All of us have probably walked out on a movie at the theatre at some point in our lives but how often have you been forced to leave a film due to circumstances beyond your control? The few times this has happened to me are ingrained in my memory probably because it was such a rare occurrence…and because the interrupted scene and the movie itself never received the proper closure. In other words, a simple case of cinema interruptus (the Latin word for interrupted). The films in question are Around the World in 80 Days (1956), Cat on a Hot Tin Roof (1958), Don’t Give Up the Ship (1959) and Cat Ballou (1965).
*This article originally appeared on Movie Morlocks, Turner Classic Movies’s official blog in May 2011 (The blog was discontinued years ago and is no longer available)
In the event-packed hurly burly of TCM’s second annual Film Festival in Los Angeles from April 28-May 1 of 2011, I didn’t have a chance to blog about all of the films or attending guests that I saw but here are a few that linger in the memory and deserve to be singled out –cinematographer/director Haskell Wexler, who participated in a Q&A with Leonard Maltin before a screening of Who’s Afraid of Virginia Woolf?(1966), Hayley Mills, who appeared after a screening of Whistle Down the Wind (1961) with interviewer/author Cari Beauchamp, a midnight screening of The Mummy (1932) introduced by Boris Karloff fan Ron Perlman, Buster Keaton’s The Cameraman (1928) accompanied by a live orchestra score by Vince Giordano and His Nighthawks, the MoMA restoration print showing of 1933’s Hoopla (Clara Bow’s final film) and the underrated Ernst Lubitsch Pre-Code delight Design for Living (1933).
Marina (Hildegard Knef) and Alexander (Gustav Frohlich) make a final toast to their eternal love for each other in Die Sunderin (English title: THE SINNER, 1951), a West German romantic tragedy directed by Willi Forst.
Sometimes an offscreen scandal can kill or severely hamper a career (Fatty Arbuckle, Ingrid Bergman, Rose McGowan, etc.) or help bolster it as in the case of Mary Astor, Hedy LaMarr or Elizabeth Taylor. But what if the scandal is the film itself as in The Moon is Blue (1953), Baby Doll (1956) or Last Tango in Paris (1972)? That kind of notoriety can play out in different ways affecting the careers of the featured stars in a negative or positive way. A famous example of the latter is Die Sunderin (English title: The Sinner, 1951), a West German melodrama from Viennese director Willi Forst in which two social outcasts embark on a love affair which brings them true happiness and spiritual redemption after years of misery. The film created a public outcry in Germany due to a nude scene featuring the popular female star, Hildegard Knef. It might seem much ado about nothing today but at the time the typically conservative German moviegoer was offended. More importantly, it didn’t hurt Ms. Knef’s career at all and may have helped launch her international career. She was invited back to Hollywood the same year (where she had previously been under contract), made a few high profile films, and then returned to Germany where she not only resumed her film career but also became a renowned chanson-singer in the style of Marlene Dietrich, a mentor and friend.
Cinema Sojourns 