Mannequin (1937) - News Poster



MGM's Lioness, the Epitome of Hollywood Superstardom, Has Her Day on TCM

Joan Crawford Movie Star Joan Crawford movies on TCM: Underrated actress, top star in several of her greatest roles If there was ever a professional who was utterly, completely, wholeheartedly dedicated to her work, Joan Crawford was it. Ambitious, driven, talented, smart, obsessive, calculating, she had whatever it took – and more – to reach the top and stay there. Nearly four decades after her death, Crawford, the star to end all stars, remains one of the iconic performers of the 20th century. Deservedly so, once you choose to bypass the Mommie Dearest inanity and focus on her film work. From the get-go, she was a capable actress; look for the hard-to-find silents The Understanding Heart (1927) and The Taxi Dancer (1927), and check her out in the more easily accessible The Unknown (1927) and Our Dancing Daughters (1928). By the early '30s, Joan Crawford had become a first-rate film actress, far more naturalistic than
See full article at Alt Film Guide »

The Forgotten: How To Marry a Millionaire

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A favorite subject at MGM in the thirties was the "three girls in the big city" sub-genre, which as an approach to questions of sexual morality and wish fulfillment has proved a long-lived one, revived in the Jean Negulescu Cinemascope romp which gives this article its title, and in a certain TV series which has spawned a couple of feature films but which I will not sully this sweet ocean breeze by uttering the name of.

Beauty for Sale (1933) follows on the heels of popular MGM affairs like Our Dancing Daughters and its quasi-sequels, and like most of those films it presents a trio of characters, one more or less virtuous, one tempted to sin and punished somewhat, and one entirely destroyed. It's based on a novel by one woman (Faith Baldwin, a much-adapted specialist in urban romances), and is written by two others (Eve Green & Zelda Sears), and casts
See full article at MUBI »

Book Review: Blood Lite III: Aftertaste

Blood Lite III: Aftertaste

The third book in the hilarious and horrifying national bestselling anthology series from the Horror Writers Association–a frightfest of sidesplitting stories from such “New York Times” bestselling authors as Jim Butcher, Sherrilyn Kenyon, Heather Graham, L.A. Banks, Kelley Armstrong, and many more

Horror fiction explores the dark side of human nature, often pushing the limits of violence, graphic gore, and extreme emotions. But with the popularity of shows and movies, such as “The Walking Dead,” “True Blood,” “Twilight,” “Buffy the Vampire Slayer,” audiences have demonstrated their love for the genre–especially accompanied with a dose of humor to tone down the terror.

“Blood Lite III: Aftertaste” continues to put the fun back into dark fiction, featuring a wide range of humorous and highly entertaining horror-filled tales. Edited by Horror Writers Association founding member and award-winning author Kevin J. Anderson, the stories vary in tone
See full article at Famous Monsters of Filmland »

Daily Briefing. Hitchcock, Borzage, Ozu, More

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Farley Granger "didn't fear the homoerotic subtext of either of the films he did for Hitchcock," writes Farran Nehme in the run-up to the For the Love of Film III Blogathon. "Mind you, in his autobiography Granger says he spent years disappointing critics and interviewers when asked about discussions with Hitchcock about just what was going on between Rope's two main characters: 'What discussions? It was 1948.' That didn't mean, though, that Granger himself and co-star John Dall were clueless." And as for Strangers on a Train (1951): "Given a role of ambiguous morality, he increases the questions about the character, rather than trying to emphasize the good-Guy qualities."

Charles Lyons for Filmmaker on Annette Insdorf's Philip Kaufman: "The first book-length assessment of Kaufman's oeuvre, which will reach 14 films when Hemingway and Gellhorn premieres on HBO in May [it also screens Out of Competition at Cannes], Philip Kaufman is a shrewd and very readable study.
See full article at MUBI »

Ready For My Close Up: Anna May Wong

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Throughout summer it has been difficult to ignore the recent Chinoiserie trend in stores and magazines, kick-started by the opulent Louis Vuitton show in Paris and merged effortlessly into autumn by Paul Smith. Cheongsam collars and qipao slits aside, this new-found interest in the East may have been partly triggered by China’s growing appetite for high-end goods, which despite recent economic setbacks, has left Western luxury brands competing for a share of this very sizable market.

This obsession with the ‘Orient’ has also seen a proliferation of Asian models on catwalks and throughout editorial spreads, which has courted controversy for some publications and raises all manner of questions regarding ethnicity and standards of beauty. Whilst researching this trend it becomes impossible not to contemplate the
See full article at Clothes on Film »

3 + 1 = Poor: Four trilogies that took it too far

The movie world is chock full of classic trilogies: Sergio Leone’s 'Man With No Name' (or 'Dollars') (1964 - 1966), Francis Ford Coppola’s Godfather (1972 - 1990 -- the first two films of which were so outstanding that they made up for the shortcomings of the lacklustre third instalment), Robert Zemeckis’s Back to the Future (1985 - 1990), and Pixar’s Toy Story (1995 - 2010) trilogy are but four examples.

The crucial thing that makes them classic trilogies, however, and this may be an obvious point but one that seems to have been overlooked time and again by the powers that be in Hollywood, is that they all contain three films. No more, no less.

As a result, they are frozen for all eternity with their classic status intact, and due to a number of factors they will stay that way - namely the fact that Eastwood is all but retired from the acting side of the camera,
See full article at Shadowlocked »

In the meadow, we can pan a snowman

You better watch out You better not cry You better have clout I'm telling you why Two Thumbs Down are comin' to town He's making a list,

Checking it twice;

Gonna find out whose

movie was scheiss.

Sandy Claws is comin' to town.

He sees you when you're (bleeping),

He knows when you're a fake

He knows if you've been bad or good

So be good for cinema's sake!

With little but scorn

and pounding of drums,

Rooty toot hoots

and rummy tum thumbs

Sandy Jaws is comin' to town

As I dream back over many happy years of movie going, some of my favorite lines from old reviews dance in my head like visions of sugarplums. Good movies, bad movies, doesn't matter, just so the line dances. I thought I'd share them in the holiday spirit. Curiously, most of the lines come from movies so bad I didn't want a refund,
See full article at Roger Ebert's Blog »

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