The Furniture: A Scenery Buffet for the Battling Burtons

Editor's Note: "The Furniture" is our weekly series on Production Design. We strongly suggest going forward that you click on the images to see them in their more detailed large glory. Many older films were of course designed for giant screens, not thinking of their eventual home as phones or small TV set. 

by Daniel Walber

 Franco Zeffirelli is not a man of subtle tastes. When he’s lucky, his opulent excesses achieve camp status. But when he’s not, it rolls over the audience like an 18-wheeler full of circus elephants. This has generally been the rule for his theatrical productions, some of which have nonetheless become war horse mainstays at major opera companies.

And so it may come as something of a surprise that the director’s overzealous artistic passion actually works quite brilliantly in his film version of The Taming of the Shrew, which opened 50 years ago this week. It turns out that his style is perfect for the frenetic madness of William Shakespeare’s screamiest comedy, heightened to a fever pitch by the deafening roars of Elizabeth Taylor and Richard Burton.

The setting is Renaissance Padua, introduced by way of a delightfully pastoral matte painting. Not content simply with a city in the rain, Zeffirelli showcases a rainbow. Two-dimensional sheep mingle with their three-dimensional, breathing brethren...

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The Furniture: A Canadian Air Show in Captains of the Clouds

"The Furniture" is our weekly series on Production Design. Here's Daniel Walber...

The United States may have entered World War II late, but American studios didn’t wait nearly as long to start making propaganda. Hollywood produced a number of pro-Allied films before the American entry into the war, from A Yankee in the RAF to the comparatively subtle Sergeant York. Though this ruffled some feathers in Washington, the debate became moot in December of 1941.

Captains of the Clouds falls right on the cusp, shot before Pearl Harbor but released in February of 1942. The film, directed by Michael Curtiz, was intended to drum up support for the Canadian war effort. The first major Hollywood production to be shot north of the border, it’s a technicolor extravaganza starring James Cagney and the Royal Canadian Air Force.

It also received two Oscar nominations. Sol Polito was recognized in the Best Cinematography category for the film’s breathtaking aerial sequences, a no-brainer. 

The nominated work of art director Ted Smith and set decorator Casey Roberts, however, is less flashy...

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The Sex Appeal of Garbo, Valentino and a 150-Year-Old Novelist

By either bizarre coincidence or brilliant intuition, Greta Garbo and Rudolph Valentino began their careers in nearly the same way. Both achieved overnight success with adaptations of one Spanish novelist, a writer who has almost entirely faded from popular consciousness since then. At the time, though, he was more famous than either actor.

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The Furniture: Celebrating the Tackiness of "The Oscar"

"The Furniture" is our weekly series on Production Design. Here's Daniel Walber...

Tomorrow is twice blessed. You’re probably already excited for the first reason, the Oscar nominations announcement. It’s also the centennial of Ernest Borgnine, an actor I have never particularly liked. But this coincidence makes today a perfect opportunity to talk about one of the worst movies ever produced by a Hollywood studio: 1966’s The Oscar.

The film begins and ends at the Academy Awards, where fictional Frankie Fane (Stephen Boyd) is as Best Actor nominee for Breakthrough, perhaps the most on-the-nose fictional title of all time. His newly estranged best friend Hymie Kelly (Tony Bennett, in his film debut), glares at him from the next row. Bennett would retire from acting immediately after The Oscar, for reasons that are obvious from the moment he starts talking...

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Happy 25th, Logan Lerman!

by David Upton

Congratulations are due: Logan Lerman’s endearing baby face has lasted to his twenty-fifth birthday! It's not that unusual for actors to play teenagers even into their thirties, but Lerman seems especially stuck in transition, repeatedly playing similar tunes of young men who are particularly prey to societal pressures. Last year’s Indignation threw him back in time, with his personal dramas set against an Ohioan college in 1951, but it was his previous college adventure that has proven Lerman’s career high to date...

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