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JASON CLARKE INTERVIEW

"I loved Clarke's scenes with Edgerton in The Great Gatsby. I thought, oh now I'm watching men not boys, and now I'm watching actors not movie stars.-Adri

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Entries in Humphrey Bogart (6)

Tuesday
Jul222014

1973 Look Back: Robert Altman's "The Long Goodbye"

We're giving 1973 some context as we approach the Smackdown. Here's Matthew Eng on an Altman film.

There’s an unmistakable sense of nostalgia that permeates Robert Altman’s seldom-seen 1973 neo-noir The Long Goodbye, an air of reminiscence highlighted by the film’s title track, a nifty, pliable, lovelorn little number composed by John Williams and Johnny Mercer that gets incorporated endlessly throughout the movie, evoking sporadic familiarity, even though we rarely hear the same version twice. It transforms itself, from scene-to-scene, into a flimsy piece of supermarket Muzak, an ivory-tickled barroom ditty, even a castanet-laden flamenco. It’s a caressing torch ballad one moment and a marching band’s funeral hymn the next. The song, in all its reimagined incarnations, continually threatens to embed itself into the viewer’s mind, but just as quickly eludes any tighter hold. It’s as though the film, in its own increasingly weary, tumbledown sort of way, is nostalgic for the tune, longing for something that comes back but is never the same.

It’s telling of Altman’s intentions that the film forsakes any other discernible music apart from this titular track, save for the classic, semi-satiric “Hooray for Hollywood,” which opens and closes the film. The Long Goodbye may be based on an eponymous Raymond Chandler novel, centered around a character made legendary by Bogart, and hitched to an entire history of early noir filmmaking, but it is not a mere, Body Heat­-like retread. And although there may be obvious admiration and even some slight affection for the genre in all of its former, mannered glory, it’s certainly not a love letter.

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Wednesday
Jul022014

A Year with Kate: The African Queen (1951)

Episode 27 of 52: In which Kate goes to Africa with Bogart, Bacall, and Huston, and almost loses her mind. 

When Katharine Hepburn decides to make a change in her career, she does not screw around. Kate’s first film of the 1950s (after a year off doing Shakespeare) was directed by John Huston, was shot in Technicolor by Jack Cardiff on location in Africa, and costarred Humphrey Bogart. When it opened in 1951, The African Queen was a hit, and eventually scored four Academy Award nominations (only Bogie won).

The story of making The African Queen is as incredible as the film itself. Everyone involved almost died at least once. Kate wrote a book on it (add author to her list of accomplishments), and it’s a fantastic read. Relevant to our interests is the fact that Kate got dysentery and dropped 20 pounds, making her already willowy frame even skinnier, a fact that would not be readily guessed from the promotional art:

"One of these things is not like the other..."

Bogie’s got biceps! Kate’s got curves! What the hell? This has got to be my favorite example of misleading poster art, and not just because Kate looks hilariously like Rita Hayworth. This poster displays the conflicting image shift that happened for Kate in the early 1950s. The African Queen is the film that launched the spinster phase of Kate’s career. But though romantic glamor was a thing of the past image-wise, romance--specifically sex--would become even more important. 

One sentence plot summary: A theologian thrillseeker and a half-cocked Canadian captain run a rustbucket boat down a river in the Congo to bomb the German navy in WWI. Sex and danger after the jump.

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Thursday
Apr172014

Seasons of Bette: Dark Victory (1939)

Seasons of Bette had a headache last week but is feeling much better now, thank you. Herewith, your catch-up episode on Dark Victory (1939)

it was the ghastliest feeling, everything went fuzzy. 

Fallen out of order, have I. That's awfully dreadful of me given that the great revelation of both Anne Marie's brilliant A Year With Kate and my own intermittent Seasons of Bette series is that you can actually watch a movie star grow in power and nuance and embrace of their own specificity if you watch their films chronologically.

This is true, at least, of the studio system where stars were invested in for the long haul rather than dabbled with for a few months at a time if agents, lawyers, producer, directors and stars could agree on a one-time contract. The old system had its drawbacks of course, giving thespians less agency in their own filmography and less ability to test their range in different genres and with left turn character types. Despite that, and even because of it, it was uniquely ideal soil for the true movie stars to grow like majestic redwoods. You know the kind of superstar I'm talking about: they are emphatically always themselves no matter how well they play any particular character. [more...]

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Friday
Feb142014

Cinema's Greatest On-Screen and Off-Screen Couples

Here's abstew with a Valentine special!

In the dark of the movie theatre is where we fall in love. Romantic films have influenced our lives and how we love since the dawn of cinema. And as we watch–perhaps on a first date–the actors fall in love on the silver screen, we swoon. More often than not, if you believe location rumors, that passion on-screen finds its way into the real-life relationships of the actors involved. In honor of Valentine's Day, let's celebrate those cinematic couples who's love burned bright on and off the big-screen.

Here are five of Hollywood's most iconic lovers...

Laurence Olivier and Vivien Leigh

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Monday
Sep162013

Lauren Bacall Gave Good Face

JA from MNPP here, putting my lips together and blowing a very happy 89th birthday in the direction of the living legend Betty Joan Perske... that is, Lauren Bacall. Next year marks the 70th anniversary of her film debut in Howard Hawks' To Have and Have Not, opposite - who else - Humphrey Bogart. And she's still at it, although her last disputably notable role was in 2005 with Lars Von Trier's Manderlay. (I haven't seen The Walker - how was she in that?) It's weird but when I think of Bacall I always immediately think of her as the suitably boring straight woman opposite a trio of over-actors in Douglas Sirk's Written on the Wind. Why is that the role out of all her roles that I think of? Is it just I'd always rather be thinking about Dorothy Malone...? Tell me - what's your favorite Bacall? And do you hold a grudge against Juliette Binoche for stealing her Oscar, or are you a sane person who thinks the fact that Juliette Binoche has an Oscar is one of the most right things with the world?

Saturday
Jun292013

Great Moments in Gayness: Smells Like "Gardenia"

Team Experience is celebrating Gay Pride with their favorite moments in gay cinema... although since it's the cinema sometimes it's Gay Shame! Here's Michael going wayback for some devious fey villanry in a noir classic..Happy Gay Pride Week Everyone!

Sam Spade’s secretary tells him there is a Joel Cairo to see him. She hands Spade a business card. He sniffs it and shoots Effie a look.

“Gardenia,” she says, identifying the scent. [more...]

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