It’s not unusual for pre-production publicity on a new film to revolve around the star or the director but it’s particularly rare when it focuses on a construction site. In the case of the glossy 1960 soap opera, Strangers When We Meet, directed by Richard Quine, the real star of the movie was the cliff top Bel Air home that was constructed especially for the film by architect Carl Anderson and art director Ross Bellah. Continue reading
It would be hard to find a more controversial figure in the history of space exploration than the brilliant rocket scientist Dr. Wernher von Braun, the subject of J. Lee Thompson’s biopic, I Aim at the Stars (1960). Continue reading
Think of the teeming hub of humanity that is New York City and then imagine a person with a highly contagious and deadly disease wandering among the masses, spreading death and panic. Based on an actual case in 1946 – a smallpox scare in which millions of New Yorkers received free vaccinations – The Killer That Stalked New York (1950) is a fictionalized dramatization of that incident. It stars Evelyn Keyes as Sheila Bennet, a modern day “Typhoid Mary” who contracts smallpox in Cuba while serving as a courier for Matt (Charles Korvin), her no-good musician boyfriend, in a stolen diamond smuggling scheme.
Los Angeles has served as the backdrop for countless Hollywood movies but in Jacques Demy’s Model Shop (1969), the French director’s first and only American film (if you don’t count the 1984 made-for-TV movie Louisiana), the city becomes the real protagonist. With its sprawling urban landscape, oil derricks, desolate beaches and constant traffic, it provides a vivid canvas for a contemporary love story about romantic longing, missed connections and unrealized dreams. Film writer Clare Stewart referred to the film in the film journal Senses of Cinema as “a road movie that doesn’t go anywhere” but that’s not a putdown. It’s an apt description of what Demy was trying to create here – a drifting, dreamy mood piece. Continue reading
When Reveille with Beverly was first released in 1943, it was viewed as little more than a snappy little B musical programmer that showcased a star on the rise (Ann Miller) along with some of the top musical acts of the day. It was also a reflection of the type of assembly line escapist fare being released by Hollywood for war weary audiences and servicemen who needed a distraction from the harsh realities of a global conflict.