1. “Stars in My Crown” (1950)

    This film was on TCM last week as part of this month’s Joel McCrea festival.  Supposedly McCrea’s favorite film, and the hymn tune can be heard throughout, is played and sung on the church organ near the film’s end.  But what mainly came to my mind was the final (1994) interview of the late, great Dennis Potter (see prior post), in which this dying genius states that his favorite hymn was “Stars in My Crown” - he even sings a bit: “Will there be any stars, any stars in my crown?”  Yes, Dennis, there are. 

  2. Dennis Potter’s Final Interview

  3. “San Francisco” (1936) / Gounod’s “Faust”

    On TCM this morning.  I forgot that the featured opera here was (appropriately enough) “Faust.”  I love the Met’s recent 20th Century update/adaptation of this Gounod melodrama.  Not that I didn’t already love the original version, my late father’s favorite.  Marina Poplavskaya as Marguerite (my grandmother’s name before she became Maggie Murphy) is a blend of Meryl Streep, Helen Bonham-Carter, and (in the final act) Maria Falconetti as Jeanne D’Arc — and with the jawline/voice of Joan Sutherland (without the girth).

  4. Why I like to fly

    Thanks to a recent vacation in Israel, I was able to see three films going (We Bought a Zoo;War Horse; The Tree of Life), five returning (The Descendants; Hugo; The Iron LadyTinker, Tailor, Soldier, Spy; Red Tails ).   The ideal way to see the Malick film would be at MoMA or the Guggenheim, with multiple projectors on multiple walls and a truly excellent sound system. The zoo movie was OK, its main pleasure for me being the now grown up and handsome star of Almost Famous Patrick Fugit.  I enjoyed the Clooney film, the subject of which had personal resonance (although I am selling one acre vs. thousands).  I expected to enjoy the Scorsese film more (and who is that guy who looks like Prince Edward in the final party scene?)  I was awed by Streep as Thatcher in spite of myself, was mainly pleased that this was not just a sympathetic propaganda piece like The Queen.  The Le Carre movie treatment with Gary Oldman, Colin Firth, Mark Strong, and Tom Hardy was good but felt truncated in comparison with the truly superb miniseries with Alec Guinness, Ian Richardson, Ian Bannen, and Hywel Bennett.  I thoroughly enjoyed Red Tails , could not understand reviews that cited too much profanity (nary an anachronistic f-word), had an added appreciation for the fight scenes having recently seen a showing of William Wellman’s Wings at Film Forum, with live commentary by Wellman’s son and by Ben Burtt; Burtt did the sound for both the Wings restoration as well as Red Tails (not to mention George Lucas’s Star Wars and Spielberg’s Raiders of the Lost Ark).

  5. It struck me that Norwegian mass murderer Anders Breivik resembled actor Julian Sands in certain photos taken of him when he was younger.  But in his recent courtroom appearances, he has reminded me of actor Bernard-Pierre Donnadieu, specifically in the 1988 Dutch/French film “Spoorloos / Without a Trace.”  Not that Breivik’s facial structure is that of Donnadieu.  Maybe it’s that creepy fringe beard.  Perhaps it is that both men have the face of a pitiless psychopath.  Donnadieu was an amazing, disturbing actor (see also, e.g., his performance in “The Return of Martin Guerre”).

    It struck me that Norwegian mass murderer Anders Breivik resembled actor Julian Sands in certain photos taken of him when he was younger.  But in his recent courtroom appearances, he has reminded me of actor Bernard-Pierre Donnadieu, specifically in the 1988 Dutch/French film “Spoorloos / Without a Trace.”  Not that Breivik’s facial structure is that of Donnadieu.  Maybe it’s that creepy fringe beard.  Perhaps it is that both men have the face of a pitiless psychopath.  Donnadieu was an amazing, disturbing actor (see also, e.g., his performance in “The Return of Martin Guerre”).

  6. Proposed Guest Programmer Line-Up

    Anthony Bourdain’s choices on TCM last night were just brilliant and diverse:  “The Searchers” / “Eyes Without a Face/Les Yeux Sans Visage” / “Get Carter” / “Withnail & I.”   Robert Osborne asked Bourdain him why he hadn’t made more food-related choices, and Bourdain did then mention “Babette’s Feast” and some controversial film I now want to see called “La Grande Bouffe.”  I’m surprised Bourdain didn’t mention anything by Peter Greenaway, e.g., “The Cook, The Thief, His Wife, and Her Lover” (the structure of which reminds me of the Catholic Mass).  Or perhaps “Big Night” with Tony Shalhoub and the increasingly adorable Stanley Tucci.  The wag in me now wants guest programmer (and Bourdain irritant) Paula Deen:  She’d probably go with films like “Steel Magnolias,” althoug she might pick films made in her town of Savannah (“Glory,” “Forrest Gump,” “Midnight in the Garden of Good and Evil”).  Or maybe films about overweight diabetics (“What’s Eating Gilbert Grape?”).

    But back to Bourdain’s choices:  ‘Nuf said about ”The Searchers” (John Wayne’s best acting EVER).   I had never seen “Eyes Without a Face”: Wow, plus I was delighted to see the still lovely if more matronly Alida Valli as a co-star along with ingenue Edith Scob.  Scob recently came to my attention playing the casually elegant matriarch in a lovely elegiac French film (with which I identified) about adult children having to clean out and sell their mother’s beautiful antique- and art-filled home, “Summer Hours/L’Heure d’été”; the eldest son is played by Charles Berling (who played a down-to-earth Marquis in the 1996 film “Ridicule”) and his sister by the ever lovely Juliette Binoche.  I knew about “Get Carter” from my friend Ofer, a Michael Caine film I had not seen but was glad finally to view (great location shooting in the north of England).  My young colleague Natalie strongly recommended “Withnail”:  Great stuff, just wish I hadn’t been so tired watching (2-4AM), Richard Griffiths great, Richard E. Grant his usual manic/eccentric self, Ralph Brown a highlight as Danny the drug dealer, and young Paul McGann as the narrator (had vague recollections of McGann in a WWI British uniform singing “Oh Oh Antonio” to a Strauss tune, must have been in a Masterpiece Theatre production “The Monocled Mutineer”).

    Anyway, my suggested line-up would be “Summer Hours” with Scob, then “Eyes Without a Face” with Scob and Valli, then “The Third Man” with Valli — pick a fourth film with either Orson Welles or Joseph Cotten or Trevor Howard (the romantic in me says “Brief Encounter”).  Sort of like the “Before and After” category on ”Jeopardy!” 

  7. “Adventures of Tartu” (1943)

    Well, I’m on a film blog roll these past couple of days.  Right now TCM is broadcasting - TWICE - this rather awful Robert Donat film. It goes by two names, one this and one “Sabotage Agent”; the programmer seems to have thought them two different films.  [Why couldn’t they do that for a little masterpiece like Donat’s “Vacation from Marriage” aka “Perfect Strangers” (not to be confused with the much later Tom Hanks/Jackie Gleason flick)?]   For me to dislike a Donat film is really saying a lot, esp. since it also stars Glynis Johns and Valerie Hobson (the lovely adult Estella of David Lean’s “Great Expectations” - even if she looked nothing like little Jean Simmons - and later Mrs. Profumo).  I remember trying to convince my dear friend Chrissy what a great actor Donat was by making her stay up with me (per usual) to watch this one hot summer’s night on the CBS “Late, Late, Late Show.”  I should have screened it myself in advance.  Donat here is such a middle European caricature, so unlike his usual subtlety, with a ridiculous accent.  Chrissy promptly dubbed it “The Adventures of Tartuffe.”  [Clever gal that Chrissy, as a teenager and still today:  I remember her dubbing the Harvest House restaurant at the Bridgehampton Woolco “Windows on the Woolco” and my ignominious waitressing experience there (my last ever) slinging “Fudganas” (fudge and banana sundae so dubbed by some marketing genius) as “The Dark Secret of Harvest House”).]

  8. Toss-up…

    …which film is more racist: “Birth of a Nation,” “Gone with the Wind” — or “Santa Fe Trail,” currently playing on TCM?  The thing is, the other two (well, at least Griffith’s racist masterpiece) are shown with caveats and disclaimers.   But this Errol Flynn/Oliva de Havilland/Ronald Reagan botch job features a horrendous depiction of the admittedly fanatical John Brown (as played by that “Canadian Lincoln” Raymond Massie), not to mention a host of helpless, wide-eyed “Negroes” allegedly led astray by Brown, a couple of whom express that they ”jes wanna gwine home and set” (barf).

    I recently read an article about how Disney was likely never going to release its “Song of the South” on DVD because of that film’s unrealistic depiction of black people’s experience living in the antebellum south.  I would argue that the film is just as unrealistic a depiction of a golden-tinged idyllic childhood.  Nothing wrong with that fantasy.  And Uncle Remus is without doubt the tale’s hero.

  9. “Song of Bernadette” (1943)

    Just watched this again - part of TCM’s rather oddball Easter Sunday lineup.  One of my favorite films as a kid.  Made me cry then, makes me cry now — although I cry because I wish I could believe now as I did as a child.  But purely from a film standpoint: What a cast.  Jennifer Jones is just lovely.  But there’s also Gladys Cooper as evil/skeptical/tortured Sr. Marie Therese:  She was always playing a gorgon (the rich lady who dangles poor David Niven in “The Bishop’s Wife,” the spurned wife of Olivier as Lord Nelson), but I remember her best as the old lady afraid of Death in a classicTwilight Zone, even when the grim reaper came in the guise of handsome policeman Robert Redford.  Also Anna Revere as Bernadette’e mother, slaving to keep her impoverished brood alive:  As perfect a hard-working/long-suffering mother here as she was in “National Velvet,” tough, no sentimental BS but full of unspoken feeling - irony that in real life she was both a direct descendant of Paul Revere and a victim of the Hollywood Blacklist.  Contrast her with great character actor Roman Bohnen, playing the husband who was once a miller and is now ”above” the few jobs he still can get:  Unfortunately, I know due to age and rueful experience just what a great performance Bohnen gives here, as he also gave as the would-be hero but cowardly Norwegian neighbor in “Edge of Darkness,” also and especially as the sadly proud father of veteran flier Dana Andrews in “The Best Years of Our Lives.”   Another great character actor here is the chief of police played by Charles Dingle:  He played a weaselly collaborator in “Edge of Darkness” and is perhaps best known for playing another weasel in “The Little Foxes” with Bette Davis.  Moving on:  Sig Ruman as the blinded stonecutter whose sight is (sort of) restored - what more can you say of an actor who played both impressario Herman Gottlieb in the Marx Brother’s “A Night at the Opera” AND the original despicable POW guard Schulz (not to be confused with the idiotic role on “Hogan’s Heroes”) in “Stalag 17”?  Then there is the mayor of Lourdes played by Aubrey Mather, one of Gary Cooper’s fellow professors in “Ball of Fire.”  Bernadette’s aunt:  Blanche Yurka, an unforgettable Madame Dafarge in the equally unforgettable Ronald Colman version of “A Tale of Two Cities.”  Lee J. Cobb as the town doctor:  Too many great film and stage roles to focus on one (except perhaps Willy Loman in the now ever more timely “Death of a Salesman”).  Film veteran Charles Bickford as the town curate.  And of course Vincent Price as the imperial prosecutor:  He gets an interior monologue toward the film’s end that is really quite moving. 

    One thing I’d change:  Actually showing “the lady.”  Sort of silly.

    Postcript 4/17/12:  Egad - how could I forget to mention the great Marcel Dalio, who plays a policeman?