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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

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“Decoy” (1957): A Policewoman in New York

16 Oct

“Decoy” is a TV cop show that aired from 1957-58. There were 39 half-hour episodes and they were all filmed on location in New York City. There is only one recurring character in every episode and that’s Policewoman Patricia “Casey” Jones, played by Beverly Garland. Yes, this is the first of only a handful of cop shows with a central female protagonist. I knew very little about this series until I read J. Hoberman’s review of it in his Video column in the Sunday New York Times of Sept. 3, 2017. I had no idea it was filmed in New York, a full year before the much more celebrated and much longer-running “Naked City” TV series. I learned that the series was available on Amazon Prime, so I watched the first two episodes. I was so intrigued by them that I immediately ordered the complete series box set (for $11.99!) from Amazon.com. One of the things that excited me in the first episode was the use of Times Square and 42nd Street and the generous views of some of the theater marquees in 1957.

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2015 – The Year in Movies and Television

30 Dec

Each year I like to single out not only the best new films and TV shows I saw in the year, but the best new discoveries from the full spectrum of film and TV history. If I’m seeing something for the first time, no matter how long ago it was produced, then—guess what?—it’s a new movie. This is the first time I’ve done this for my blog. (And where else are you going to find a Best-of list that includes both Ozu and Pokémon?)

Partly because I retired this year, I made more trips to movie theaters this year than I have in a single year since 2004. I made 31 trips to theaters in 2015 and saw 33 movies. 18 were U.S. productions, eight were from Japan, six from the U.K., three from China, and two from Hong Kong. 24 were new releases dating from 2014 or 2015. 17 were indies and six were documentaries (the most I’ve seen in one year on the big screen in a few decades). Ten were revival/repertory screenings. Only six were major studio Hollywood releases. It helped that I’m now eligible for senior citizen discounts at some theaters. ($8 at the Paris!)

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VHS Discoveries: Classic Kung Fu

4 Jun

 

Back in 1998 to 2003, my revived interest in “Old School” kung fu films from Hong Kong and Taiwan happened to coincide with a phenomenal outpouring of these films in low-cost VHS editions, usually bootleg or “gray market,” with many available in mainstream video stores (e.g. Suncoast, Virgin, Tower and FYE), but more often found at discount dealers like Record Explosion and Entertainment Outlet. A company called Xenon (with various subsidiaries) released quite a number of these films as part of the “Wu Tang Collection,” often given new titles designed to appeal to hiphop fans and fans of the rap group, the Wu-Tang Clan, which took its name and a significant amount of its content from kung fu films its members had seen on 42nd Street back in the day. One of its members, Ghostface Killah, even took his name from the villain of a 42nd Street hit called THE MYSTERY OF CHESS BOXING (aka NINJA CHECKMATE). Ol’ Dirty Bastard was the name applied to another member of the Clan.

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The Devil Finds Work: James Baldwin Goes to the Movies

5 Apr

I’m always thrilled when a great writer not known for writing about film tackles the subject and applies particular insights that film historians and critics may miss about important films of the past. I already wrote about Gore Vidal’s contribution, Screening History, back on August 2, 2012, not long after Vidal’s death. For this entry, I have retrieved a review I wrote in early 2001 of a book published in 1976 by novelist/essayist James Baldwin (1924-1987) called The Devil Finds Work, which explores Baldwin’s reactions to Hollywood movies over the years. I submitted this review to a print publication, which had enthusiastically accepted my pitch, since the book had only recently been reissued, but I never saw a copy of the publication and never got paid, nor do I know to this day if the review was ever actually published. So here it is, finally seeing the light of day. The complete review follows; the only alterations I’ve made are the restoration of full quotes from the book that I’d initially shortened to meet the required word count.

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In Memoriam: Sir Run Run Shaw, 1907-2014

12 Jan
Run Run Shaw, Chinese movie mogul, in a picture from the early 1970s

Run Run Shaw, Chinese movie mogul, in a picture from the early 1970s

This past Tuesday, January 7, 2014, Sir Run Run Shaw died in Hong Kong at the age of 106. Shaw was a mogul who built a movie empire in Asia, with the Shaw Bros. movie production and distribution company, based in Hong Kong, as its centerpiece. The company was Hong Kong’s biggest movie studio from the late 1950s to the mid-1980s, when it shifted its focus from movies to television, creating numerous popular series under the company name, TVB, the dominant television network in Hong Kong, with distribution throughout Asia. Shaw patterned his movie studio in the style of the old Hollywood studios like Warner Bros. and MGM. His counterparts in Hollywood were men like Jack Warner, Louis B. Mayer, Adolph Zukor and Harry Cohn. He had numerous stars and production personnel under contract, an array of soundstages with lavish sets for interior scenes, and sprawling backlots filled with standing sets for the numerous historical dramas and adventures the studio made. Many of the top directors of Hong Kong cinema in the 1960s and ’70s worked at Shaw Bros., including Chang Cheh, King Hu, Chor Yuen, Li Han-hsiang and Lau Kar Leung.

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It’s a Mad, Mad, Mad, Mad World: A 50th Anniversary Look Back

2 Dec

On Saturday night, November 30, I realized it was the last night of the 50th anniversary month of the release of IT’S A MAD, MAD, MAD, MAD WORLD, which opened in New York on November 17, 1963. So, while I had enough time to watch it in its entirety, I put in my Blu-ray copy of the film and watched it. The Blu-ray, an MGM release, offers the standard theatrical cut of 159 minutes, which includes overture, intermission and exit music. When I saw the film in February 1965 at a neighborhood theater in the Bronx, none of that stuff was offered, so the print I saw back then, according to an issue of Cue Magazine from January 1965 that a friend of mine helpfully consulted, was 152 minutes. This is in contrast to the 2-tape VHS copy I bought many years ago that offers a print of three hours and one minute thanks to numerous “trims” (lines of dialogue or bits of action cut here and there from the heads or tails of different scenes) inserted back into the film. I wasn’t crazy about that version since I tend to think that there was a good reason those bits were taken out in the first place. The film moves quicker and is much more streamlined without them.

Blu-ray cover

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