even more striking than her oldest daughter's.
Born fearless, on the North Dakota prairie in 1892, Rose Thompson had a kind father and a gallivanting mother who sold lace finery to prostitutes. She became an unhappy teenage bride whose marriage yielded two entrancing daughters, Louise and June. When June was discovered to be a child prodigy in ballet, capable of dancing en pointe by the age of three, Rose, without benefit of any theatrical training, set out to create onstage opportunities for her magical baby girl--and succeeded.
Rose followed her own star and created two more in dramatic and colorful style: "Baby June" became a child headliner in vaudeville, and Louise grew up to be the well-known burlesque star Gypsy Rose Lee. The rest of Mama Rose's remarkable story included love affairs with both men and women, the operation of a "lesbian pick-up joint" where she sold homemade bathtub gin, wild attempts to extort money from Gypsy and June, two stints as a chicken farmer, and three allegations of cold-blooded murder--all of which was deemed unfit for the script of Gypsy.
Here, at last, is the rollicking, wild saga that never made it to the stage. Author Carolyn Quinn reveals the woman behind the legend of Mama Rose, juxtaposing the facts of her life with the fictional accounts portrayed in Gypsy.
Carolyn Quinn is a historical researcher. She acts as consultant to playwright DeeJae Cox of the Los Angeles Women's Theatre Project, where a new play about Rose Hovick is in development. Quinn is also a member of the Ziegfeld Society and serves on the Advisory Council of the Boo-Arts Theatre. - More >
Garden of Dreams: The Life of Simone Signoret
By Patricia A. DeMaio
Simone Signoret is perhaps best-known among movie fans for her beauty, and as an Academy Award winning actress for the film Room at the Top. But, as we discover in Patricia A. DeMaio's new biography of the actress, she was also a survivor of World War II and the blacklist of the 1950s, a social activist and, in later years, a best-selling author. This biography covers not only her life but also her complex marriage to French actor and singer Yves Montand.
Through this biography, we learn that Simone Signoret was both one of the grand actresses of the twentieth century and one of France's most notable stars, who considered herself the "oldest discovery" in Hollywood. Though a latecomer to Hollywood, Signoret was already an international star who had survived the Nazi occupation of Paris, emerging in 1945 as a beautiful, promising actress capable of communicating great emotion through body language as well as dialogue. She gained a reputation as the thinking man's sex symbol, and in several films she portrayed prostitutes with subtlety and depth.
After enduring years of being blacklisted during the McCarthy era, she was thirty-eight years old when she "arrived" in Hollywood, through the back door, in the 1959 British blockbuster Room at the Top. Her portrayal of the endearing Alice Aisgill earned her the Academy Award in 1960, making her the first French actor to win a coveted Oscar.
But any happiness that came with winning the Oscar was short-lived. Later that year, her husband, Yves Montand, had a widely publicized affair with Marilyn Monroe while filming Let's Make Love (1960).
Fiercely protective of her privacy, Signoret ignored the press and remained married to Montand until her death in 1985. Over the years, many attributed her rapid aging and alcoholism to Montand's philandering. She endured this perception in silence, all the while demonstrating a remarkable capacity to reinvent herself as a best-selling author, respected social activist, and revered actress who remained in the cinema, her "garden of dreams," for over four decades.
Patricia A. DeMaio works as a grants resource manager with New Haven Public Schools. She lives in Hamden, Connecticut. Garden of Dreams: The Life of Simone Signoret is her debut biography. - More >
The Crime Films of Anthony Mann
By Max Alvarez
When movie lovers talk about Anthony Mann, it's usually about westerns--specifically the ones he made in the 1950s starring James Stewart. But there is more to Mann's cinematic universe than those tough Wild West action dramas featuring conflicted and secretive heroes.
This brilliant Hollywood craftsman also directed fourteen electrifying crime thrillers between 1942 and 1951, among them such towering achievements in film noir as T-Men (1947), Raw Deal (1948), and Side Street (1949). Mann was as much at home filming dark urban alleys in black-and-white as he was prairies and mountains in Technicolor. His noir protagonists were no less conflicted and complicated than his 1950s cowboys, and these films explored themes no less controversial.
In The Great Flamarion, (1945) we find powerful stories of sexual obsession, in Strangers in the Night (1944) and Strange Impersonation (1946) there are the transformational portrayals of women in wartime and postwar America, in Border Incident (1949) there is the exploitation of Mexican immigrants.
In these films, Mann's forceful camera captured such memorable and diverse stars as Erich von Stroheim, Farley Granger, Dennis O'Keefe, Claire Trevor, Ricardo Montalbán, and Raymond Burr.
Author Max Alvarez uses rare and newly available sources to explore the creation of these noir masterworks. Along the way, this study exposes secrets and solves mysteries surrounding the mercurial director and his remarkable career, which also included Broadway and early live television.
Max Alvarez is the author of Index to Motion Pictures Reviewed by Variety: 1907-1980 and co-editor of Harrison's Reports Film Review Index, 1919-1962 . His work has been published in Film History: An International Journal and Cinecittà Magazine. - More >
DVD Reviews
Frankenstein Created Woman on Blu-ray
When British production studio Hammer Films first found success reviving the classic movie monsters with remakes of Universal horror films of the thirties in full, blood-dripping color and lurid Gothic style, they tried their hand at every iconic horror classic they could, but they found their biggest successes minting sequels to The Curse of Frankenstein (1957) and The Horror of Dracula (1958). The Dracula films turned into a curious mix of spin-offs, sequels, and modernized updates, with guest bloodsuckers filling in for Dracula until Lee returned to title role. The Frankenstein movies, however, became a more connected cycle of films, variations on a theme centered not on the creature (as in the Universal films) but on Baron Frankenstein, played by Peter Cushing in all but one of the films. They followed a chronology (with minor exceptions) that charted the Baron's monomaniacal obsession to create life at any cost and Peter Cushing defined him as a ruthlessly ambitious man of science, a pitiless rationalist ready to sacrifice human life in the name of scientific discovery. He was, in an odd way, both hero and villain of the series, and a very different portrait of the scientist than presented in either the novel or the iconic 1931 film.
The 1967 Frankenstein Created Woman, Hammer's fourth Frankenstein film, is a loose sequel that finds the Baron in residence at a generic Bavarian village with a new assistant, Dr. Hertz (Thorley Walters), an old, amiably befuddled, apple-cheeked country doctor, and a whole new plan of attack. Instead of the familiar surgical patchwork bodies cobbled together from unwitting organ (and body) donors and reanimated with electricity, he takes a more metaphysical approach this time. His initial experiments are performed on himself and he puts his efforts into created a force field that will isolate and preserve the disembodied soul of the recently deceased for transfer to a new host. The previous films aren't directly referenced but the Baron's hands are too crippled for fine surgery, a nod the fiery finish of The Evil of Frankenstein (1964), the previous chapter in the saga. Dr. Hertz serves as his hands, guided by Frankenstein's experience and intellect.
Hammer's top director Terence Fisher returns to the franchise for this film (Freddie Francis directed The Evil of Frankenstein) and begins the film in the shadow of death: a guillotine looming starkly over the film against a gray sky on a bare hill, a condemned man carted to his doom, a young boy watching the man--his father--beheaded despite the man's pained entreaties to leave. Years later, the boy has grown into Hans (Robert Morris), an assistant to Baron Frankenstein, and remains haunted by the guillotine, which still stands like a threat to all who pass by. Hans loves Christina (Susan Denberg), the crippled daughter of the local tavern keeper and the target of abuse from a trio of cocky, bullying rich young dandies, and his temper gets him into trouble he seems fated to suffer: framed for murder and sentenced to death by guillotine thanks threats he made in anger while defending her honor. Fisher makes effective use of that ominous guillotine; every fall of the blade reverberates with more deaths.
This Baron isn't the same sociopath of The Revenge of Frankenstein and The Evil of Frankenstein and he even has a grudging affection for Hertz and Hans, but he is as arrogant as ever, with no time for the superstitious villagers and barely civil when called to give testimony in court. His character is quite evocatively captured in his behavior at Hans' trial, flipping through the pages of the Bible as one might peruse a gossip magazine in a hospital waiting room, raising an eyebrow with skeptical bemusement and then dismissing it indifferently. The deaths of Hans and Christina, who drowns herself in grief, give him the raw materials to execute his experiment and soon he has dropped the soul (a glowing white sphere) harvested from the fresh but headless corpse of Hans (according to Frankenstein's research, the soul sticks around for an hour or so after bodily death) into the body of Christina, which he and Hertz repair and bring back to life. But while she has no conscious memory of either past life, the ghost of Hans emerges and the Baron's lack of empathy for his own patient causes him to miss the schizophrenic war of wills within the amnesiac girl.
This is a budget-minded production made at the newly-acquired Bray Studios, limited to just a few small sets and locations. It feels smaller and more constrained than the earlier Frankenstein productions, with less gore and grotesque imagery (though Fisher does make effective use of one particular severed head), and it doesn't even deliver a monster in the expected sense, turning to the lurid and the lascivious for its production value. The cover to the Blu-ray shows a very fit looking Denberg, a German-born actress whose credentials include Playboy's Playmate of the Month in August, 1966 and playing one of "Mudd's Women" in the original Star Trek, in a kind of bandage-wrap bikini. These are from a series of titillating publicity stills and are nowhere to be seen in the film, where she is more traditionally clothed. However, her low-cut peasant blouses do show off her décolletage in the scenes where she uses her wiles to lure her victims--the three blades who framed Hans for murder--to their untimely deaths.
Frankenstein Created Woman plays less like a classic Frankenstein tale than a ghost story or possession horror, with the dead driving the living to carrying out his vengeance. While the script (credited to John Elder, the pseudonym of Hammer producer Anthony Hinds) never really explores the internal conflict of the male essence within the female body or mine the potential of the two lovers sharing the same body, it does offer a disturbing kind of relationship between the two identities that borders on overlord and devoted apostle. And there is something perverse in Denberg's transformation from innocent maiden to seductive beauty to possessed killer speaking with the voice of a dead man.
Frankenstein Created Woman was edited to 86 minutes in Britain but the U.S. version features footage cut by British censors and runs 92 minutes. This edition features the longer cut. The case lists the aspect ratio at 2.35:1 but it is not actually a widescreen production. It was shot to be projected at the more modest 1.66:1 (protected for 1.85:1 in the U.S.) and the disc takes the standard 1.77:1 compromise of modern 16x9 widescreen TVs and it looks correct and well balanced. This edition features the same HD restoration produced for the Studio Canal Blu-ray release in Great Britain. The color is muted by design and the print is fine.
It features new commentary by co-stars Derek Fowlds and Robert Morris (who remark that they may be the last living members of the cast) and film historian Jonathan Rigby, who plays host and provides all the historical detail and background while the stars fill in with their stories and remembrances. Morris informs us that Susan Denberg's accent was so heavy that she was dubbed on post-production. Also new to this edition is the 45-minute documentary "Hammer Glamour," featuring new interviews with Valerie Leon, Caroline Munro, Martine Beswicke, Madeline Smith, Vera Day and Jenny Hanley and clips from dozens of Hammer films that show the increasing sexuality of Hammer films. The disc is filled out with two episodes of the 1994 House of Hammer series ("The Curse of Frankenstein" and "Hammer Stars: Peter Cushing," both narrated by Oliver Reed), a gallery of stills and the original trailer.
By Sean Axmaker - More >
The Avenger on DVD
Sherlock Holmes movie fans know that any film bearing the name of director Roy William Neill is worth a good look. The driving creative force behind the Holmes films of the 1940s starring Basil Rathbone, Neill's direction can usually be counted upon for strong visual imagination and deep atmosphere. But before the Holmes films (which actually culminated his career), Neill directed nearly 100 other movies; one of them, The Avenger (1931), has been given a quiet new release by Sony in their made-on-demand "Choice Collection" line of DVDs.
It's a little B western from Columbia Pictures, barely an hour in length, and it's a lot better than it has any right to be, thanks to Neill's hand with atmospherics and action. It centers on the character Joaquin Murrieta, in real life a notorious Mexican bandit of the 19th century who supposedly took bloodthirsty revenge against Americans for their maltreatment of him and his wife. At least that's the legend -- that he became a kind of Mexican Robin Hood. He was also a likely inspiration for the famous character of Zorro.
In any case, in The Avenger he is played by cowboy star Buck Jones -- an unlikely piece of casting, though Jones acquits himself very well -- and the story makes him completely sympathetic. Arriving in Senora after romancing, and serenading, a woman on a stagecoach, he finds that his brother has been accused of horse-thieving and is about to be hanged. In reality, the brother has been framed by greedy prospectors who want his claim. Murrieta is unable to stop them, and is forced to watch the hanging while strapped to a tree. Then he's whipped. Some years later, he returns to town under an assumed name and a new appearance: snazzy clothes, a mustache, top hat, and even a new accent. He's returned to exact revenge, and as the mysterious, Zorro-like "Black Shadow," he and his cohorts hold up stagecoaches and rob the gold, and quickly the entire area is on the alert. But then he gets down to his main business -- revenge against the three men who murdered his brother. Instead of killing them himself, however, he concocts ingenious plans to set them up to be killed inadvertently by others. But getting the main villain, Goss (Walter Percival), will prove especially challenging.
Roy William Neill's hand is evident in imaginative scene stagings, such as in a schoolhouse where Murrieta and Goss vie comedically for schoolmarm Helen (Dorothy Revier); or the hanging sequence in which Neill notably does not show us the hanging, leaving it to our imaginations and finding instead a simple visual way to show the rage and hurt building in Murrieta; and in a superb night-time bank scene, in which Murrieta finds his revenge against one of the three villains. That scene looks like something out of a film noir a decade later. There's also an impressive stampede through a town, and several gorgeous, galloping horse chases at night, filmed with low angles and silhouettes. These are exciting, suspenseful action scenes, creatively presented, and show the work of a real stylist at the helm.
To consider Neill's skill in creating atmosphere, look no further than the remarkable first three shots of the film: a panning long shot of a stagecoach careering across a rough landscape, a slow dissolve to a panning close-up of the side of the coach, and then a slow dissolve to a two-shot of a man and a woman inside, with the man playing guitar and singing a plaintive melody. The music, singing and slowly gliding camera moves and dissolves make for a striking contrast to the clattering speed of the stagecoach. We don't yet know what's going to happen, but the presentation casts an intriguing and arresting spell.
Buck Jones maintained his own film unit through much of his career, both at Columbia and Universal. Film historian William Everson wrote that Jones "always managed to get his personal imprint on his westerns... On the whole his standards were high... His pictures were rugged, well-mounted, deliberately avoiding slickness and streamlining, and usually keeping well out of the formula rut."
The Avenger was remade as Vengeance of the West (1942), starring Bill Elliott, but the character of Joaquin Murrieta has been played on screen by several other actors including Richard Dix in The Gay Defender (1927), Warner Baxter in Robin Hood of El Dorado (1936), Phillip Reed in The Bandit Queen (1950), Jeffrey Hunter in Murieta (1965), and others.
The only real flaw in this film are the long, drawn-out pauses between lines of dialogue that mar many early talkies. But putting that aside, The Avenger will still satisfy classic film fans who understand that this is a small B film -- better than most, but still small. Sony's DVD is a very no-frills affair, with not even a title menu. But the film has been beautifully restored and Ted Tetzlaff's outstanding cinematography looks great. Tetzlaff would later shoot films like Remember the Night (1940), The Enchanted Cottage (1945) and Notorious (1946) before becoming a director himself.
By Jeremy Arnold - More >
Rififi on Criterion Blu-ray
The French film Rififi (Du rififi chez les hommes) made such a splash in New York art houses in 1956, it was earned wide distribution through normal channels. It became known as "the crime thriller with the suspenseful jewelry heist". Most American audiences were unaware that French writers and filmmakers had fallen in love with hardboiled Yankee pulp fiction, as well as the pessimistic crime films dubbed by their critics with the phrase film noir. Excellent French crime pictures had come before but Rififi was one of the few that succeeded on the international market. Its primary writer is the French "Serie Noire" crime writer August Le Breton. Many Americans assumed that credited director Jules Dassin was a Frenchman as well.
Actually, Dassin was one of the most prominent of the Hollywood directors blacklisted by the HUAC witch hunts. A stage director who got started as a directing trainee at MGM, Dassin made the exemplary short subject The Tell-Tale Heart before reaching his stride with four terrific noir thrillers, The Naked City, Thieves' Highway, Brute Force and Night and the City. Darryl Zanuck so liked Dassin's work that he set up Night and the City to be filmed in London, just to keep Dassin away from the lynch mob mentality of organizations like The American Legion. But it didn't work -- Dassin spent four years in exile in Rome and Paris. Projects fell through when French and Italian producers were threatened with economic reprisals if they allowed Dassin to work. Dassin says that when a French producer signed him for Rififi, it was because he was willing to work for very little money.
As it happened, Rififi became a home run for Dassin, an enormous success that inspired a series of imitators using the word 'Rififi' in their titles. Le Breton's tale is a mini-epic about a gang of professional crooks that come together to execute a difficult robbery. Special technological skills, split-second timing and nerves of steel are required. The model for this "heist caper" crime subgenre was John Huston's The Asphalt Jungle, but the cultured Dassin added his own experience to Le Breton's tough-guy storyline. The crooks range from a slick safecracker who wants to impress women, to a crook with a wife and daughter. The leader Tony le Stéphanois (Jean Servais) is a noble loser fresh from prison, whose only chance is to make a big score. After giving a particularly brutal beating to his unfaithful girlfriend Mado (Marie Sabouret), Tony shakes his depression by initiating the big heist. The well-planned caper culminates in a lengthy, realistic, dialogue-free break-in scene that involves cutting through buildings and outwitting a modern alarm system. All goes perfectly until imported safecracker Cesar (Jules Dassin, the director) steals a diamond tidbit for the sexy singer (Magali Noel) he's dating. Opportunistic crooks waste no time -- the thieves suddenly find themselves being forced to surrender their hard-earned loot.
Rififi is a completely engrossing film. The Paris streets of 1955 are a wonder to behold. Economic limitations force Dassin to film his car scenes in real moving vehicles, adding to the feeling of 'being there', of being in a time machine. Back in Hollywood, the unyielding Production Code had frustrated some of Dassin's stabs at gritty reality. In this French picture he's able to depict all manner of vices and sordid activity. The adult attitude starts with the depiction of the hero. Le Stéphanois risks all to save a little boy, but he's also a psychological wreck prone to acts of brutality against women.
The sex angle is more pronounced as well. The wife of gang member Mario (Robert Manuel) sees nothing wrong with greeting her husband's friends in a daringly revealing nightgown. It's the kind of content that filled American pulp paperbacks but never made it into 1955's Kiss Me Deadly or The Big Combo. Those U.S. pictures had to answer to the censors for errata as tame as a black singer holding a microphone stand "too suggestively."
We find out that Tony's once-vaunted reputation has crumbled when gamblers in a card game treat him like a bum. The weary Jean Servais communicates this loss of respect; at the time of filming, the actor's career was in a slump as well. Even more telling is the sight of Cesar when he realizes that he must pay for breaking the code of the underworld. Tied to a post and awaiting a bullet, actor Dassin shows a despairing look of defeat that director Dassin must have known all too well.
The word 'Rififi' is introduced in a cabaret song by the gorgeous, Turkish-born Magali Noel, later known for standout roles in Federico Fellini films. Rififi apparently translates as 'the rough and tumble' of the underworld life, but it's also suggested that it might also refer to violent sex. The impeccably chosen cast includes the expressive Robert Hossein, whose haunted looks make him a worthy adversary to the formidable Jean Servais.
The famed half-hour heist scene is done without dialogue or even a music soundtrack. Viewers must pay attention to follow the complicated way the crooks penetrate the jewelry store and crack its safe without setting off any alarms. Although it's been topped many times -- by Dassin himself in his 1964 caper comedy Topkapi -- the sequence has a hypnotic effect. The thieves work so well and so hard, that we can't help but contemplate the relationship between work, risk and reward. Are they blind fools, or brilliant masterminds thwarted only by a chance of fate?
Of the most talented directors banished from Hollywood, Joseph Losey and Cy Endfield took up permanent residence in England, while Edward Dmytryk recanted, named names and was permitted to resume his career. John Berry spent most of the 1950s in Paris before the 1960 blacklist thaw allowed his return to Hollywood. But Jules Dassin fell in love with Greek actress Melina Mercouri and made six movies with her, including the Oscar winner Never on Sunday). Unlike the tragic characters in his noir classics, Dassin never surrendered and never compromised. His American noirs are some of the best, and his Rififi remains the most revered French crime thriller.
Criterion's Dual Format Blu-ray + DVD of Rififi improves on their 2001 DVD with a more stable, sharp and detailed transfer that faithfully reproduces the essence of cameraman Philippe Agostini's gray-on-gray cinematography. The film is in French with subtitles, and Criterion has also included the English-dubbed soundtrack that most Americans saw in 1956.Although everything in the movie looks like a real location, famed production designer Alexandre Trauner's set sketches are included to demonstrate that key interior settings were indeed filmed in a studio. The best extra is an excellent interview with director Dassin, taped in 2000. As feisty and opinionated as ever, Dassin discusses the essence of the blacklist and chronicles the way that Clare Booth Luce, then the Ambassador to Italy, conducted a vendetta to destroy his directing career in Europe. Dassin also tells amusing stories about some of the absurdities of working in the studio system, where a good performance on the MGM or Fox baseball team might insure better terms in a directing contract.
By Glenn Erickson - More >
The Belle of Broadway on DVD
Movie plots don't get much more preposterous than the one in the light melodrama The Belle of Broadway (1926). Not only is the story conceit outlandish (aging stage star convinces the world that the young actress impersonating her is really the aging star herself, courtesy of a brilliant plastic surgery job), but the plot also hinges on several outrageous coincidences. Nonetheless, this 60-minute silent film from Columbia Pictures is still an extremely charming and pleasant affair, and it's been given a superbly beautiful release on Sony's new made-on-demand Choice Collection DVD.
The film begins in the 1890s with "Madame Adele," the toast of the Paris theater world, in her youthful prime and enrapturing audiences with her role in Du Barry. But her husband is consumed with jealousy, especially over the aggressive affections of a rival, Count Raoul (Armand Kaliz). The husband promptly packs up and leaves one day, taking their baby son with him. Adele is devastated. Cut to the present day, with Adele (Edith Yorke) now an old(er) woman, down on her luck, struggling to find acting work...and still mourning the loss of her son. A theater producer tells her that she is too old for any acting jobs, but that were she still youthful, he would revive Du Barry. He doesn't think, of course, that it could literally happen. But soon thereafter, on a lark, Adele has the young woman who looks after her, Marie (Betty Compson), try on the old Du Barry costume dress. Lo and behold, she is the spitting image of Adele in her youth, and Adele now hatches a plan to fool the theater producer, and the world, by making them think that Marie is Adele, magically rejuvenated by means of plastic surgery.
Marie becomes a sensation, but Adele's old suitors -- now all old men -- start comically hounding her, thinking she's Adele, and the Count is still around to cause trouble, too. And the young man (Herbert Rawlinson) who actually loves Marie happens to be Adele's long-lost son, leading to amusing complications that finally start the thrust of the film. If one can swallow that coincidence, the rest of the picture is quite enjoyable.
It helps, too, that the movie is well paced and the cast is so appealing across the board, with plenty of Hollywood veterans giving a professional show. Herbert Rawlinson, for instance, about 40 when he made this film, had hundreds of credits going back to 1911. Upon the transition to sound a couple of years later, he moved into character parts, often uncredited, in more than 100 further films, and worked consistently to his death in 1953. His final film appearance was in Ed Wood's Jail Bait (1954).
Betty Compson was a major star at Paramount in the silent era, and at the time of this film was married to actor-director James Cruze. Their divorce in 1930 would lead to the loss of most of her fortune. Still, she made a lasting impression in The Docks of New York (1928), was nominated for an Oscar for The Barker (1928), and continued to act in the talkie era, until her retirement in 1948. She also re-married and lived until 1974.
And in a major supporting role is lovable character actor Tom Ricketts, a man with over 200 acting credits stretching back to 1909, plus many more directing and writing credits. Most of his ensuing talkie parts were uncredited, but he will be recognizable to modern movie fans from films like After the Thin Man (1936), in which he played an ancient butler, as well as The Invisible Man (1933) and Son of Frankenstein (1939), his final picture.
The Belle of Broadway's title is rather mysterious, as the film is set in Paris, not New York. The plot probably inspired the play Ever Green, written four years later by playwright Benn W. Levy and adapted into the 1934 Jessie Matthews vehicle Evergreen.
Sony's made-on-demand DVD-R is splendid. The film looks downright amazing with a gorgeous image, including some tinted scenes. Christopher Caliendo's new, original, and lovely score, heavy on piano, enhances the image very well.
By Jeremy Arnold - More >
Dracula: Prince of Darkness on Blu-ray
Seven years after resurrecting Count Dracula for a new generation in Hammer Films' The Horror of Dracula, Christopher Lee returned to role under the direction of Hammer's defining director, Terence Fisher, for a direct sequel. In fact, Dracula: Prince of Darkness opens a recap of the Horror of Dracula finale, which is the first and last time we see Peter Cushing in the picture. But while the film is a genuine sequel with a new story (scripted by Jimmy Sangster from an idea by producer Anthony Hinds, both using pseudonyms in the credits) it reworks many details from the classic novel and Hammer's adaptation on a smaller scale.
This time the innocents are a group of English tourists--brothers Charles (Francis Matthews, speaking with a Cary Grant lilt) and Alan (Charles Tingwell) and their wives Diana (Suzan Farmer) and Helen (Hammer regular Barbara Shelley)--vacationing in the Carpathian Mountains. Dumped in the woods by a terrified coachman just before darkness falls, they are taken to Dracula's castle in a driverless carriage and take refuge in the seemingly empty yet oddly kept up place, despite the warnings of travelling priest Father Sandor (Andrew Keir in holy monk warrior garb) and the ominous arrival of the castle's sole living occupant, Klove (Philip Latham), servant to long-dead master. Klove delivers the film's best line to his guests, who enquire about the Dracula legacy: "My master died without issue, sir, in the accepted sense of the term." (Curiously, Klove is nowhere to be seen in the original The Horror of Dracula). He's enough to put you off the main course, and it does exactly that to Helen, the only member of the party with sense enough to want out of there.
There's nothing particularly threatening in the atmosphere of these early scenes. An earlier stop in the local rustic tavern is almost cheery (the dire warnings of Sandor notwithstanding) and though it's a little odd to find the castle awaiting their arrival with a table set and their luggage set out in upstairs guest rooms, it's a bright, colorful, well-lit place. Fisher adds in the eeriness slowly, mostly through the presence of Klove and his gangly appearance, slightly off-kilter carriage, and perpetual dour expression. It's with the shadows of night that things start to get really creepy.
The film's most memorable set piece is the resurrection of Dracula, who is literally a pile of ashes brought back to corporeal form by a gush of human blood waterfalling into his crypt from a human sacrifice. Klove performs the act with the care and deliberation of a religious ritual, giving an already gruesome scene a terrible gravity. One of Sangster's defining contributions to the Hammer horrors was his creative twists on the usual conventions and this startling rebirth is one of his best, an unholy baptism in blood. Les Bowie, the film's special effects wizard, provides Hammer with one of the most evocative effects in the studio's history. As the blood and ash bubble up into primordial life, the vaguely humanoid flesh growing in front of our eyes, slowly taking human form from the inside out in a series of lap dissolves until a pool of fog fills the crypt and obscures our view. And still his arrival is put off for a grand entrance: Lee standing tall in aristocratic clothes and cape, with an ashen, corpse-like pallor, animal red eyes, and a heartless smile that pulls back to reveal his fangs before sinking them into his first victim.
Lee never speaks a word as Dracula, merely hissing and spitting like a cat and using his piercing eyes mesmerize and silently command his prey. Lee avoided returning to the role for years and seems to be back reluctantly. He has top billing but half the film has gone by before his first appearance and he has less screen time than any of the featured actors. He dominates his scenes by the sheer power of his size and presence and dark, ferocious magnetism, but he comes off more like a demonic beast in dress clothes than the ancient, cultured Count Dracula.
The rest of the film is routinely plotted. Charles is the story's answer to Jonathan Harker, young(ish) and impulsive and tempting fate by proposing a toast to the Count, and Diana is in the Mina role, the dewy young beauty who Dracula chooses to make his new bride. A solo Shelley stands in for the three female vampires of the novel and fly-gobbling Thorley Walters plays the Renfield role as a doddering old tinker. The modest budget keeps the action limited to just a few sets and a couple of locations in the woods. Even the castle, viewed from afar, is a small-scale model shot with soft focus to obscure its origins. But Fisher sets the tone beautifully in the first scene, a funeral procession through the wood with an angelic-looking young maiden on a litter and a man with a hammer and stake following behind, and as the film progresses he casts more shadows across the sets and drops the camera for low-angle shots and cant angles to suggest a world off-balance. As in Hammer's first Dracula, this film offers another inventive solution to the defeat of the vampire (drawn right out of vampire lore), and Andrew Keir's Father Sandor is a worthy stand-in for Van Helsing, at once a devoted priest, a religious warrior, and a worldly man, and Keir gives him an earthy, experienced presence.
Dracula: Prince of Darkness makes its stateside Blu-ray debut with the same restored and remastered transfer created by Studio Canal for the British Blu-ray release. The colors are strong but subdued throughout the film, jumping to life only when blood is spilled and the rich crimson burns into the image. The disc has been criticized for too much DNR smoothing over the grain but the image is clean and clear throughout and it is a significant improvement in clarity and detail from previous DVD releases.
New to this disc is the 30-minute documentary, Back to Black: The Making of Dracula: Prince of Darkness, featuring new interviews with actors Barbara Shelley and Francis Matthews, film historians Marcus Hearn and Jonathan Rigby, film music historian David Huckvale, and Sherlock writer and actor Mark Gattis, offering a little production history, some stories from the set, and an appreciation of the film.
Carried over from earlier Anchor Bay DVD release is commentary by stars Christopher Lee, Barbara Shelley, Francis Matthews and Suzan Farmer, recorded more than a decade ago with all four actors reunited and swapping remembrances in a collegial atmosphere, and there is an episode from the World of Hammer documentary series on "Hammer Stars: Christopher Lee." Also features a restoration comparison, a restored version of the original trailers, and a gallery of stills.
By Sean Axmaker - More >
Press Release
Elaine Stritch: Shoot Me - Now in Limited Release
The first thing one thinks after just a few minutes of Elaine Stritch: Shoot Me is, why is this fantastic woman not more famous? Fans that follow Stephen Sondheim reunions soon learn about the high regard given the performer who sang "The Ladies Who Lunch" from 1970's Company. The woman is a ball of brash energy and winning charm. Some stars and divas are always 'on' and require an entourage to make themselves seem more important. Elaine plows through the world mostly on her own and her version of being "on" is being herself. In one clip John Turturro explains what makes Stritch unique. She has no defensive shell to cover her feelings. The real Elaine is all up front, on top, in your face. She can be brassy and profane, but nothing she says sounds phony. Riding home from a TV taping, Elaine expresses her doubts about the constant hugs and kisses among show people: "Everybody is just loving everybody too much for my money."
The cameras of producer/director Chieme Karasawa follow Elaine Stritch through busy days of activity, beginning with her walks from her apartment at the Hotel Carlyle. She's courteous to well wishers, hugs their dogs and yells like Ratzo Rizzo when a car tries to cut her off in a crosswalk. At lunch with friends, she explains that she was alcohol-free for 22 years, but now that she's in her '80s she's back to taking one drink a day. She also has a diabetes problem, which in stressful situations makes her lose her temper and forget lyrics. Her sometimes-sharp outbursts in rehearsals and on TV stages are not pleas for pity or attention. On the "30 Rock" show, Tina Fey remarks that Elaine's energy keeps everyone on their toes.
The documentary makes use of a handful of effective clips from old TV shows and movies, but most of the work of showing the scope of Ms. Stritchs's career is handled directly through the performer herself. Loyal assistant Maeve Butler spreads an enormous number of framed stills around a bedroom, and Elaine finds a great story in each. One of them is about her dates with John Kennedy. She asked him to take her to dinner, and she met his family. When it came time to say goodnight, Elaine chose not to sleep with him. That is the story of a lady in control.
The way Elaine tells it, she came into show business with the morals of a convent school graduate. Now at least sixty years later, we hear her say a prayer before a demanding concert. She finishes it off with a burst of profanity. Nothing fake about this woman.
The photos place Elaine Stritch in the center of Broadway culture from the late '40s forward. She's seen caricatured in scores of Al Hirschfeld cartoons. Other photos place her with dozens of Broadway greats. She's candid about the details of her career, and offers that she was fired from her first stage role for inexperience, not because star Kirk Douglas was after her. Later on Nöel Coward became so enamored of Elaine's performing that he wrote a musical for her. Elaine appeared in several movie roles, but few major parts.
One very effective clip is from the 1970 documentary Company: Original Cast Album. Producer Hal Prince praises Elaine, saying that she's not often difficult but even when she is she's well worth it. We see her recording the song "Ladies Who Lunch" with Stephen Sondheim. Prince notes that she's more vulnerable than people think. A little later she is greeted at the famed Stella Adler Acting Studio, which wants to solicit Elaine's choice of a rehearsal room to be named after her. We're impressed when she asks for a small room -- she reasons that she was a student there, not a superstar. She certainly qualifies now -- Ms. Stritch is one of few remaining performers with a continuity link to old-time Broadway.
The motivation to perform is the only possible explanation for Elaine's seemingly limitless personal energy. Yet she has a couple of bad spells and health scares in the show, when she suddenly seems more like a frightened, needy 86-year old. She remains well aware of the camera and doesn't mind letting it film her sudden difficulty in speaking. On the road, Elaine's music director and accompanist Rob Bowman is there to help raise her spirits, if needed.
She also keeps the cameramen on their toes. At one point Elaine is discussing a contract when she notices the camera: "Don't you think you're awfully close, Shane?" The camera promptly retreats. Later on, while being filmed making a snack of English muffins, Elaine suddenly stops what she's doing to ask the cameraman why he's not following her around more closely. She openly admits that she tends to intimidate directors, and even in the old Company footage we don't see Stephen Sondheim contradicting her on camera. Her younger fan-associates sing her praises but without the usual gushing silliness; Elaine wouldn't put up with fawning for a minute. Yet she collects good friends like a soul magnet. One met Elaine at an AA meeting, and has a ready description for her: "She is a Molotov Cocktail of madness, sanity and genius."
Getting set for a singing gig in East Hampton, Elaine wakes up feeling terrible. She asks to be left alone, and buries her head in a pillow. But she pops awake when Rob Bowman reports that the show's been cancelled: "Do we get paid?" Rob nods and Elaine clasps her hands in joy. "Aaooohhh, Brava! Sometimes you get the breaks."
Elaine commits to a multiple city tour requiring her to sing a long playlist of Stephen Sondheim tunes, and throws herself into rehearsals not knowing if she'll be strong enough to finish. Mild diabetes attacks can impair her memory of all those difficult lyrics. On opening night Rob Bowman has a terrific set of arrangements prepared, but her memory comes unglued during rehearsal. Trying not to worry, she says she and Rob have no choice but to trust all those hours of rehearsal. It seems hopeless until Elaine reaches the stage, at which point she seems to cast off 25 years, pick up new energy and show her audience what real show business moxie is all about. If she does go up on a lyric or two, she pushes through in good humor. But most of the time she nails the complicated Stephen Sondheim songs. We feel her joy and triumph more than ever.
Elaine Stritch: Shoot Me can be described as a backstage documentary about a star nearing the end of her performing career. Producer/director Chiemi Karasawa found the perfect documentary subject in Stritch, whose personality repels all hints of show biz baloney. Soon after filming started Elaine embraced the project whole-heartedly. If she suddenly felt chatty during the night, Karasawa would have to wake a cameraman and rush over to film Elaine in her bed. She doesn't tell stories out of school yet smiles as she remembers the men in her life. When talking about her alcoholism she can be evasive or fiercely self-critical. Just the thought of finding the next loving audience often lights up her face, bringing out her beauty. When she's tired out from traveling, the idea of retiring can sound equally attractive. Shoot Me brings us so close to Elaine Stritch that it's difficult not to fall in love with her.
Attractively filmed and decorated with well-chosen music, Elaine Stritch: Shoot Me is a fast paced show composed almost completely of privileged moments. Notables with substantial on-screen input include James Gandolfini, Tina Fey, Nathan Lane, Tracy Morgan, John Turturro and Alec Baldwin. The late James Gandolfini appears on camera looking like a schoolboy, to admit that he formed a crush on Elaine Stritch the moment he met her. "If we had both met when we were 35, I have no doubt that we would have had a torrid love affair which would have ended very badly."
By Glenn Erickson - More >
The Complete Hitchcock at NYC's Film Forum
THE COMPLETE HITCHCOCK, a retrospective including every one of director Alfred Hitchcock's extant films - from the silent The Pleasure Garden (1925) to Family Plot (1976) - will run at NYC's Film Forum from Friday, February 21 through Thursday, March 27.
The festival kicks off with a dazzling new restoration of North by Northwest (1959), the director's ultimate innocent man on the run movie, starring Cary Grant. Legendary for its quintessential Hitchcockian set pieces, including the iconic crop dusting scene and a nail-biting climax on Mount Rushmore, North by Northwest was written by Ernest Lehman, who aimed to make it "the Hitchcock picture to end all Hitchcock pictures."
The series includes Hitchcock's early talkies Blackmail (not only Hitchcock's first talkie, but Britain's - adapted for sound from his already-in-the-can silent), Murder!, The Skin Game, Rich and Strange, Number 17, Waltzes in Vienna, and even the all-star British revue Elstree Calling, on which Hitchcock was one of four different directors; the 1930s classics The Lady Vanishes, Sabotage, the first version of The Man Who Knew Too Much, and The 39 Steps, prototype for all of his innocent-man-on-the-run pictures; the 1940s Hollywood classics Rebecca (his only Best Picture Oscar winner), Lifeboat, Suspicion, Notorious, Spellbound, Saboteur, Rope, and Shadow of a Doubt (often cited by Hitchcock as his own personal favorite); and the string of iconic hits of the 1950s and 60s: Strangers on a Train, The Man Who Knew Too Much, To Catch a Thief, The Birds,Dial M For Murder (Hitchcock's only 3-D movie), Psycho, Rear Window, and Vertigo, voted the greatest film of all time in Sight & Sound's 2012 critics' poll, bumping Welles' Citizen Kane to second place for the first time in fifty years.
The festival also includes "The Hitchcock 9," the director's surviving silents (one silent feature, The Mountain Eagle, is lost), all in new restorations from the British Film Institute, including The Pleasure Garden, his directorial debut; the boxing drama The Ring; Downhill, with matinee idol Ivor Novello; The Farmer's Wife, a rare rural comedy based on a West End smash hit; Easy Virtue, based on a Noël Coward play; screwball comedy prototype Champagne; and The Manxman, stunningly filmed on the Cornish coast (substituting for The Isle of Man).
"The Hitchcock 9" also includes the two films that carry many of the trademarks of his later work: The Lodger, with Novello as the Jack the Ripperesque title character, dubbed by The Master himself as "the first true Hitchcock movie;" and Blackmail, with Czech actress Any Ondra as a woman who murders a lecherous artist.
All silent films in the series will feature live piano accompaniment by Steve Sterner.
"The Complete Hitchcock" has been programmed by Bruce Goldstein, Film Forum's Director of Repertory Programming. The series includes archival 35mm prints from the major Hollywood studios, as well as The Academy of Motion Picture Arts & Sciences, the Harvard Film Archive, and the BFI in London. Previous comprehensive retrospectives of Hitchcock's work have been presented by the Harvard Film Archive and the British Film Institute.
Special events in the series include:
A Conversation with Norman Lloyd: Following the 8:15 screening of Saboteur on February 27, legendary actor/producer/director Norman Lloyd, who plays the title role (he's the man who falls off the Statue of Liberty), will be interviewed from Los Angeles by TCM host Ben Mankiewicz via Skype - a first for Film Forum and Mr. Lloyd, now 99, who also appears in the earliest extant television program (1939). Mr. Lloyd also appeared in Hitchcock's Spellbound and later went on to become associate producer of Hitchcock's weekly television program, as well as director of 22 episodes. The interview will be followed by a transcontinental Q&A with Film Forum's audience.
Documentarian Robert Fischer's Multilingual Murder, an excerpt from the famous 1962 Hitchcock/Truffaut interview, detailing the making of the 1930 Murder! and its alternate German-language version Mary (see below) will screen following Murder! (to avoid spoilers) on March 6. (Mr. Fischer's Monsieur Truffaut Meets Mr. Hitchcock, which traces the genesis of the famous book, will screen during Film Forum's "Tout Truffaut" festival)
White Shadow: three surviving reels of perhaps Hitchcock's earliest known work - as assistant director, art director, editor, and writer - discovered in New Zealand in 2011. It will be screened along with two wartime shorts made by Hitchcock, Bon Voyage and Aventure Malgache, shot-behind-the-line thrillers intended as morale boosters for the Free French.
Mary: perhaps the rarest film in the series: the simultaneously-shot German-language version of the 1930 Murder!, with Alfred Abel (star of Fritz Lang's Metropolis) in the Herbert Marshall role.
"The Complete Hitchcock" has been programmed back to back with the 3-week series "Tout Truffaut," opening Friday, March 28. The pairing evokes the 1966 book Hitchcock by François Truffaut - commonly referred to as Hitchcock/Truffaut - Truffaut's legendary interview with The Master. Hitchcock/Truffaut (still in print from Simon & Schuster) will be available at Film Forum's concession during both festivals.
For more information, links and showtimes, visit www.filmforum.org - More >
Robert Osborne Event at the National Portrait Gallery - 3/19
On Wednesday, March 19, 2014, TCM Host Robert Osborne will join Portrait Gallery historian Amy Henderson, curator of Dancing the Dream, for a wine-and-cheese reception at the National Portrait Gallery in Washington, DC. The reception is followed by a conversation with Henderson and Osborne and a screening of Flying Down to Rio (1934).
Tickets must be reserved in advance, and discounts are available if purchased before February 12. To learn more and purchase tickets, click here. - More >
Dick Dinman Salutes IT'S A MAD, MAD, MAD, MAD WORLD Producer/Director Stanley Kramer
DICK DINMAN, TONY CURTIS, JONATHAN WINTERS, ABBY MANN AND KAREN KRAMER SALUTE "MAD WORLD" PRODUCER/DIRECTOR STANLEY KRAMER (Part One): The Criterion Collection has just released a much-acclaimed Blu-ray edition of not one but two cuts of Stanley Kramer's exhilaratingly looney epic of tomfoolery IT'S A MAD, MAD, MAD, MAD WORLD and producer/host Dick Dinman's guests Tony Curtis, Jonathan Winters, Abby Mann and Karen Kramer salute the skill, taste, courage and sheer humanity of celebrated producer/director Kramer as both an artist and a gentleman. PLUS: The Criterion Collection's I MARRIED A WITCH, CITY LIGHTS, THE SPY WHO CAME IN FROM THE COLD, RIFIFI, JULES AND JIM and FOREIGN CORRESPONDENT.
DICK DINMAN, TONY CURTIS, JONATHAN WINTERS, ABBY MANN AND KAREN KRAMER SALUTE "MAD WORLD" PRODUCER/DIRECTOR STANLEY KRAMER (Part Two): Producer/host Dick Dinman's salute to IT'S A MAD, MAD, MAD, MAD WORLD'S controversial producer/director Stanley Kramer continues as his guests Tony Curtis, Jonathan Winters, Abby Mann and Karen Kramer discuss the myriad of challenges this indefatigable crusader for human rights overcame to bring his hot-button issue film classics to the screen.
The award-winning DICK DINMAN'S DVD CLASSICS CORNER ON THE AIR is the only weekly half hour show (broadcast every Friday 1:00-1:30 P.M. EST on WMPGFM) devoted to Golden Age Movie Classics as they become available on DVD. Your producer/host Dick Dinman includes a generous selection of classic scenes, classic film music and one-on-one interviews with stars, producers, and directors. To hear these as well as other DVD CLASSICS CORNER ON THE AIR shows please go to the online archive. - More >
Ennio Morricone Postpones Concerts in US to June 2014
Ennio Morricone has suffered a back injury that has forced the postponement of his US concerts, originally dated March 20 and 23, to June 13 at Barclays Center in New York and June 15 at Nokia Theatre in Los Angeles. Maestro Morricone has undergone an operation to repair a slipped disc, and his doctor has advised him not to travel long distances in the immediate future to ensure a full recovery.
Morricone remarked, "Dear Friends, it saddens me deeply to have to postpone these concerts. I am very much looking forward to my first Los Angeles performance and only my second New York City performance, both of which are almost sold out. Hollywood has been instrumental in bringing my work to American audiences, and my 2007 performance in New York was one of the high points of my career to date. I'm grateful and sorry to my fans for having to delay these shows. I'll miss you, and I look forward to seeing you in June."
Tickets to the original performance will be honored at the rescheduled performance. A full refund is available to those who cannot attend the rescheduled performance via the original point of purchase through May 1st.
Ennio Morricone, who celbrated his 85th birthday on November 10, will be conducting an ensemble of 200 musicians and singers, for a single performance at Nokia Theatre L.A. LIVE on Thursday, March 20, 2014 at 8 pm. This concert marks the legendary Morricone's first Los Angeles performance. Morricone has composed the scores for more than 450 films including five of Sergio Leone's westerns - A Fistful of Dollars; For a Few Dollars More; The Good, The Bad, and the Ugly; Once Upon a Time in the West and A Fistful of Dynamite - and The Battle of Algiers; Sacco and Vanzetti; Cinema Paradiso; 1900, Malena; The Untouchables; Once Upon A Time in America; The Mission; U-Turn; The Unknown Woman; and The Best Offer, among hundreds of others.
Tickets priced from $45 go on sale Friday, October 25 at 10am through AXS.com, and by phone at (888) 929-7849. Nokia Theatre L.A. LIVE is located at 777 Chick Hearn Ct., Los Angeles, CA 90015. For more information please visit enniomorricone-usa-2014.com. The concert is presented by Massimo Gallotta Productions and AEG and also will be scheduled in New York at Barclays Center Cushman and Wakefield Theatre on March 23, 2014.
Born in Rome on November 10, 1928, Ennio Morricone started his film-composing career in 1961 with Il Federale directed by Luciano Salce. Morricone then became famous worldwide with his scores for Sergio Leone's westerns. Since that time, Morricone has composed music for films by directors including Pedro Almodovar, Warren Beatty, Bernardo Bertolucci, Brian De Palma, Roland Joffè, Adrian Lyne, Giuliano Montaldo, Pier Paolo Pasolini, Roman Polanski, Gillo Pontecorvo, Oliver Stone, Giuseppe Tornatore, Margarethe Von Trotta, Henry Verneuil, and Lina Wertmuller.
Morricone is the recipient of the honorary award from the Academy of Motion Pictures Arts and Sciences for his "magnificent and multifaceted contributions to the art of film music" (2007), nominated for five Academy Awards, induction into the Grammy Hall of Fame for the soundtrack album of The Good The Bad and the Ugly, two Grammy Awards for Once Upon a Time in the West and The Untouchables, two Golden Globe awards for his scores for The Mission and 1900; the ASCAP lifetime achievement award, the career achievement award by the Film Music Society, and 27 Gold and 6 Platinum records.
Morricone has composed over 100 pieces of concert music since 1946 including Concerto per Orchestra n.1 (1957); Frammenti di Eros (1985); Cantata per L'Europa (1988); UT, per tromba, archi e percussioni (1991); Ombra di Lontana Presenza (1997); Voci dal Silenzio (2002); Sicilo ed altri Frammenti (2006); Vuoto D'Anima Piena (2008); and Una Messa (2013).
Since 2001, Morricone has engaged in intense concert activity, and has conducted more than 100 concerts in Europe, Asia, the United States, and in Central and South America of his film music and concert works. On February 2, 2007, Morricone conducted Roma Sinfonietta Orchestra in a major concert at the United Nations General Assembly to celebrate the appointment of UN General Secretary Ban Ki-Moon, followed the next day by his historic United States debut at Radio City Music Hall, in a concert produced by Massimo Gallotta, who is producing the current Nokia Theatre L.A. LIVE and Barclays Center concerts. - More >
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Wednesday, March 20, 2011
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Wednesday, March 20, 2011
Removed: 10:00pm Springfield Rifle 12:00pm Casablanca Added: 1:00pm Virginia City 12:15pm Casablanca
Wednesday, March 20, 2011
Removed: 10:00pm Springfield Rifle 12:00pm Casablanca Added: 1:00pm Virginia City 12:15pm Casablanca


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**Valid on Economy shipping method only. Not valid on any other shipping method. Order total determined after any other discounts are applied and does not include any applicable taxes. Offer subject to change without notice. Limited time offer.
home > Collections > Classic Styles > Duet > Women's Duet Lined Flat
Women's Duet Lined Flat
Item #12365
A cozy footbed liner and durable Croslite™ material upper means these are not your typical dainty ballet flats. The dual density material makes them soft but substantial.
Women's Duet Lined Flat details:
- Dual density Croslite™ material creates a softer upper and more durable outsole
- Warm footbed liner makes them comfortable all year
- Classic closed-toe flat design means they're ready for winter
Women's Duet Lined Flat
Women's Stylish Flats
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27 reviews
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Feet on fire, not in the good sense
They look sooo beautiful BUT because of the fabric that has in it makes your feet crave for some air. Also it runs small and it takes months to adjust to your size. Definitely would reccomend it by the looks, definitely not but how it feels.
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Huge Crocs fan but didn't like these
I am a huge Crocs fan but did not like these at all . They ran small, the liner made them tight, they were too narrow at the top and I missed the nubs! I bought these in black and brown because at that time Crocs was not selling anything else that looked appropriate for work...I didn't like the two-tone feeling it was too casual and tacky looking for work, but felt that at least the flat-full-shoe was okay for work. I wore them once or twice and gave them both away to good will. These were a total waste of money for me but I hope the person who winds up with them from good will enjoys them. It was a decent looking shoe except for the two-tone and it ran too small but the next size up would have been too big. I take a 9, bought a 9 and am sure the 10 would have been much too big.
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Great, and so cute
I love Feng a compliment on my sites and being able to reply, "thanks, they are actually Crocs." These shoes do that! Very stylish, comfortable as usual, loss great with jeans or a dress pant. Great for fall, and hopefully spring to! I always take a size 9 in the Crocs shoes, and went with a 9 in these, they fit perfect. A little more narrow than the summer boat shoes, but once they formed to my feet they were fine.
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Should order normal size
I read all the reviews that say these run small so I ordered a size larger than my usual 10. I own several crocs and all in size 10 except the springi flat is size 9. I was so disappointed when I received my size 11 duet flat and they are too large. I will have to return them. Sad because I got a really good price on them and my local store does not have them in stock. It seems they would be comfortable to wear if they would only stay on! They would look nice with both dresses and pants.
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Nike Sweet Classic High-Top Sneaker - Womens
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Looks like you've got more shoe shopping to do - have fun!
Looks like you've got more shoe shopping to do - have fun!
Item # 256703
The Nike Sweet Classic high-top sneaker is a court-inspired shoe that sports a simple design and a timeless look. It's the perfect lifestyle sneaker, so put it on and kick it old school in this extremely versatile high top.
- Leather hi-top upper
- Padded collar and tongue
- Cushioned insole
- Phylon midsole for all day comfort
- Rubber outsole for traction and durability
- Weight: 14 oz
- More colors available
- Imported
- View more Women's Nike Shoes


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Walks through the transition from Excel 2003 to Excel 2010.
Offers solutions for optimizing the use of dates and times in Excel 2007.
Offers solutions for optimizing the use of dates and times in Excel 2010.
Shows how to move and copy data to multiple worksheets and gives tips for efficiently adding, moving, and navigating worksheets and workbooks in Excel.
Demonstrates common tasks for which macros are used, and walks through the process of creating and running simple macros in Excel 2007.
Simple and powerful techniques for making data readable and understandable, including keyboard shortcuts and tips for smoother formatting.
Explains the benefits of upgrading from Excel 2003 to 2007 and shows how to make the switch and overcome compatibility issues.
Demonstrates how to build various arithmetic and statistical analysis formulas and use Excel's built-in functions.
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Send a fun filled birthday card to make your loved one's day even more special.
Cakes and candles to wish your special one a very happy birthday.
Send these beautiful birthday flowers ecard...
Cute and funny daisies singing happy birthday.
Happy birthday song!!
Send your sincere birthday wishes upon butterfly wings.
Here is a cool ecard with a box full of surprise for your friends and family.
Cute teddy wishes a very happy birthday.
Send a birthday ecard with which wishes come true.
May this day be the start of a wonderful year ahead.
A fun birthday ecard song.
Send across a jumbo hug and lots of love to wish a very happy birthday.
A warm birthday message for you to send to your loved ones.
I'm thinking of you and wishing you a wonderful birthday.
Beautiful butterflies, flowers and irish blessing for your near and dear ones.
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Christmas Gifts - Unique Gifts - Gift Cards & Memberships - Over $100
Gift Buzz
The Oscars are Hollywood's biggest event, so we've rolled out the red carpet to come up with glamorous gift ideas inspired by the Academy Awards. Some of our gift ideas are based on the $55,000 swag bags the nominees will receive, while others... Read More »
You need that gift now. Heck, you needed it yesterday. But don't give up, because here are our top 10 gift ideas that you can give right now. Sent at the speed of email, these gifts arrive in the most timely manner available. Or, print out... Read More »
Gift cards are still one of the top gifted, and requested, items. Yet as handy and desirable as they are, gift cards can also present challenges. Many cards go unused, to the tune of $1 billion a year, according to The Wall Street Journal's... Read More »
Can you believe the holidays are here? A few weeks ago, I started putting together a list of gift ideas for my boys. Let's face it; gift giving can be tough when you are trying to find something original, within your budget, age appropriate,... Read More »


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It's Hatched! 38 Bought
DealChicken wants to know if you're ready for a vacation, because he's found a deal that gives you an opportunity to stay at a luxury resort in Tucson with up to three friends or family members. The Varsity Club of America—Tucson offers easy access to the University of Arizona and numerous golf courses from municipal to championship level. Other nearby activities include art galleries, bike trails, parks, restaurants, a zoo and more.
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Eilat, Israel Vacations - Travel guide to Eilat, Israel accommodations and vacation packages. Visit Eilat, Israel for getaways and adventure travel. Plan your Eilat, Israel vacation today.
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Galilee, Israel Bike Tours - A wonderful way to visit some of the best sites Israel has to offer, by bike and on foot. You will cycle paved and unpaved roads, with short forays by foot throughout the vast and lush landscapes of north.


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Beckett Leaves a Love Letter to Castle
Castle is an amazing man and she loves him with all her heart.
Kate gives Rick an unusual Valentine's Day gift.
Castle is an amazing man and she loves him with all her heart.
Beckett is trapped at the mercy of her enemy.
Senator Bracken doesn't owe her anymore. Next time they meet, it's even.
Thanks to a little encouragement from Beckett, Alexis asks to come home.
Alexis admits the real reason she's been keeping distance.
Alexis has multiple relationships to take action on today.
They discover they don't have a song!
Castle convinces "Rebel Becks" to conform and go to the dance with him.
It's perfect on her, but something isn't quite right.
There's more to come.
She confesses the real reason she hesitated about reserving the venue.
If there must be romance rumors about Castle, then she wants to be in them.
They're under attack.
Beckett and Martha comfort him as he comes to the truth.
They are in sync.
This is unfortunately a little more complicated than a game of Operation.
Jenny introduces their daughter Sarah Grace.
He's afraid he wont make it out of the burning building.
Careful what you joke about!
She wants to keep it private.
She loves it.
Lanie shares advice.
He's really good at this.
Even ice cream won't fix it.
He wants his couch back.
She's growing up.
What is this, a house meeting?
The team is together again!
Things aren't quite wrapped yet
At least she can be in New York now.
Sometimes the hardest things in life are the things most worth doing.
He loves his family so much.
It's finally official!
He has less than 1 day to live.
Castle decides he wants more.
Castle asks what that says about their relationship.
It's the beautiful final moment for Caskett.
Castle reveals why he said "Jordan" in his sleep.
Castle and Alexis reunite with Martha and Kate.
Kate reassures Castle.
Alexis tries to escape.
Kate gives Rick a gift.
Castle tries to protect Alexis.
New Christmas traditions.
Are Castle and Beckett too different?
The First Morning After


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Steel Type
Molybdenum Steel / AUS-10
Saya Cover
Not Included
Blade Length
10.5" (270mm)
Handle Material
POM (Polyacetal Resin)
- As seen in Kitchen & Bath Magazine Summer '09
The Sujihiki is a slicing knife intended for slicing boneless fish filets. It can also be used to slice boneless roasts, hams and poultry breasts. The short height of the blade creates less friction when slicing and the blade draws through fish and meat effortlessly using the entire length of the blade. The sujihiki is the Western-style equivalent the traditional yanagi knife.
For those who would like the convenience of the sujihiki, but blade of a yanagi for fish only, please try Korin's Blade Alteration Services. We will change your sujihiki knives to fit your needs in the kitchen.
General knife care tips and warnings
For more information, please check our pages on different types of sharpening stones or sharpening tips.


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It's Hatched! 212 Bought
If you're feeling all cooped up and could use a break from life's ho-hum humdrum, take advantage of today's deal. For $169, get a three-day/two-night stay for up to four people at a participating hotel. Valued at $450, the deal includes lodging based on availability at The Hilton, Crowne Plaza, Hampton Inn, Best Western, Doubletree, Holiday Inn, Hyatt Place, La Quinta Inn & Suites and more. Located right on the water, the windy city offers visitors a wide variety of activities, including museums and sporting events.
$169 for a 3-day/2-night stay in Chicago ($450 value)
Travel by Star
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Open to all families, any spelling
This Project is aimed at those who have the surname HARTLEY, to enable members to research DNA linked to that surname.
Open to all families with the spelling of Head or any variation
Open to all families, any spelling (Keffer, Kefer, Kieffer, Kiefer, Cooper)
for all with related spellings
Open to all families, any spelling of the Naylor surname
Open to all families and spellings including EUNICE, NUNEZO, NUNES
This project is open to any individual researching the Surname O'Neal (O'Neill, O'Neil, O'Neale, O'Neall or any other variant)
Open to all men, any spelling, who believe they are descended from members of the Palatine Emigration of 1708-10, and some other families.
For Pitts, Pits, Pittes, Pytts, Pitt and other related spellings
Open to Kirtley, Kirkley, Curtley, and associated spellings.
Open to all McClure families, any location, any spelling
Open to all surname variants (McGowan, McGowen, McGowin, McGown, Gow, Gowan, Gowen, Gowin, Gowing, Smith, etc.)
Open to all Bunch families by any spelling, and to close Y-DNA matches
Cagle is the root surname of this project, originally Kegel in Europe.
for all with related surnames
Since 2001...........Open to all Barton families and their close matches
Baugh, Baw, Bough, Baff, Bach & other related spellings
For anyone with a surname based on "Bird"
Open to all Blackwelder & Schwarzwalder families
Bourgeois surname
Where Do Your Burland/Bourland's Originate? All Burland/Bourland Families Welcome to Join.
Also Bower, Bauer, and Other Variant Spellings
Open to Bradshaw, Bratcher, Bradsher, including spelling variations of these surnames
Open to all families, any spelling varation of Durrett
Open to any descendant of AMASON AMERSON EMERSON, or any alternate spelling
A Y-DNA Study of a mostly German Surname
Open to all FAIRBAIRN, FAIRBURN, FAIRCHILD ++ families
for all with similar spellings
Visitors Welcome! You can view any page of a project's website without logging in, but you must log-in to post at Forum. Use search box to find project's website.
WFN Book Store


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Main Content
Never forget another important phone number again when you jot it down with Raptors pride on these handy, team-spirited note cubes! Featuring your favorite team's logo and school name on all four sides, it's a great place to write a shopping list for picking up more team swag.
- Team logo and colors
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- No adhesive backing
- Officially licensed NBA product
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Special event items are produced by manufacturers only after the outcome of a game
or event. These are advanced sale items and will ship immediately after they are
received in our warehouse.
Manufacturer direct items are shipped directly from the manufacturer. These items
are not available for international or expedited shipping.
Customized items can be personalized with options such as your name, your favorite
number, and/or designs. Some options may be limited by league rules.


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I felt so bad for Idina at the Oscars. First, Travolta messes up her name completely and then they had to make the song shorter and faster resulting on her being nervous and that awful scream at the end. Definitely wasn't her night. (asked by Anonymous) |
yeah, i know :/ she looked so nervous and i didnt really love this perform (but apparently most ppl did idk), but it was still a very nice moment and they won 2 awards anyway lajsskakdldajsjdkd |
Two weeks ago a man in France was arrested for raping his daughter. She'd gone to her school counselor and then the police, but they needed "hard evidence." So, she videotaped her next assault. Her father was eventually arrested. His attorney explained, "There was a period when he was unemployed and in the middle of a divorce. He insists that these acts did not stretch back further than three or four months. His daughter says longer. But everyone should be very careful in what they say." Because, really, even despite her seeking help, her testimony, her bravery in setting up a webcam to film her father raping her, you really can't believe what the girl says, can you?
Everyone "knows" this. Even children.
Three years ago, in fly-on-the-wall fashion of parent drivers everywhere, I listened while a 14-year-old girl in the back seat of my car described how angry she was that her parents had stopped allowing her to walk home alone just because a girl in her neighborhood "claimed she was raped." When I asked her if there was any reason to think the girl's story was not true, she said, "Girls lie about rape all the time." She didn't know the person, she just assumed she was lying…
No one says, "You can't trust women," but distrust them we do. College students surveyed revealed that they think up to 50% of their female peers lie when they accuse someone of rape, despite wide-scale evidence and multi-country studies that show the incident of false rape reports to be in the 2%-8% range, pretty much the same as false claims for other crimes. As late as 2003, people jokingly (wink, wink) referred to Philadelphia's sex crimes unit as "the lying bitch unit." If an 11-year-old girl told an adult that her father took out a Craigslist ad to find someone to beat and rape her while he watched, as recently actually occurred, what do you think the response would be? Would she need to provide a videotape after the fact?
It goes way beyond sexual assault as well. That's just the most likely and obvious demonstration of "women are born to lie" myths. Women's credibility is questioned in the workplace, in courts, by law enforcement, in doctors' offices, and in our political system. People don't trust women to be bosses, or pilots, or employees. Pakistan's controversial Hudood Ordinance still requires a female rape victim to procure four male witnesses to her rape or risk prosecution for adultery. In August, a survey of managers in the United States revealed that they overwhelmingly distrust women who request flextime. It's notable, of course, that women are trusted to be mothers—the largest pool of undervalued, unpaid, economically crucial labor.
Hugs. I know how terrible it feels to be the victim of something like that at a party/club/whatever. It sucks and is hard to talk about with others. Take care of yourself. (asked by Anonymous) |
i know i'm really mad at everything rn but thank you for this message :) and thank everyone who sent me nice things too |
14,15,16 annnd 17 :) (asked by jason-segel) |
14. Do you believe in luck and miracles? |


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This attractive, hand-made gift Easter egg is created in Kashmir using paper mache with a hand-painted, varnished finish. Finished with a ribbon bow.
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The Easter egg contains Booja Booja's award winning, dark chocolate, Organic, hazelnut crunch truffles. Each pretty egg is unique (as the image above shows) and designs do vary so it is not possible to request a particular colour or style. A truly unique Easter egg gift.
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Booja Booja from Norfolk in England make award winning, chocolate truffles of superior quality. All their chocolate truffles are organic, vegan, dairy and gluten free.
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CALL Us About The CALL Program Call Between 9:00 a.m. and 4:30 p.m. and Talk to an Admissions Counselor Right Away! You may also contact our staff via email at email@example.com. FORAssociate of Applied Science in Business Administration Associate of Applied Science in Computer Information Systems Associate of General Studies with a concentration in Business Associate of Applied Science Degree in Network Security Specialist Associate of Applied Science in Telecommunications with a concentration in Media Studies Associate of Science in Health Care Management Bossier Parish Community College FOR Grambling State University FOR Louisiana State University Eunice FOR Louisiana Tech University FOR Bachelor of Arts in Organizational Leadership - Concentration in Strategic and Global Communication Bachelor of Arts, Sociology Bachelor of Science in Criminal Justice Bachelor of Science in Child and Family Studies McNeese State University FOR Nicholls State University FOR Northwestern State University FOR Southeastern Louisiana University FOR University of Louisiana at Lafayette FOR University of Louisiana Monroe FOR University of New Orleans
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