Dirk Bogarde: The author

I was going to make has off post Day before All Saints' day for Dirk, goal when I reflected, it did not filter really outside, completely the manner that I considered. Thus I then however, why not the exposure my readers, another side off Dirk, could Be to you not very familiar with He stays year author. Dirk wrote has total 17 pounds off, in its life, including autobiographies and novels. He also wrote nap poetries ace well. Just with its action, Dirk wrote with such has sophistication and spirit, it is difficult not to Be sucked inside. When I went to seek his books, I noted that has good share off his books are available to buy one www.amazon.com and yew you are interested butt his other work, go tohttp: /www.dirkbogarde.co.uk/index.php one information butt its career, life, and pastime. This Web site is filled so much off amazing things Dirk butt! Thus yew you seek has book for reading, to check nap off thesis titles. You never know, you edge really appreciate them! Snak! es and scale: the postilion off SA struck by Lightning: In the west off laying down sun: Rows off closing:
Great classic films, best all time movies

Vent by USC SCA

“Out off the files” has now occurring vent with USC SCA (aka, where I go to school). There is year enormous collection off USC Warner Bros. files, distillers off films, including Casablanca, one the posting off today one September 16 until December 12. The vent takes place with the academy off cinematographic film arts and sciences (you could the knowledge for the “Oscars”) in the broad gallery off entry off academy. The admission is free-- thus yew you are in Los Angeles-area, you should check it outside! Rare There are also the photographs off Marilyn Monroe and James Dean, in particular. I hope to cuts one minute free to obtain 2la-bas and to see the photographs… this six-month period was alienated occupied! The well made hope each one. Coil Ingridly, Alexis off
Great classic films, best all time movies

Footlight Parades (1933): Jimmy Cagney, Hoofer

With 42nd Street and Gold Diggers of 1933 (both 1933), Warner Brothers studio had tapped into a treasure trove of entertainment for Depression weary audiences, longing for escapist fare of the highest caliber. With these fluffy film musicals, they had just that, lots of singing, lots of dancing and spectacular kaleidoscopic choreography by master showman Busby Berkley. Striking while the iron was red hot, Warners produced Footlight Parade, a cookie cutter copy of the previous shows, before the year was out. Although not exactly the same plot, the similarities were enough to continue the successful streak for Berkley and the studio.The plot, suc! h as it is, revolves around the flailing career of New York stage director Chester Kent (movie tough guy James Cagney), who, in an attempt to save his struggling production company, develops “prologues”, live musical introductions to the newly popular talking pictures. As his financial woes mount, his shrewish, shallow wife demands a divorce, his competitor steals his ideas (with the help of an insider from his troupe), and his partners are swindling him of his share of the profits; add to this mix a gold-digging tootsie who latches on to his coattails when it appears he is on his way up again and you have a whirlwind of screen activity with Cagney chewing it up like it was a steak and baked potato. By his side the entire time and helping him at every turn, is his devoted and enamored secretary Nan (the incomparable Joan Blondell, at her cutest and wise-cracking snappiest).Cagney had become a big star at Warners, along with Edward G. Robinson, as the resident grande gangster, after his breakthrough hit The Public Enemy two years earlier. But the actor had started out on the stage as a song and dance man and took this opportunity to flaunt his hoofing skills to great success. It is in this capacity and genre that he would win an Academy Award nine years later as George M. Cohan in Yankee Doodle Dandy. In Footlight Parade, Cagney is a firecracker of activity, shooting rapid fire dialogue as quickly as he does a machine gun in his gangster/hoodlum pictures.Blondell, also a Warners staple, is a scene stealer as Nan. Standing by her man throughout the whole film (even when Cagney doesn’t realize he’s her man), she sticks up for the underdog/good guy (encouraging Chester to hire ! talented dancer/stenographer Ruby Keeler) and protects those she loves from harm (ie: pretty but conniving Claire Dodd from bossman Cagney). Along with the two leads, Footlight Parade features the fresh faces of crooner Dick Powell and the afore mentioned Keeler, who made a dynamic duo in the year’s previous two Berkley hits.The film is pre-Code, the time before Hollywood censorship took a stronghold, and some of its racier dialogue was sliced and diced from re-release dates after the Code took effect. However, it was restored in 1970, so today, we can enjoy a classic Blondell sniping to her gold-digging rival for Cagney’s affections: “Out countess…as l! ong as there are sidewalks, you’ll have a job.” Other elem! ents tha t post-Code films wouldn’t have gotten away with were scantily clad chorines in a the bathing beauty extravaganza “By a Waterfall.” As a matter of fact, all the musical numbers in the film’s finale have daring themes to say the least. The charming “Honeymoon Hotel” routine shows a newlywed couple (Powell and Keeler) trying to enjoy their matrimonial amour without the constant interruptions that ensue, including an odd and ribald baby played by dwarf Billy Barty. In the final number, “Shanghai Lil”, Cagney is a sailor, looking for his lost love in the bordellos and opium dens of the Orient. It is a bizarre and surreal concept and even more unusual is the introduction of Keeler’s Lil. Unlike the debauchery and wanton behavior going on around her, Keeler, as Cagney’s Asian gal pal, is cute and perky. From the rest of the performers in the bit, one would expect Marlene Dietrich to show up as the infamous Lil. However, it is nonetheless a fabulous piece of fil! m extravagance set to music.Fast, furious and complete fun, Footlight Parade, like its toe tapping cousins, 42nd Street and Gold Diggers, was a success and continued the trend at Warners fondly known as the “backstage musical”. The string would continue the following year with another installment of the “Gold Diggers” films, Dames and Wonder Bar.Want to know more?Here are some recommendations regarding the article above:Footlight Parade (1933) DVDJoan Blondell: A Life Between Takes ~ Matthew KennedyIf you are interested in these or any other merchandise, please help support this blog by purchasing them through the Amazon portal at the top of this page. By accessing Amazon through this site, you help me maintain resource material and continue to share my love of classic film. Thank you very much.
Great classic films, best all time movies

Vent by USC SCA

“Out off the files” has now occurring vent with USC SCA (aka, where I go to school). There is year enormous collection off USC Warner Bros. files, distillers off films, including Casablanca, one the posting off today one September 16 until December 12. The vent takes place with the academy off cinematographic film arts and sciences (you could the knowledge for the “Oscars”) in the broad gallery off entry off academy. The admission is free-- thus yew you are in Los Angeles-area, you should check it outside! Rare There are also the photographs off Marilyn Monroe and James Dean, in particular. I hope to cuts one minute free to obtain 2la-bas and to see the photographs… this six-month period was alienated occupied! The well made hope each one. Coil Ingridly, Alexis off
Great classic films, best all time movies

I note

"Confessions of a Nazi Spy" starts off as a documentary-style revelation of secret Nazi spies in the U.S. meeting and gathering information to send back to Germany. By the end it becomes less a narrative film and more a message about the dangers lurking in the dark. It's interesting enough but falls short of greatness.This 1939 release was apparently the first major studio release to attack the Nazi party, and Germany was none too happy with Warner Brothers for doing so. The foreign markets were still open, although it was becoming clear what would soon be happening. And since the film made money, other studios followed with their own Nazi-themed stories. I must admit the trailer is a lot of fun and I love ! the ending tagline, "It was our duty to make it, it's your American privilege to see it!" That's marketing gold.The movie opens without the usual credits that typified almost all movies of this time. It goes right into the silhouette of the narrator setting up the story, much like a radio announcer or radio newsman, giving everything an authentic feel to what's going to happen next. And indeed it does unfold -- an international spy ring where messages are funneled through a contact in England, where Dr. Kassel (Paul Lukas) gives rousing pro-Nazi talks to loyal Germans living in the U.S., where Germany plots how to infiltrate the U.S. and gather its secrets, where children are groomed to be good Nazis.The film also ma! kes it clear that a majority of Germans in the U.S. were loyal! to Amer ica. About halfway through the film G-man Ed Renard (Edward G. Robinson) is put on the case, and America can breathe easier. While Robinson is great -- I mean, what Nazi is gonna win out over Little Caesar? -- this also takes some of the wind out of the story, because Renard is so competent that the outcome is no longer in doubt. Plus, the last half hour becomes so predictable that the intriguing characters lose any dimension.In hindsight, the film would have worked better had the audience learned more about some of the characters. Why did they decide to become a spy? Why did they leave Germany in the first place? Giving them some dimension may have made the piece stronger rather than relying on black-and-white depictions of good and evil.But ultimately this film is about selling the goods, even if they are obvious. The title is a giveaway that the filmmakers are going for sensationalism. And, since this was the first film to go this route, why not? Unfortunately, 70 years l! ater, it's more of a curiosity piece than a classic with some good performance (George Sanders in particular, clearly showing the suave devil he would play so well in the future). "Confessions" is very watchable but not as daring as it once was.
Great classic films, best all time movies

Top Ten: Crat master KN-17

Robert here. Did you know that yesterday was the twenty year anniversary of the NC-17 rating?  That tag, applied to the most controversial of films, has developed the most controversial reputation itself, with artists and advocates complaining that it's implemented unevenly and scares away theaters an rental providers.  We're going to leave all that be for now and instead celebrate the ten films that, despite or because of their NC-17 reputations, lead the pack.  Here are the top ten money-making NC-17 films.10. Wide Sargasso Sea (1993) $1,614,784Rated NC-17 for strong, explicit sexualityDoes this one not sound familiar to you?  Released early on in the rating's lifetime, speculation is that while there's plenty of sex, it was the full-frontal male nudity that pushed the MPAA rating's board over the e! dge, probably the sort of thing that would easily get an R today (but you never know).  NC-17 films were relatively rare early on (not that they're plentiful today) and the rating's promise of scandalous titillation added interest to this film that history has forgotten.9. Bad Lieutenant (1992) $2,000,022Rated NC-17 for sexual violence, strong sexual situations & dialogue, graphic drug use.While most of the films on this list can attribute their rating almost entirely to violence or sexual content, Bad Lieutenant serves up a healthy helping of other material as well, specifically it's prolonged scenes of drug use.Not that the rape of a nun and Harvey Keitel's almost legendary full nude scene are things to scoff at (and we may wonder if the drug use alone would have earned an NC-17).  The film's sacrile! giously controversial reputation undoubtedly has helped boost ! it's ear nings (the quality product behind the hype doesn't hurt either) and continues to buoy the film's position as a cult classic.8. Crash (1996) $2,038,450Rated NC-17 for numerous explicit sex scenes.Sex and car crashes.  Crash is a film which, fifteen years later, still divides audiences and still provokes shock.  It's a testament to Cronenberg's skill and bravery as a director that he can delve head-first into such unspoken fetishes and ending up with a film that many still consider a masterpiece.  As is always the case, the NC-17 film was both a boost and a hindrance, allowing producers to slap the tagline "The Most Controversial Film in Years" on the film while simultaneously cutting an R-rated version for more sensible tastes.7. The Dreamers (2004) $2,532,228Rated NC-17 for explicit sexual contentIt's! fitting that Bertolucci grabs a spot on this list, as his work has always advanced the cause of intelligent erotica.  The trick here, as it always has been, is giving you passionate sex and nubile bodies (in this case Louis Garrell, Eva Green and Michael Pitt) to gaze at packaged in a manner that makes you wish you hadn't been turned on.  In the case of The Dreamers, we're presented with an incestuous love triangle with enough full frontal that the eventual rating couldn't have shocked anyone.  Cinema lovers can enjoy the classic cinema homages.  Francophiles can drool over the setting of 1968 Paris. 6. Tie Me Up! Tie Me Down! (1990) $4,087,361Rated NC-17 for scene of strong adult sensuality with nudity.With a title that promised Sado-masochistic treats and s director coming off his biggest hit to date Tie Me Up! Tie Me Down! boosted Pedro Almodovar's reputation as a chronicler of obsession and sexuality to the point where now we expect co! ntent for Almodovar that borders on the NC-17 line.  The ! film its elf is the most delightful dark romp present on this list.5. Lust, Caution (2007) $4,604,982Rated NC-17 for some explicit sexuality.Ang Lee's follow up to his Oscar win is a great example of how a distinct confluence of events can temper the NC-17 boogey man.  Combine a high profile director, and independent release and a sex scene so essential to the film, that to cut it would be disrespectful to said high profile director, and you've got uncensored success. A brief aside about the bizzare marketing that accompanies NC-17 films.  The censored Lust, Caution DVD made for rental chain shelves, promises "the R rated film, not seen in theaters" and if you didn't know that was a downgrade, you'd assume, as I imagine is the point, that you're getting added kinkiness.4. Bad Education (2004) $5,211,842Rated NC-17 for a! scene of explicit sexual content.Pedro Almodovar's second entry on this list is a film where the sexual content is most definitely not meant to  arouse.  The film is a neo-noir based around the victim of an abusive priest.  As with his last NC-17 film, Almodovar uses the springboard of his greatest success to release a film that can only work with the content that most distributors would quickly flinch at.3. The Cook, the Thief, his Wife and Her Lover (1990) $7,724,701Rated NC-17 for adult situations/language, nudity, sexMy great old film professor's story goes, he showed this film to a class and got into a bit of trouble.  Truth told, the violence, death by forced feeding, sex in meat lockers and cannibalism can overwhelm some of the films other creative visual constructs (for example, the colors of charac! ters' outfits change as they walk from one room to another).&n! bsp; But director Peter Greenaway knew what he was doing and knew what he wanted.  This film is still that for which he's most known.  And it's hard not to ignore the bizarre courageousness of any film where Helen Mirren utters the phrase, "Try the cock... it's a delicacy."2. Henry & June (1990) $11,567,449Rated NC-17 for adult situations/language, nudity, sexThe first film ever slapped with the NC-17 distinction and it shows.  The story of Anais Nin's unconventional relationship with Henry Miller and his wife June and how it inspired Tropic of Cancer these days seems, if not tame, certainly unworthy of the rating.  But as the ratings board was still figuring out what would qualify (apparently three-way sex and brothel scenes made that list) they handed Henry & June a PR victory and the movie practically marketed itself.1. Showgirls (1995) $20,350,754Rated NC-17 for nudity and erotic sexuality throughout, and for some graphic language and sexual violence.I give you, the grand champion.  Look at the difference between the moneys made by this monster and our number two film.  Showgirls is the only movie on this list that still has a place as a pop culture phenom.  That place may not come with the most respect in the world (although I'd argue it never was meant to) but the combination of good marketing, quality camp and copious nudity (hiring a previously "good girl" actress didn't hurt) propelled Showgirls easily to the top of this list.  Considering the small-release, art house atmosphere that most NC-17 films niche into today, I wouldn't expect a challenger to Showgirls' crown any time soon.How many of these films have you seen?*
Great! classic films, best all time movies

Notice by

"Confessions of a Nazi Spy" starts off as a documentary-style revelation of secret Nazi spies in the U.S. meeting and gathering information to send back to Germany. By the end it becomes less a narrative film and more a message about the dangers lurking in the dark. It's interesting enough but falls short of greatness.This 1939 release was apparently the first major studio release to attack the Nazi party, and Germany was none too happy with Warner Brothers for doing so. The foreign markets were still open, although it was becoming clear what would soon be happening. And since the film made money, other studios followed with their own Nazi-themed stories. I must admit the trailer is a lot of fun and I love ! the ending tagline, "It was our duty to make it, it's your American privilege to see it!" That's marketing gold.The movie opens without the usual credits that typified almost all movies of this time. It goes right into the silhouette of the narrator setting up the story, much like a radio announcer or radio newsman, giving everything an authentic feel to what's going to happen next. And indeed it does unfold -- an international spy ring where messages are funneled through a contact in England, where Dr. Kassel (Paul Lukas) gives rousing pro-Nazi talks to loyal Germans living in the U.S., where Germany plots how to infiltrate the U.S. and gather its secrets, where children are groomed to be good Nazis.The film also ma! kes it clear that a majority of Germans in the U.S. were loyal! to Amer ica. About halfway through the film G-man Ed Renard (Edward G. Robinson) is put on the case, and America can breathe easier. While Robinson is great -- I mean, what Nazi is gonna win out over Little Caesar? -- this also takes some of the wind out of the story, because Renard is so competent that the outcome is no longer in doubt. Plus, the last half hour becomes so predictable that the intriguing characters lose any dimension.In hindsight, the film would have worked better had the audience learned more about some of the characters. Why did they decide to become a spy? Why did they leave Germany in the first place? Giving them some dimension may have made the piece stronger rather than relying on black-and-white depictions of good and evil.But ultimately this film is about selling the goods, even if they are obvious. The title is a giveaway that the filmmakers are going for sensationalism. And, since this was the first film to go this route, why not? Unfortunately, 70 years l! ater, it's more of a curiosity piece than a classic with some good performance (George Sanders in particular, clearly showing the suave devil he would play so well in the future). "Confessions" is very watchable but not as daring as it once was.
Great classic films, best all time movies

Uruguay must SELECT: âThe part off lion âgold âthe service life â?

Has sisypheanaufgabe follows the tenders announcements off OSCAR off foreign film. Uruguay did emergency announce yet, goal I amndt hearing off year internal SOURCE, which three more other groups off voters weigh inside, and the field RK two film restricted is: Ton as out the part off lion has merry drama regarding and the service life, which is regarding has film ton program and has death theatre. MUBI cal it „clearly ungeeky in its cinephilia. “Intriguing noise. Edge you feel the excitation? Soon incoming goods our supplements hopefulslist from OSCAR ton of CUTs by 60+ that the majority among custom wants never CUTs the opportunity, only… RK leases ton lake untertitelt emergency, it is, incoming goods it huntings away swallows more over the NEXT years, goal UP ton then there acres two new whole series off foreign film ton more discover, and you forget all regarding those from two years back*. Wheeeeeeee. (lake, I want ton what say regarding sisyphean? I think the sol! ution alone consist off looking for new film of titles over Netflix and one „except “and ton of 1 ton of 11 year tons click tons of fuel element surprised after, yew they arrives RK your threshold it, which let RK DVD, and ton their child off your tail it is worked upward) I guess/advise that therefore the majority off the cinema fans gold in particular country has two, but the AREAs, them specialize in/pursue more. Ton remain how otherwise one the cinema off the world? It is the earth off the specialist, and I amndt unfortunately, goal has RK leases very absent minded generalist.*, which is my problem. The distribution SHIFT slowly, and my brain SHIFT nearly the prick from has long film NEXT and went, before has film open into gold for two theatres two years after its fixedfirst. (Sighs)
Great classic films, best all time movies

Footlight Parades (1933): Jimmy Cagney, Hoofer

With 42nd Street and Gold Diggers of 1933 (both 1933), Warner Brothers studio had tapped into a treasure trove of entertainment for Depression weary audiences, longing for escapist fare of the highest caliber. With these fluffy film musicals, they had just that, lots of singing, lots of dancing and spectacular kaleidoscopic choreography by master showman Busby Berkley. Striking while the iron was red hot, Warners produced Footlight Parade, a cookie cutter copy of the previous shows, before the year was out. Although not exactly the same plot, the similarities were enough to continue the successful streak for Berkley and the studio.The plot, suc! h as it is, revolves around the flailing career of New York stage director Chester Kent (movie tough guy James Cagney), who, in an attempt to save his struggling production company, develops “prologues”, live musical introductions to the newly popular talking pictures. As his financial woes mount, his shrewish, shallow wife demands a divorce, his competitor steals his ideas (with the help of an insider from his troupe), and his partners are swindling him of his share of the profits; add to this mix a gold-digging tootsie who latches on to his coattails when it appears he is on his way up again and you have a whirlwind of screen activity with Cagney chewing it up like it was a steak and baked potato. By his side the entire time and helping him at every turn, is his devoted and enamored secretary Nan (the incomparable Joan Blondell, at her cutest and wise-cracking snappiest).Cagney had become a big star at Warners, along with Edward G. Robinson, as the resident grande gangster, after his breakthrough hit The Public Enemy two years earlier. But the actor had started out on the stage as a song and dance man and took this opportunity to flaunt his hoofing skills to great success. It is in this capacity and genre that he would win an Academy Award nine years later as George M. Cohan in Yankee Doodle Dandy. In Footlight Parade, Cagney is a firecracker of activity, shooting rapid fire dialogue as quickly as he does a machine gun in his gangster/hoodlum pictures.Blondell, also a Warners staple, is a scene stealer as Nan. Standing by her man throughout the whole film (even when Cagney doesn’t realize he’s her man), she sticks up for the underdog/good guy (encouraging Chester to hire ! talented dancer/stenographer Ruby Keeler) and protects those she loves from harm (ie: pretty but conniving Claire Dodd from bossman Cagney). Along with the two leads, Footlight Parade features the fresh faces of crooner Dick Powell and the afore mentioned Keeler, who made a dynamic duo in the year’s previous two Berkley hits.The film is pre-Code, the time before Hollywood censorship took a stronghold, and some of its racier dialogue was sliced and diced from re-release dates after the Code took effect. However, it was restored in 1970, so today, we can enjoy a classic Blondell sniping to her gold-digging rival for Cagney’s affections: “Out countess…as l! ong as there are sidewalks, you’ll have a job.” Other elem! ents tha t post-Code films wouldn’t have gotten away with were scantily clad chorines in a the bathing beauty extravaganza “By a Waterfall.” As a matter of fact, all the musical numbers in the film’s finale have daring themes to say the least. The charming “Honeymoon Hotel” routine shows a newlywed couple (Powell and Keeler) trying to enjoy their matrimonial amour without the constant interruptions that ensue, including an odd and ribald baby played by dwarf Billy Barty. In the final number, “Shanghai Lil”, Cagney is a sailor, looking for his lost love in the bordellos and opium dens of the Orient. It is a bizarre and surreal concept and even more unusual is the introduction of Keeler’s Lil. Unlike the debauchery and wanton behavior going on around her, Keeler, as Cagney’s Asian gal pal, is cute and perky. From the rest of the performers in the bit, one would expect Marlene Dietrich to show up as the infamous Lil. However, it is nonetheless a fabulous piece of fil! m extravagance set to music.Fast, furious and complete fun, Footlight Parade, like its toe tapping cousins, 42nd Street and Gold Diggers, was a success and continued the trend at Warners fondly known as the “backstage musical”. The string would continue the following year with another installment of the “Gold Diggers” films, Dames and Wonder Bar.Want to know more?Here are some recommendations regarding the article above:Footlight Parade (1933) DVDJoan Blondell: A Life Between Takes ~ Matthew KennedyIf you are interested in these or any other merchandise, please help support this blog by purchasing them through the Amazon portal at the top of this page. By accessing Amazon through this site, you help me maintain resource material and continue to share my love of classic film. Thank you very much.
Great classic films, best all time movies

Flight off the model off Marlo Thomas!

This All Saints' day Day before, I considers one getting dressed just like the aka Marlo Thomas d' Ann Marie. Young stag summons shoes and draw up, yew you think off the preparing upwards like it too! All the shoes and draw up are very fresh Web site modcloth.com, thus yew you cuts has some hour, check to their splendid clothing outside! Present The leaves off the series will Be is cut into two; initially I will announce nap draw up and shoes, that I feel that to re-press off the model Marlo perfectly and then I will announce others one his hairstyle and make-up. Thus I hope that you appreciate! So much very cherry $129.99Just has off glance $39.99Ready for the royal dress $47.99Down in concert seed Dresss- $59.99Cute off the model $44.99Flax off the sandal $27.99Seaworthy off $159.99Aegyptus by compartment $67.99
Great classic films, best all time movies

I note

"Confessions of a Nazi Spy" starts off as a documentary-style revelation of secret Nazi spies in the U.S. meeting and gathering information to send back to Germany. By the end it becomes less a narrative film and more a message about the dangers lurking in the dark. It's interesting enough but falls short of greatness.This 1939 release was apparently the first major studio release to attack the Nazi party, and Germany was none too happy with Warner Brothers for doing so. The foreign markets were still open, although it was becoming clear what would soon be happening. And since the film made money, other studios followed with their own Nazi-themed stories. I must admit the trailer is a lot of fun and I love ! the ending tagline, "It was our duty to make it, it's your American privilege to see it!" That's marketing gold.The movie opens without the usual credits that typified almost all movies of this time. It goes right into the silhouette of the narrator setting up the story, much like a radio announcer or radio newsman, giving everything an authentic feel to what's going to happen next. And indeed it does unfold -- an international spy ring where messages are funneled through a contact in England, where Dr. Kassel (Paul Lukas) gives rousing pro-Nazi talks to loyal Germans living in the U.S., where Germany plots how to infiltrate the U.S. and gather its secrets, where children are groomed to be good Nazis.The film also ma! kes it clear that a majority of Germans in the U.S. were loyal! to Amer ica. About halfway through the film G-man Ed Renard (Edward G. Robinson) is put on the case, and America can breathe easier. While Robinson is great -- I mean, what Nazi is gonna win out over Little Caesar? -- this also takes some of the wind out of the story, because Renard is so competent that the outcome is no longer in doubt. Plus, the last half hour becomes so predictable that the intriguing characters lose any dimension.In hindsight, the film would have worked better had the audience learned more about some of the characters. Why did they decide to become a spy? Why did they leave Germany in the first place? Giving them some dimension may have made the piece stronger rather than relying on black-and-white depictions of good and evil.But ultimately this film is about selling the goods, even if they are obvious. The title is a giveaway that the filmmakers are going for sensationalism. And, since this was the first film to go this route, why not? Unfortunately, 70 years l! ater, it's more of a curiosity piece than a classic with some good performance (George Sanders in particular, clearly showing the suave devil he would play so well in the future). "Confessions" is very watchable but not as daring as it once was.
Great classic films, best all time movies

Devastating Javier and of disaster pos compete thus for the OSCAR von Fremdsprache

Forty-seven countries have now announced their Oscar submissions. We usually end with sixty-plus competitors so there's a dozen movies (at least) left unannounced... maybe even twenty more. The big question marks are Spain (we're guessing Celda 211) and Italy (we're guessing The Man Who Will Come) since both countries are favorites of Academy voters. We'll know the "official" official list in early October. I've updated all the pages.

• Afghanistan to France
• Germany to The Netherlands
• Norway to Venezuela (plus finalist lists for Uruguay and Spain)

Two biggies recently announced are Mexico's choice Biutiful which won admirers and haters at Cannes --for the same reasons as director Alejandro González Iñárritu's past efforts have divided -- and China's Aftershock (2010), the country's first homegrown IMAX epic that was a huge h! it this summer.Biutiful is a drama about a man who is dying and his life is falling apart on his way to the grave. Javier Bardem won Best Actor at Cannes so it's definitely One to Watch as it were. Plus, we know AMPAS voters respond well to Iñárritu's specific brand of miserabilism since they've handed nominations to all three of his previous feature films: Amores Perros (Best Foreign Language Film) 21 Grams (acting nominations) and Babel (several nods including Best Picture).China's submission is inspired by a 1976 earthquake that killed nearly a quarter of a million people. I assumed it's fictionally dramatized (like Titanic for example) as the main plot apparently revolves around a woman who must face her own Sophie's Choice when her twins are buried alive and the rescue team can only save one of them. The unusual trailer takes us backwards in time. I'm ! personally not much of a fan of disaster epics -- if I see New! York Ci ty or Paris destroyed one more time in a movie. Grrrrr -- but will Oscar be? I mean, this won't have the science fiction silliness of something like 2012 and they do like a good historical epic.At any rate, it's important to remember that no film is ever a safe bet in this particular derby since there are so many options and the voters actually have to watch the films (unlike other races where you can theoretically be nominated on goodwill and campaigning alone, no screenings necessary) Have any of our international readers seen either of these films? Speak up if you have. Or prognosticate blindly in the comments. You know how we do.Nathaniel's Oscar-Submission Reviews Thus FarPeru's UndertowThailand's Uncle Boonmee Who Can Recall His Past LivesMore soon...**
Great classic films, best all t! ime movies

Vent by USC SCA

“Out off the files” has now occurring vent with USC SCA (aka, where I go to school). There is year enormous collection off USC Warner Bros. files, distillers off films, including Casablanca, one the posting off today one September 16 until December 12. The vent takes place with the academy off cinematographic film arts and sciences (you could the knowledge for the “Oscars”) in the broad gallery off entry off academy. The admission is free-- thus yew you are in Los Angeles-area, you should check it outside! Rare There are also the photographs off Marilyn Monroe and James Dean, in particular. I hope to cuts one minute free to obtain 2la-bas and to see the photographs… this six-month period was alienated occupied! The well made hope each one. Coil Ingridly, Alexis off
Great classic films, best all time movies

Flight off the model off Marlo Thomas!

This All Saints' day Day before, I considers one getting dressed just like the aka Marlo Thomas d' Ann Marie. Young stag summons shoes and draw up, yew you think off the preparing upwards like it too! All the shoes and draw up are very fresh Web site modcloth.com, thus yew you cuts has some hour, check to their splendid clothing outside! Present The leaves off the series will Be is cut into two; initially I will announce nap draw up and shoes, that I feel that to re-press off the model Marlo perfectly and then I will announce others one his hairstyle and make-up. Thus I hope that you appreciate! So much very cherry $129.99Just has off glance $39.99Ready for the royal dress $47.99Down in concert seed Dresss- $59.99Cute off the model $44.99Flax off the sandal $27.99Seaworthy off $159.99Aegyptus by compartment $67.99
Great classic films, best all time movies

I note

"Confessions of a Nazi Spy" starts off as a documentary-style revelation of secret Nazi spies in the U.S. meeting and gathering information to send back to Germany. By the end it becomes less a narrative film and more a message about the dangers lurking in the dark. It's interesting enough but falls short of greatness.This 1939 release was apparently the first major studio release to attack the Nazi party, and Germany was none too happy with Warner Brothers for doing so. The foreign markets were still open, although it was becoming clear what would soon be happening. And since the film made money, other studios followed with their own Nazi-themed stories. I must admit the trailer is a lot of fun and I love ! the ending tagline, "It was our duty to make it, it's your American privilege to see it!" That's marketing gold.The movie opens without the usual credits that typified almost all movies of this time. It goes right into the silhouette of the narrator setting up the story, much like a radio announcer or radio newsman, giving everything an authentic feel to what's going to happen next. And indeed it does unfold -- an international spy ring where messages are funneled through a contact in England, where Dr. Kassel (Paul Lukas) gives rousing pro-Nazi talks to loyal Germans living in the U.S., where Germany plots how to infiltrate the U.S. and gather its secrets, where children are groomed to be good Nazis.The film also ma! kes it clear that a majority of Germans in the U.S. were loyal! to Amer ica. About halfway through the film G-man Ed Renard (Edward G. Robinson) is put on the case, and America can breathe easier. While Robinson is great -- I mean, what Nazi is gonna win out over Little Caesar? -- this also takes some of the wind out of the story, because Renard is so competent that the outcome is no longer in doubt. Plus, the last half hour becomes so predictable that the intriguing characters lose any dimension.In hindsight, the film would have worked better had the audience learned more about some of the characters. Why did they decide to become a spy? Why did they leave Germany in the first place? Giving them some dimension may have made the piece stronger rather than relying on black-and-white depictions of good and evil.But ultimately this film is about selling the goods, even if they are obvious. The title is a giveaway that the filmmakers are going for sensationalism. And, since this was the first film to go this route, why not? Unfortunately, 70 years l! ater, it's more of a curiosity piece than a classic with some good performance (George Sanders in particular, clearly showing the suave devil he would play so well in the future). "Confessions" is very watchable but not as daring as it once was.
Great classic films, best all time movies

NYFF: âUncle Boonmee Who EDGE Recall its past lives â

*slight spoilers ahead but this is not a "plot" film.*Uncle Boonmee can recall his past lives. My memory is hardly as uncanny. Recalling or describing Uncle Boonmee Who Can Recall His Past Lives, the Cannes Palme D'Or winner and Thailand's Oscar submission, even a few days after the screening is mysteriously challenging. Even your notes won't help you. This is not to say that the movie isn't memorable, rather that its most memorable images and stories refuse direct interpretation or cloud the edges of your vision, making it as hazy as the lovely cinematography. You can recall the skeletal story these images drift towards like moths and you can try to get to know the opaque characters that see them with you but these efforts have a low return on investment. What's important is the seeing.What's wrong with my eyes? They are! open but I can't see a thing.Most synopses of the movie will only embellish on the film's title. And while Uncle Boonmee does reflect on past lives, he only does so directly in the pre-title sequence as we follow him in ox form through an attempted escape from his farmer master, who will eventually rope him back in. The bulk of the film is not a recollection -- at least not from Boonmee himself, but a slow march towards his death while he meditates on life and the film meditates on animal and human relations. His nephew and sister in law, who objects to his immigrant nurse, visit him. So too does his dead wife and another ghostly visitor on the same night, in a bravura early sequence that as incongruously relaxed as it is eery and startling.The film peaks well before its wrap with the story of a scarred princess and a lustfu! l talking catfish and then we begin the march towards Boonmee'! s death, perhaps the most literal moment in the movie. And then curiously, the movie continues on once he's gone. If it loses much of its potency after Boonmee has departed, there are still a few fascinating images to scratch your head over when he's gone.The bifurcated structure that Weerathesakul has employed in the past is less prevalent this time.  Uncle Boonmee plays out not so much like two mysteriously reflective halves (see the haunting Tropical Malady which I find less accessible but actually stronger), but rather like a series of short films that all belong to the same continuous chronological movie, give or take that gifted horny catfish.Surely a google search, press notes, academic analysis or listening to the celebrated director Apichatpong "Joe" Weerathesakul speak (as I did after the screening) would and can pro! vide direct meaning to indirect cinema. But what's important is the seeing.Vision is frequently mentioned and referenced in Uncle Boonmee, whether it's mechanical -- as in a preoccupation with photography which peaks in a late film sequence composed of still images -- or organic. But like the ghost monkey with glowing red eyes (the film's signature image) says to Uncle Boonmee early in the film, "I can't see well in the bright light." It's the one exchange in the film that I wholly related to and understood. I'm not sure I need or want to understand, to attach specific meaning to these confounding stories and images. I only want to see them. Weerasethakul's movie is best experienced in the dark, with the images as spiritual guides. They fall around you like mosquito netting as you walk slowly through the Thai jungle. B+/BGreat classic films, best all! time mo vies

I note

"Confessions of a Nazi Spy" starts off as a documentary-style revelation of secret Nazi spies in the U.S. meeting and gathering information to send back to Germany. By the end it becomes less a narrative film and more a message about the dangers lurking in the dark. It's interesting enough but falls short of greatness.This 1939 release was apparently the first major studio release to attack the Nazi party, and Germany was none too happy with Warner Brothers for doing so. The foreign markets were still open, although it was becoming clear what would soon be happening. And since the film made money, other studios followed with their own Nazi-themed stories. I must admit the trailer is a lot of fun and I love ! the ending tagline, "It was our duty to make it, it's your American privilege to see it!" That's marketing gold.The movie opens without the usual credits that typified almost all movies of this time. It goes right into the silhouette of the narrator setting up the story, much like a radio announcer or radio newsman, giving everything an authentic feel to what's going to happen next. And indeed it does unfold -- an international spy ring where messages are funneled through a contact in England, where Dr. Kassel (Paul Lukas) gives rousing pro-Nazi talks to loyal Germans living in the U.S., where Germany plots how to infiltrate the U.S. and gather its secrets, where children are groomed to be good Nazis.The film also ma! kes it clear that a majority of Germans in the U.S. were loyal! to Amer ica. About halfway through the film G-man Ed Renard (Edward G. Robinson) is put on the case, and America can breathe easier. While Robinson is great -- I mean, what Nazi is gonna win out over Little Caesar? -- this also takes some of the wind out of the story, because Renard is so competent that the outcome is no longer in doubt. Plus, the last half hour becomes so predictable that the intriguing characters lose any dimension.In hindsight, the film would have worked better had the audience learned more about some of the characters. Why did they decide to become a spy? Why did they leave Germany in the first place? Giving them some dimension may have made the piece stronger rather than relying on black-and-white depictions of good and evil.But ultimately this film is about selling the goods, even if they are obvious. The title is a giveaway that the filmmakers are going for sensationalism. And, since this was the first film to go this route, why not? Unfortunately, 70 years l! ater, it's more of a curiosity piece than a classic with some good performance (George Sanders in particular, clearly showing the suave devil he would play so well in the future). "Confessions" is very watchable but not as daring as it once was.
Great classic films, best all time movies

NYFF: âUncle Boonmee Who EDGE Recall its past lives â

*slight spoilers ahead but this is not a "plot" film.*Uncle Boonmee can recall his past lives. My memory is hardly as uncanny. Recalling or describing Uncle Boonmee Who Can Recall His Past Lives, the Cannes Palme D'Or winner and Thailand's Oscar submission, even a few days after the screening is mysteriously challenging. Even your notes won't help you. This is not to say that the movie isn't memorable, rather that its most memorable images and stories refuse direct interpretation or cloud the edges of your vision, making it as hazy as the lovely cinematography. You can recall the skeletal story these images drift towards like moths and you can try to get to know the opaque characters that see them with you but these efforts have a low return on investment. What's important is the seeing.What's wrong with my eyes? They are! open but I can't see a thing.Most synopses of the movie will only embellish on the film's title. And while Uncle Boonmee does reflect on past lives, he only does so directly in the pre-title sequence as we follow him in ox form through an attempted escape from his farmer master, who will eventually rope him back in. The bulk of the film is not a recollection -- at least not from Boonmee himself, but a slow march towards his death while he meditates on life and the film meditates on animal and human relations. His nephew and sister in law, who objects to his immigrant nurse, visit him. So too does his dead wife and another ghostly visitor on the same night, in a bravura early sequence that as incongruously relaxed as it is eery and startling.The film peaks well before its wrap with the story of a scarred princess and a lustfu! l talking catfish and then we begin the march towards Boonmee'! s death, perhaps the most literal moment in the movie. And then curiously, the movie continues on once he's gone. If it loses much of its potency after Boonmee has departed, there are still a few fascinating images to scratch your head over when he's gone.The bifurcated structure that Weerathesakul has employed in the past is less prevalent this time.  Uncle Boonmee plays out not so much like two mysteriously reflective halves (see the haunting Tropical Malady which I find less accessible but actually stronger), but rather like a series of short films that all belong to the same continuous chronological movie, give or take that gifted horny catfish.Surely a google search, press notes, academic analysis or listening to the celebrated director Apichatpong "Joe" Weerathesakul speak (as I did after the screening) would and can pro! vide direct meaning to indirect cinema. But what's important is the seeing.Vision is frequently mentioned and referenced in Uncle Boonmee, whether it's mechanical -- as in a preoccupation with photography which peaks in a late film sequence composed of still images -- or organic. But like the ghost monkey with glowing red eyes (the film's signature image) says to Uncle Boonmee early in the film, "I can't see well in the bright light." It's the one exchange in the film that I wholly related to and understood. I'm not sure I need or want to understand, to attach specific meaning to these confounding stories and images. I only want to see them. Weerasethakul's movie is best experienced in the dark, with the images as spiritual guides. They fall around you like mosquito netting as you walk slowly through the Thai jungle. B+/BGreat classic films, best all! time mo vies

Footlight Parades (1933): Jimmy Cagney, Hoofer

With 42nd Street and Gold Diggers of 1933 (both 1933), Warner Brothers studio had tapped into a treasure trove of entertainment for Depression weary audiences, longing for escapist fare of the highest caliber. With these fluffy film musicals, they had just that, lots of singing, lots of dancing and spectacular kaleidoscopic choreography by master showman Busby Berkley. Striking while the iron was red hot, Warners produced Footlight Parade, a cookie cutter copy of the previous shows, before the year was out. Although not exactly the same plot, the similarities were enough to continue the successful streak for Berkley and the studio.The plot, suc! h as it is, revolves around the flailing career of New York stage director Chester Kent (movie tough guy James Cagney), who, in an attempt to save his struggling production company, develops “prologues”, live musical introductions to the newly popular talking pictures. As his financial woes mount, his shrewish, shallow wife demands a divorce, his competitor steals his ideas (with the help of an insider from his troupe), and his partners are swindling him of his share of the profits; add to this mix a gold-digging tootsie who latches on to his coattails when it appears he is on his way up again and you have a whirlwind of screen activity with Cagney chewing it up like it was a steak and baked potato. By his side the entire time and helping him at every turn, is his devoted and enamored secretary Nan (the incomparable Joan Blondell, at her cutest and wise-cracking snappiest).Cagney had become a big star at Warners, along with Edward G. Robinson, as the resident grande gangster, after his breakthrough hit The Public Enemy two years earlier. But the actor had started out on the stage as a song and dance man and took this opportunity to flaunt his hoofing skills to great success. It is in this capacity and genre that he would win an Academy Award nine years later as George M. Cohan in Yankee Doodle Dandy. In Footlight Parade, Cagney is a firecracker of activity, shooting rapid fire dialogue as quickly as he does a machine gun in his gangster/hoodlum pictures.Blondell, also a Warners staple, is a scene stealer as Nan. Standing by her man throughout the whole film (even when Cagney doesn’t realize he’s her man), she sticks up for the underdog/good guy (encouraging Chester to hire ! talented dancer/stenographer Ruby Keeler) and protects those she loves from harm (ie: pretty but conniving Claire Dodd from bossman Cagney). Along with the two leads, Footlight Parade features the fresh faces of crooner Dick Powell and the afore mentioned Keeler, who made a dynamic duo in the year’s previous two Berkley hits.The film is pre-Code, the time before Hollywood censorship took a stronghold, and some of its racier dialogue was sliced and diced from re-release dates after the Code took effect. However, it was restored in 1970, so today, we can enjoy a classic Blondell sniping to her gold-digging rival for Cagney’s affections: “Out countess…as l! ong as there are sidewalks, you’ll have a job.” Other elem! ents tha t post-Code films wouldn’t have gotten away with were scantily clad chorines in a the bathing beauty extravaganza “By a Waterfall.” As a matter of fact, all the musical numbers in the film’s finale have daring themes to say the least. The charming “Honeymoon Hotel” routine shows a newlywed couple (Powell and Keeler) trying to enjoy their matrimonial amour without the constant interruptions that ensue, including an odd and ribald baby played by dwarf Billy Barty. In the final number, “Shanghai Lil”, Cagney is a sailor, looking for his lost love in the bordellos and opium dens of the Orient. It is a bizarre and surreal concept and even more unusual is the introduction of Keeler’s Lil. Unlike the debauchery and wanton behavior going on around her, Keeler, as Cagney’s Asian gal pal, is cute and perky. From the rest of the performers in the bit, one would expect Marlene Dietrich to show up as the infamous Lil. However, it is nonetheless a fabulous piece of fil! m extravagance set to music.Fast, furious and complete fun, Footlight Parade, like its toe tapping cousins, 42nd Street and Gold Diggers, was a success and continued the trend at Warners fondly known as the “backstage musical”. The string would continue the following year with another installment of the “Gold Diggers” films, Dames and Wonder Bar.Want to know more?Here are some recommendations regarding the article above:Footlight Parade (1933) DVDJoan Blondell: A Life Between Takes ~ Matthew KennedyIf you are interested in these or any other merchandise, please help support this blog by purchasing them through the Amazon portal at the top of this page. By accessing Amazon through this site, you help me maintain resource material and continue to share my love of classic film. Thank you very much.
Great classic films, best all time movies

Flight off the model off Marlo Thomas!

This All Saints' day Day before, I considers one getting dressed just like the aka Marlo Thomas d' Ann Marie. Young stag summons shoes and draw up, yew you think off the preparing upwards like it too! All the shoes and draw up are very fresh Web site modcloth.com, thus yew you cuts has some hour, check to their splendid clothing outside! Present The leaves off the series will Be is cut into two; initially I will announce nap draw up and shoes, that I feel that to re-press off the model Marlo perfectly and then I will announce others one his hairstyle and make-up. Thus I hope that you appreciate! So much very cherry $129.99Just has off glance $39.99Ready for the royal dress $47.99Down in concert seed Dresss- $59.99Cute off the model $44.99Flax off the sandal $27.99Seaworthy off $159.99Aegyptus by compartment $67.99
Great classic films, best all time movies

Vent by USC SCA

“Out off the files” has now occurring vent with USC SCA (aka, where I go to school). There is year enormous collection off USC Warner Bros. files, distillers off films, including Casablanca, one the posting off today one September 16 until December 12. The vent takes place with the academy off cinematographic film arts and sciences (you could the knowledge for the “Oscars”) in the broad gallery off entry off academy. The admission is free-- thus yew you are in Los Angeles-area, you should check it outside! Rare There are also the photographs off Marilyn Monroe and James Dean, in particular. I hope to cuts one minute free to obtain 2la-bas and to see the photographs… this six-month period was alienated occupied! The well made hope each one. Coil Ingridly, Alexis off
Great classic films, best all time movies

Vent by USC SCA

“Out off the files” has now occurring vent with USC SCA (aka, where I go to school). There is year enormous collection off USC Warner Bros. files, distillers off films, including Casablanca, one the posting off today one September 16 until December 12. The vent takes place with the academy off cinematographic film arts and sciences (you could the knowledge for the “Oscars”) in the broad gallery off entry off academy. The admission is free-- thus yew you are in Los Angeles-area, you should check it outside! Rare There are also the photographs off Marilyn Monroe and James Dean, in particular. I hope to cuts one minute free to obtain 2la-bas and to see the photographs… this six-month period was alienated occupied! The well made hope each one. Coil Ingridly, Alexis off
Great classic films, best all time movies

Flight off the model off Marlo Thomas!

This All Saints' day Day before, I considers one getting dressed just like the aka Marlo Thomas d' Ann Marie. Young stag summons shoes and draw up, yew you think off the preparing upwards like it too! All the shoes and draw up are very fresh Web site modcloth.com, thus yew you cuts has some hour, check to their splendid clothing outside! Present The leaves off the series will Be is cut into two; initially I will announce nap draw up and shoes, that I feel that to re-press off the model Marlo perfectly and then I will announce others one his hairstyle and make-up. Thus I hope that you appreciate! So much very cherry $129.99Just has off glance $39.99Ready for the royal dress $47.99Down in concert seed Dresss- $59.99Cute off the model $44.99Flax off the sandal $27.99Seaworthy off $159.99Aegyptus by compartment $67.99
Great classic films, best all time movies

I note

"Confessions of a Nazi Spy" starts off as a documentary-style revelation of secret Nazi spies in the U.S. meeting and gathering information to send back to Germany. By the end it becomes less a narrative film and more a message about the dangers lurking in the dark. It's interesting enough but falls short of greatness.This 1939 release was apparently the first major studio release to attack the Nazi party, and Germany was none too happy with Warner Brothers for doing so. The foreign markets were still open, although it was becoming clear what would soon be happening. And since the film made money, other studios followed with their own Nazi-themed stories. I must admit the trailer is a lot of fun and I love ! the ending tagline, "It was our duty to make it, it's your American privilege to see it!" That's marketing gold.The movie opens without the usual credits that typified almost all movies of this time. It goes right into the silhouette of the narrator setting up the story, much like a radio announcer or radio newsman, giving everything an authentic feel to what's going to happen next. And indeed it does unfold -- an international spy ring where messages are funneled through a contact in England, where Dr. Kassel (Paul Lukas) gives rousing pro-Nazi talks to loyal Germans living in the U.S., where Germany plots how to infiltrate the U.S. and gather its secrets, where children are groomed to be good Nazis.The film also ma! kes it clear that a majority of Germans in the U.S. were loyal! to Amer ica. About halfway through the film G-man Ed Renard (Edward G. Robinson) is put on the case, and America can breathe easier. While Robinson is great -- I mean, what Nazi is gonna win out over Little Caesar? -- this also takes some of the wind out of the story, because Renard is so competent that the outcome is no longer in doubt. Plus, the last half hour becomes so predictable that the intriguing characters lose any dimension.In hindsight, the film would have worked better had the audience learned more about some of the characters. Why did they decide to become a spy? Why did they leave Germany in the first place? Giving them some dimension may have made the piece stronger rather than relying on black-and-white depictions of good and evil.But ultimately this film is about selling the goods, even if they are obvious. The title is a giveaway that the filmmakers are going for sensationalism. And, since this was the first film to go this route, why not? Unfortunately, 70 years l! ater, it's more of a curiosity piece than a classic with some good performance (George Sanders in particular, clearly showing the suave devil he would play so well in the future). "Confessions" is very watchable but not as daring as it once was.
Great classic films, best all time movies

Footlight Parades (1933): Jimmy Cagney, Hoofer

With 42nd Street and Gold Diggers of 1933 (both 1933), Warner Brothers studio had tapped into a treasure trove of entertainment for Depression weary audiences, longing for escapist fare of the highest caliber. With these fluffy film musicals, they had just that, lots of singing, lots of dancing and spectacular kaleidoscopic choreography by master showman Busby Berkley. Striking while the iron was red hot, Warners produced Footlight Parade, a cookie cutter copy of the previous shows, before the year was out. Although not exactly the same plot, the similarities were enough to continue the successful streak for Berkley and the studio.The plot, suc! h as it is, revolves around the flailing career of New York stage director Chester Kent (movie tough guy James Cagney), who, in an attempt to save his struggling production company, develops “prologues”, live musical introductions to the newly popular talking pictures. As his financial woes mount, his shrewish, shallow wife demands a divorce, his competitor steals his ideas (with the help of an insider from his troupe), and his partners are swindling him of his share of the profits; add to this mix a gold-digging tootsie who latches on to his coattails when it appears he is on his way up again and you have a whirlwind of screen activity with Cagney chewing it up like it was a steak and baked potato. By his side the entire time and helping him at every turn, is his devoted and enamored secretary Nan (the incomparable Joan Blondell, at her cutest and wise-cracking snappiest).Cagney had become a big star at Warners, along with Edward G. Robinson, as the resident grande gangster, after his breakthrough hit The Public Enemy two years earlier. But the actor had started out on the stage as a song and dance man and took this opportunity to flaunt his hoofing skills to great success. It is in this capacity and genre that he would win an Academy Award nine years later as George M. Cohan in Yankee Doodle Dandy. In Footlight Parade, Cagney is a firecracker of activity, shooting rapid fire dialogue as quickly as he does a machine gun in his gangster/hoodlum pictures.Blondell, also a Warners staple, is a scene stealer as Nan. Standing by her man throughout the whole film (even when Cagney doesn’t realize he’s her man), she sticks up for the underdog/good guy (encouraging Chester to hire ! talented dancer/stenographer Ruby Keeler) and protects those she loves from harm (ie: pretty but conniving Claire Dodd from bossman Cagney). Along with the two leads, Footlight Parade features the fresh faces of crooner Dick Powell and the afore mentioned Keeler, who made a dynamic duo in the year’s previous two Berkley hits.The film is pre-Code, the time before Hollywood censorship took a stronghold, and some of its racier dialogue was sliced and diced from re-release dates after the Code took effect. However, it was restored in 1970, so today, we can enjoy a classic Blondell sniping to her gold-digging rival for Cagney’s affections: “Out countess…as l! ong as there are sidewalks, you’ll have a job.” Other elem! ents tha t post-Code films wouldn’t have gotten away with were scantily clad chorines in a the bathing beauty extravaganza “By a Waterfall.” As a matter of fact, all the musical numbers in the film’s finale have daring themes to say the least. The charming “Honeymoon Hotel” routine shows a newlywed couple (Powell and Keeler) trying to enjoy their matrimonial amour without the constant interruptions that ensue, including an odd and ribald baby played by dwarf Billy Barty. In the final number, “Shanghai Lil”, Cagney is a sailor, looking for his lost love in the bordellos and opium dens of the Orient. It is a bizarre and surreal concept and even more unusual is the introduction of Keeler’s Lil. Unlike the debauchery and wanton behavior going on around her, Keeler, as Cagney’s Asian gal pal, is cute and perky. From the rest of the performers in the bit, one would expect Marlene Dietrich to show up as the infamous Lil. However, it is nonetheless a fabulous piece of fil! m extravagance set to music.Fast, furious and complete fun, Footlight Parade, like its toe tapping cousins, 42nd Street and Gold Diggers, was a success and continued the trend at Warners fondly known as the “backstage musical”. The string would continue the following year with another installment of the “Gold Diggers” films, Dames and Wonder Bar.Want to know more?Here are some recommendations regarding the article above:Footlight Parade (1933) DVDJoan Blondell: A Life Between Takes ~ Matthew KennedyIf you are interested in these or any other merchandise, please help support this blog by purchasing them through the Amazon portal at the top of this page. By accessing Amazon through this site, you help me maintain resource material and continue to share my love of classic film. Thank you very much.
Great classic films, best all time movies