Well, another year spent in the company of classic cinema curated by the TCM Classic Film Festival has come and gone, leaving me with several great experiences watching favorite films and ones I’d never before seen, some already cherished memories, and the usual weary bag of bones for a body in the aftermath. (I usually come down with something when I decompress post-festival and get back to the working week, and this year has been no exception.) There have now been seven TCMFFs since its inaugural run in 2010. I’ve been lucky enough to attend them all, and this time around I saw more movies than I ever have before—18 features zipping from auditorium to queue and back to auditorium like a gerbil in a tube maze. In order to make sure I got in to see everything I wanted to see, I had to make sure I was...
- 5/7/2016
- by Dennis Cozzalio
- Trailers from Hell
I live in Los Angeles, and my residency here means that a lot of great film programming-- revival screenings, advance looks at upcoming releases and vital, fascinating glimpses at unheralded, unexpected cinema from around the world—is available to me on a week-by-week basis. But I’ve never been to Cannes. Toronto, Tribeca, New York, Venice, Berlin, Sundance, SXSW, these festivals are all events that I have yet to be lucky enough to attend, and I can reasonably expect that it’s probably going to stay that way for the foreseeable future. I never attended a film festival of any kind until I made my way to the outskirts of the Mojave Desert for the Lone Pine Film Festival in 2006, which was its own kind of grand adventure, even if it wasn’t exactly one for bumping shoulders with critics, stars and fanatics on the French Riviera.
But since 2010 there...
But since 2010 there...
- 4/24/2016
- by Dennis Cozzalio
- Trailers from Hell
Tod Browning’s “Freaks”
Before R-ratings, anti-heroes and gratuitous violence and nudity in mainstream Hollywood movies, there was the Hays Code. As a form of self-policing the industry, virtually every movie released up until 1968 needed that stamp of approval if it wanted distribution. And while it helped produce all of Old Hollywood’s true classics for several decades, it often included ridiculous rulings like not being able to show or flush a toilet on screen, not allowing married couples to be shown sleeping in the same bad or always making sure criminals, even protagonists of the movie, got punished in the end.
But before the Hays Code was nothing, and it was a gloriously weird, scandalous time for the movies. Certain Hollywood films in the early ’30s as “talkies” were rapidly taking hold have since been labeled “Pre-Code” films that never received Hollywood’s stamp of approval.
Every Friday in September,...
Before R-ratings, anti-heroes and gratuitous violence and nudity in mainstream Hollywood movies, there was the Hays Code. As a form of self-policing the industry, virtually every movie released up until 1968 needed that stamp of approval if it wanted distribution. And while it helped produce all of Old Hollywood’s true classics for several decades, it often included ridiculous rulings like not being able to show or flush a toilet on screen, not allowing married couples to be shown sleeping in the same bad or always making sure criminals, even protagonists of the movie, got punished in the end.
But before the Hays Code was nothing, and it was a gloriously weird, scandalous time for the movies. Certain Hollywood films in the early ’30s as “talkies” were rapidly taking hold have since been labeled “Pre-Code” films that never received Hollywood’s stamp of approval.
Every Friday in September,...
- 9/4/2014
- by Brian Welk
- SoundOnSight
Howard Hawks' Red River, John Wayne, Mongtomery Clift, Joanne Dru Elizabeth Taylor, Montgomery Clift, Jane Withers, Jeanette MacDonald: Packard Campus April 2011 Packard Campus April 2011 Schedule Friday, April 1 (7:30 p.m.) Double Harness (Rko, 1933) Directed by John Cromwell. With Ann Harding and William Powell. Comedy, drama. Black & White, 69 min. Saturday, April 2 (7:30 p.m.) Legend (20th Century-Fox, 1985) Directed by Ridley Scott. With Tom Cruise and Mia Sara. Fantasy, adventure. Color, 114 min. Thursday, April 7 (7:30 p.m.) “B” Comedy Double Feature: Leave It To Blondie (Columbia, 1945) Dagwood and Blondie have each written checks for charity unaware the other has done so. To cover the amounts they enter a song-writing contest. Directed by Abby Berlin. With Arthur Lake and Penny Singleton. Comedy. Black & White, 75 min. Affairs Of Geraldine (Republic, 1946) When the wealthy Mrs. Cooper dies, she leaves instructions in her will for [...]...
- 4/8/2011
- by Andre Soares
- Alt Film Guide
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