Back in the fifties and sixties it wasn’t uncommon for neighborhood theatres – at least in the South – to run a series of kiddie matinees on Saturday mornings, usually during the early part of summer when school ended. The neighborhood kids would pile into a car and some parent would drop them off at the theatre and come pick them up two hours later, after which you’d go to the pool or play softball or hang out at a friend’s house. Some of my earliest movie memories are from this time. Of course, the ones that really stand out are the ones that weren’t actually for kiddies.
Peeping Tom, the 1960 psychological thriller about a homicidal cinematographer who uses his camera to capture the death throes of the models he murders, is regarded today as one of director Michael Powell’s masterpieces. At the time of its release, however, it was universally reviled by most critics and brought an abrupt halt to Powell’s career. Some even mistakenly believed it was his last film and even Powell wondered if he’d ever work again. But the celebrated director would go on to helm four more feature films, a made-for-TV production of Bela Bartok’s opera Herzog Blaubarts Burg (aka Bluebeard’s Castle, 1963) and the documentary Return to the Edge of the World (1978). Among his post-Peeping Tom work, Age of Consent (1969), his penultimate feature, is an underrated delight and features Helen Mirren in her first starring role.Continue reading
Among the many teen idols of the fifties who climbed to fame with top forty hit records, only a few made the successful crossover to film acting. Pat Boone was groomed by 20th-Century-Fox as a teen matinee idol in Bernadine (1957), Tommy Sands stayed in his comfort zone playing an aspiring pop star in Sing Boy Sing (1958), Fabian made his screen debut with the family-friendly backwoods drama Hound-Dog Man (1959), and Bobby Rydell played your average boy-next-door opposite Ann-Margret in Bye Bye Birdie (1963). Paul Anka, on the other hand, appeared in the most unlikely vehicle for his first major starring role – Look in Any Window (1961).Continue reading
That was how director Ken Russell described his production of Billion Dollar Brain (1967). Whether that claim is true or not, Russell maintained it was the main reason the third entry in the Harry Palmer spy series failed at the box office. To be totally honest, none of the competing rivals in the film – Russia, the U.K., Latvia and the U.S. – are preferable over the other and come across as cynical, opportunistic entities that are only focused on their own agendas and self interests. Seen today, Billion Dollar Brain is easily most entertaining film in the five-movie franchise and deserves a reappraisal. Continue reading
How much of your identity is reflected in the clothes you wear? For some, fashion is the truest form of self-expression. It is who you are…or who you want to be. Some of the greatest fashion designers of our time have stated as much while offering other reasons for why it is important. Alexander McQueen said, “Fashion should be a form of escapism, and not a form of imprisonment” and Coco Chanel once remarked, “In order to be irreplaceable one must always be different.” This is certainly something to mull over while watching Quentin Dupieux’s dark, twisted fable, Deerskin (French title: Le Daim, 2019), which isn’t really about fashion per se but self-expression, creativity and being different are clearly part of the film’s thematic interests. Continue reading