By the mid-1980s the Italian film industry was in a state of major decline. The glory years of the fifties and sixties were now fondly remembered footnotes in the history of world cinema and even the popular film genres – giallo, poliziotteschi, spaghetti western and horror – were near the end of their heyday. There were still a few determined stragglers such as Tinto Brass with his fetish based erotica (The Key, Miranda, Snack Bar Budapest) and Enzo G. Castellari, who soldiered on with formulaic hybrids like 1990: The Bronx Warriors, Tuareg: The Desert Warrior and Striker. But the horror genre, in particular, was suffering with masters of the macabre Lucio Fulci and Dario Argento trying but failing to top past high water marks like The Beyond (1981) and Suspiria (1977). It was during this downward trend that Gianfranco Giagni made his directorial debut with The Spider Labyrinth (Italian title: Il Nido del Ragno, 1988). Continue reading
Those who follow the contemporary art scene and are well versed in art history know William Klein as one of the most influential American photographers to emerge in the fifties along with his contemporary Robert Frank. Famous for his unconventional fashion shoots for Vogue as well as his candid documentation of New York City street life, Klein went on to apply his photo-diary approach to Rome, Moscow and Tokyo in the sixties, all of which are available individually as photography collections. He is less well known for his idiosyncratic films (Eldridge Cleaver, Black Panther, 1970) and shorts (Broadway By Light, 1958) but luckily some of his best work is available on DVD – his intimate 1969 portrait of Muhammad Ali, Float Like a Butterfly, Sting Like a Bee (aka Muhammad Ali, the Greatest) and the Eclipse collection, The Delirious Fictions of William Klein that includes Who Are You, Polly Maggoo? (1966), Mr. Freedom (1969) and The Model Couple (1977). But I still want to see more of his cinema explorations made available and The Little Richard Story (1980), a West German production, is at the top of my list. Continue reading
Quick, name your favorite film by Robert Downey, Sr., director/father of two-time Oscar nominated actor Robert Downey Jr. Drawing a blank? If film buffs know him at all it is probably due to his 1969 underground cult film Putney Swope or The Eclipse Series 33 box set from The Criterion Collection, released in May 2012 as “Up All Night with Robert Downey Sr.” which included the former film plus Babo 73 (1964), Chafed Elbows (1966), No More Excuses (1968) and Two Tons of Turquoise to Taos Tonight (1975). His most representative films are satiric time capsules of his era and the New York independent film scene but I think Greaser’s Palace (1972) is his funniest and most subversive film in his 41-plus years as a writer/director. Continue reading
The second film collaboration between Ingrid Bergman and Roberto Rossellini, Europe ’51 (1952) might be the most overlooked and misunderstood feature of the famous director-actress team during their turbulent and controversial relationship. Between 1950 and 1955, the couple made five features together and one episode for the five chapter compilation film, We, the Women (1953). Although most film critics seem to regard 1954’s Journey to Italy as their peak achievement, Europe ’51 (aka Europa ’51) received a second chance at reappraisal in September 2013, thanks to The Criterion Collection, which released the film on Blu-Ray and DVD in a set with Stromboli (the first Bergman-Rossellini film from 1950) and Journey to Italy (aka Viaggio in Italia, 1953) . Continue reading
Remember the Italian sword and sandal films (known as peplum in their native land) that enjoyed a brief period of popularity in the U.S. from around 1958 to 1964? There was never any question about the appeal. What’s not to like about muscle-bound super heroes, beautiful, curvaceous slave girls, princesses and evil queens, despicable, hiss-worthy villains, amazing feats of strength, epic battle scenes, exotic dance sequences, bizarre tortures and stylized sadism, picturesque locations, atmospheric set design, and disaster film calamities (earthquakes, volcanoes, storms)? Continue reading
It is often regarded as the most important British television drama ever written. The controversy it aroused after its premiere broadcast in 1966 on the Wednesday Play series not only challenged the general perception of TV as a shallow medium but also exposed an endemic social problem in England that the government often overlooked – homelessness. As timely today as it was then, Cathy Come Home is a rare example of a television drama whose impact on the media and the government was so pervasive that it resulted in the creation of “Shelter,” a housing for the homeless charity. Continue reading
Richard Rush has had his ups and downs in the unpredictable world of Hollywood. His more than three decades of filmmaking have included memorable collaborations with such fellow industry legends as Jack Nicholson and cinematographer Laszlo Kovacs as well as long, arduous years in development hell. It took ten years for The Stunt Man to finally reach the screen. Despite it all, Rush remains an eternal optimist with a wonderful sense of humor, genuine love for his craft and a steadfast loyalty to his cast and crew members. The following interview was conducted in April 2010 just prior to the first TCM Classic Film Festival where The Stunt Man was screened and covers some of his films and experiences in the movie business.
* This is a revised and updated version of the original post that first appeared on TCM’s Movie Morlocks blog. Continue reading