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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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Robert Mitchum Centennial

6 Aug

Robert Mitchum was born on August 6th, 1917, 100 years ago today. (My father was born less than two months later.) I was born on August 6th also, on Mitchum’s 36th birthday. Mitchum died on July 1, 1997, a little over a month shy of his 80th birthday. He happens to be my favorite movie star. I wrote about him here three times already, covering his debut film, BORDER PATROL (1943); his 1949 film, HOLIDAY AFFAIR; and in a piece about Sam Fuller’s THE BIG RED ONE, his appearance in THE LONGEST DAY (1962), where he played the general leading the attack on Omaha Beach, site of the bloodiest fighting on D-Day.

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Steve Cochran Centennial

25 May

Steve Cochran would have turned 100 today, May 25, 2017. (He died in 1965.) He was a character actor who was most active in the 1940s and ’50s, most often playing dark, good-looking heavies in crime films and westerns. He was under contract for a while to Samuel Goldwyn Productions and later to Warner Bros. where he made what I consider to be his best films. He’s probably best known for WHITE HEAT (1949), in which he had a key supporting role as one of the robbery gang led by cold-blooded killer Cody Jarrett, played masterfully by James Cagney in his spectacular return to gangster roles after a decade away from the genre.

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Raymond Burr Centennial

21 May

Raymond Burr would have turned 100 today, May 21, 2017. He’s most famous for three roles, two on television and one in the movies. On television he first starred in “Perry Mason,” portraying the title character, a criminal defense attorney who won almost every case he took. The series premiered on CBS in 1957 (sixty years ago this fall) and ran for nine seasons (until 1966). He then returned to the role in a run of 26 TV movies that began in 1985 and continued until his death in 1993. (The final film aired after his death.)

Perry Mason 1957:

Perry Mason 1985:

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Glenn Ford Centennial

1 May

Ford 2

I’m taking a break from my Japan Journal in order to pay tribute to Glenn Ford, who would have turned 100 today, May 1, 2016. He was a movie star who may not have created as lasting a film legacy as many of his contemporaries, but still had a remarkable 54-year career in Hollywood. He died ten years ago, in 2006, at the age of 90. He had a pretty good 20-year run as a top-ranked studio movie star from the late 1940s to the late ’60s before turning to television and character work, which he did steadily up to 1981, working intermittently after that until his final screen and TV work in 1991, closing out a career that had begun in 1937. He’s probably best-remembered by film buffs today for three films: GILDA (1946), in which he played opposite a sultry, satin-clad Rita Hayworth; the film noir cop thriller, THE BIG HEAT (1953), directed by Fritz Lang; and the western 3:10 TO YUMA (1957), directed by Delmer Daves, in which he served as the film’s antagonist, one of the few times he played an outlaw in his career.

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