This post is my contribution to the My Favorite Classic Movie Blogathon in support of the first National Classic Movie Day. The home page for the blogathon can be found here:
Since a couple of the favorites I would have picked were already taken by other bloggers (e.g. THE BEST YEARS OF OUR LIVES and CASABLANCA), I opted for PORTRAIT OF JENNIE (1948), which I saw for the first time as an adult and quickly became a favorite after a TV viewing and a big-screen viewing. I wrote a piece about it after the big-screen showing, which took place 24 years ago yesterday, and, since the piece has never been published, I decided to use it as my entry in this Blogathon. The emphasis is on the film’s use of New York City locations and how they contribute to the romantic and otherworldly aura of the film. Without further ado, here is the original essay:
My first exposure to English-dubbed Italian genre films was when I saw TV commercials for “sword ‘n’ sandal” movies when I was a child, including HERCULES, HERCULES UNCHAINED, THE LAST DAYS OF POMPEII and THE COLOSSUS OF RHODES. I didn’t get to see any of these in theaters at the time but would eventually see all of them on TV. The first film of this type I would see on the big screen was GOLIATH AND THE BARBARIANS, starring “Hercules” himself, Steve Reeves, and it played on a double bill with JET OVER THE ATLANTIC, a low-budget black-and-white American thriller set on an airplane, in January 1960, when I was six years old. Two years later, I saw several more Italian mini-spectacles when I began patronizing the Tremont Theater, which offered triple features of movies that had already played every other theater. Among the films I saw there were THE TROJAN HORSE, also starring Reeves; THE MONGOLS, starring Jack Palance and Anita Ekberg; LAST OF THE VIKINGS, starring Cameron Mitchell; and THE MINOTAUR, starring American Olympic athlete Bob Mathias. On March 10, 1963, I saw my first all-Italian double feature, SAMSON AND THE SEVEN MIRACLES OF THE WORLD and WARRIORS FIVE, chronicled here on March 10, 2013 in my blog entry entitled, “March 10, 1963: The Making of a Film Buff.”
(Steve Reeves as Aeneas in THE TROJAN HORSE)
I’ve been eager to do a tribute to Italian film composer Ennio Morricone for some time now. Upon watching EXORCIST II: THE HERETIC on VHS last month, it struck me how much a part of the cinematic landscape Morricone was in my peak moviegoing years, particularly the 1970s. So today, on the occasion of the maestro’s 84th birthday, I want to recount highlights of my long relationship with the music of one of my favorite film composers.