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Remembering 20th Century Fox

24 Mar

As a result of the recent acquisition of parts of the Fox empire by the Walt Disney Co., which took effect on March 20, 2019, 20th Century Fox no longer exists as a major studio.

From an article by Jake Coyle on the Fox Business website, In End of 20th Century Fox, a New Era Dawns for Hollywood:

When the Walt Disney Co.’s $71.3 billion acquisition of Fox is completed at 12:02 a.m. Wednesday, the storied lot — the birthplace of CinemaScope, “The Sound of Music” and “Titanic” — will no longer house one of the six major studios. It will become the headquarters for Rupert Murdoch’s new Fox Corp., (he is keeping Fox News and Fox Broadcasting) and Fox’s film operations, now a Disney label, will stay on for now as renters under a seven-year lease agreement.

The history of Hollywood is littered with changes of studio ownership; even Fox Film Corporation founder William Fox, amid the Depression, lost control of the studio that still bears his name. But the demise of 20th Century Fox as a standalone studio is an epochal event in Hollywood, one that casts long shadows over a movie industry grappling with new digital competitors from Silicon Valley and facing the possibility of further contraction. After more than eight decades of supremacy, the Big Six are down one.

It’s not clear yet how Fox productions will be branded or if the fabled 20th Century Fox studio logo will even be displayed or not. That logo (see above) has adorned thousands of movies made from 1935 to this year.

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Godzilla, Zatoichi and the Monkey King: The Best Foreign Genre Films of 1968

30 Dec

I’ve already written about my Hollywood favorites from 1968 in an earlier piece, so I wanted to focus on my favorite foreign genre films from 1968 before the 50th anniversary year was over, a group that has, in my opinion, held up much better critically over the years than their Hollywood counterparts. A lot was happening on the genre front back then, especially in Japan, Hong Kong, Italy and England. In Japan, there were numerous samurai, yakuza, giant monster and blind swordsman movies. Hong Kong’s Shaw Bros. studio gave us a host of swordplay mini-epics, several starring that swordswoman extraordinaire, Cheng Pei-Pei, as well as musicals, crime films and melodramas. Italy was turning out western after western, with all three major Sergios–Leone, Sollima and Corbucci–shining that year. England’s Hammer studio gave us exemplary horror films and France gave us BARBARELLA and THE BRIDE WORE BLACK.

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Robert Aldrich Centennial

9 Aug

Robert Aldrich was born on August 9, 1918 and would have turned 100 today. (He died in 1983.) He was one of my earliest favorite movie directors. By the time I saw THE DIRTY DOZEN (pictured above, with Aldrich in the red sweater directing, with Charles Bronson on the right) in high school, I’d already seen three of his earlier films, two in theaters (THE LAST SUNSET, HUSH HUSH, SWEET CHARLOTTE) and one on TV (VERA CRUZ), and I loved DOZEN so much I made it a point to seek out every one of his films as they came out. In fact, just three weeks after I first saw DOZEN, I went to see his newest movie, TOO LATE THE HERO (1970) when it opened on Broadway. I missed the next one, THE GRISSOM GANG (1971), when it opened, but starting with ULZANA’S RAID (1972), a cavalry-and-Indians western starring Burt Lancaster, I saw every one of his remaining films in theaters on their original release. Also, as I began taking film classes in college and seeing movies in repertory theaters in Manhattan, I sought out Aldrich’s older films, especially as I learned of the high esteem he was held in by auteurists, and discovered for myself some of his very best films, including KISS ME DEADLY (1955), ATTACK (1956), and WHATEVER HAPPENED TO BABY JANE? (1962), not to mention the chance to see VERA CRUZ (1954) on the big screen. At the beginning of 2018, I finally caught up with Aldrich’s debut film, THE BIG LEAGUER (1953), a baseball drama starring Edward G. Robinson, and, as of this writing, I have only one Aldrich film left to see, the rarely-screened lesbian drama, THE KILLING OF SISTER GEORGE (1969).

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Stanley Kubrick: Early Photos and New York Noir

24 Jul

Filmmaker Stanley Kubrick (1928-1999) would have turned 90 this coming Thursday, July 26, 2018. Known for such works as PATHS OF GLORY, DR. STRANGELOVE, 2001: A SPACE ODYSSEY, A CLOCKWORK ORANGE, THE SHINING, FULL METAL JACKET and EYES WIDE SHUT, he began directing features in 1953, but started working as a photographer doing human interest stories for Look Magazine eight years earlier while still a student at Taft High School in the Bronx. He eventually directed three documentary shorts, the first of them, “Day of the Fight” (1951), based on a photo story about a boxer he’d done a couple of years earlier.

The Museum of the City of New York is currently offering an exhibit of Kubrick’s early photographs under the title, “Through a Different Lens: Stanley Kubrick Photographs,” which runs until October 28, 2018. The exhibit gives us a chance to see what interested Kubrick in his formative creative years and how he chose to frame it. It also looks forward to his first “real” movie, KILLER’S KISS (1955), which he made on a shoestring on New York locations, drawing on his experience as a street photographer. He then went to California to make THE KILLING, a full-fledged Hollywood crime thriller with a cast of name actors (topped by Sterling Hayden) and the rest, as they say, is history.

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In Glorious Black-and-White

14 Jul

Recently, a thread on the Home Theater Forum asked participants for their “all-time favorite movie process.” While others picked things like IMAX, 3-D, Cinerama, Todd-AO, Vistavision, Ultra Panavision 70 and the like, I was the only one to declare Academy ratio black-and-white as my favorite “process,” although “format” would be a more appropriate term. Here are the images I posted:

The Academy ratio of 1.37:1, sometimes referred to as 4:3, was the standard ratio for the motion picture frame from 1932 right up until the conversion to widescreen began in earnest in 1953, after which wider aspect ratios were used to give audiences a sense that they were getting something they couldn’t see on television. Television had adopted the ratio of 1.33:1, which had been the standard for movies before 1932 and was close enough to the Academy ratio to allow movies shot in that ratio to air on television without necessitating cropping (not that the full image was ever exactly shown, but that’s another story).

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The Blaxploitation Era: A Scrapbook from the ’70s

20 Feb

In going through old file boxes from the 1970s, I found a number of clippings that effectively illustrate the Blaxploitation era of Hollywood filmmaking, a period from roughly 1971-75, when action and other genre films showcased black heroes and heroines, usually in reworkings of standard genre formulas. They were made quickly and cheaply to capitalize on a trend that could fade out at any time as it eventually did after its peak in 1972-73. These films played grindhouses and neighborhood theaters but also, for a time, premiered at the biggest Broadway movie palaces and commanded ads and constant press coverage. I usually saw them at Bronx neighborhood theaters where they were often paired with Italian westerns and, later, kung fu films, a trend which gradually displaced Blaxploitation. I’d like to share some of what I clipped 45 or so years ago, supplemented by movie stills from my collection and posters copied from IMDB and other sites.

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THE GOOD, THE BAD AND THE UGLY: 50 Years Later

29 Dec

Today, December 29th, 2017, is the 50th anniversary of the New York City premiere of THE GOOD, THE BAD AND THE UGLY, the third film in Sergio Leone’s “Man with No Name” trilogy of Italian westerns starring Clint Eastwood (whose character actually has names in the first two films but is only called “Blondie” in the third). In honor of the occasion, I pulled out my old 1998 MGM DVD edition, mercifully unrestored and just like it was when it played in New York theaters back then, and watched it. (I paid several visits to see it on the big screen in 1969-72 and again, years later, when it played the Film Forum.) I even recently found the original Elgin Theater schedule that announced the triple bill of this film with two films by Sam Peckinpah, THE WILD BUNCH and THE BALLAD OF CABLE HOGUE, a seven-and-a-half-hour program which I attended on Saturday, January 29, 1972 with two friends from the Bronx. Continue reading