For both film buffs and a new generation of a movie fans, a definitive guide to the most influential film directors–spanning a century of Hollywood creativity–will soon be a fixture in libraries everywhere. Turner Classic Movies/TCM and film writer Sloan De Forest, author of TCM’s Dynamic Dames (reviewed here) and TCM’s Must-See Sci-fi (reviewed here), chronicle 58 directors, their works, and influence on the filmmaking in TCM’s The Essential Directors: The Art and Impact of Cinema’s Most Influential Filmmakers. From Charlie Chaplin to Steven Spielberg, these are the directors that film aficionados will be unlikely to quibble with. Some made their marks as household names, others are legendary auteurs, while others provided a singular film or image that has made them synonymous with Hollywood royalty. From epic dramas, to laugh-out-loud comedies, readers will find TCM’s Essential Directors as the go-to source for the heavy-hitters behind the biggest movies in history.
The first thing to know about Raymond Chandler’s 1939 novel The Big Sleep is that it was published three years after James M. Cain published the serialized Double Indemnity. If your only knowledge of The Big Sleep is the big-screen adaptation directed by Howard Hawks starring Humphrey Bogart and Lauren Bacall with a screenplay written by the likes of Leigh Brackett and William Faulkner, you should go back and read the novel to see how wrong Bogart is for the lead detective Philip Marlowe. Both the novel and significantly modified movie version are convoluted tales of murder and mayhem, but the novel is better than the film in many ways. Its value is in its shocking subject matter for the 1930s and being an early entrant helping to establish hardboiled crime novels as a genre. Readers were first put inside the brain of Marlowe in this story, which reads like an effort to adapt Cain. Chandler also was a reader of Cain’s work and along with Billy Wilder, Chandler would adapt Cain’s Double Indemnity for the screen. Still in print, The Big Sleep is available in trade paperback here at Amazon.
Eight decades after its first publication, how does Chandler’s novel hold up?
1959. A gallon of gas cost a quarter. Movie tickets were a dollar and color was replacing black and white film. You could buy a new car for $2,000. In technology the Soviets beat the United States to the Moon, with a hitch, crashing their Luna 2 spacecraft into the lunar surface. The U.S. selected seven astronauts for their Mercury space program. Xerox began selling copiers to companies, IBM made headway with its mainframe computer, and Jack Kilby invented the microchip. Kids first began playing with Play-doh, Etch-a-Sketch, and Barbie dolls. On one end of the country The Sound of Music opened on Broadway and everywhere music fans faced the day the music died. The world first witnessed The Twilight Zone. The gray flannel suit defined the businessman. And in 1959 the great filmmaker Billy Wilder produced and directed his own screenplay and the film would become the best reviewed comedy of all time, pegging the number one spot on the American Film Institute’s registry of best American comedies. The film was Some Like It Hot. And it’s back in theaters this weekend for a limited release.
Some Like It Hot has it all. Marilyn Monroe in arguably her best performance. Tony Curtis and Jack Lemmon only at the beginning of their long and distinguished careers. The movie doesn’t take place in 1959–it is set 30 years earlier in the heyday of speakeasies and Depression era mobs. Tony Curtis is Joe, a ladies’ man and gambler–the sax player. Jack Lemmon is Jerry, a straight arrow–the double-bass player. They play in a band in a speakeasy (disguised as a funeral home) run by mob boss “Spats” Colombo (George Raft). When Joe and Jerry accidentally witness a Valentine’s Day massacre-inspired mob hit, they must go on the run. They find an all-female band heading to Miami via train and disguise themselves as the original bosom buddies, Josephine and Daphne, befriending the band’s gorgeous and upbeat lead singer and ukulele player, Sugar Kane, played by Marilyn Monroe. That’s where the laughs begin, and a back-up cast of classic Hollywood staples, including Pat O’Brien and Joe E. Brown, fill in the gaps.
Despite the popularity of color film, Wilder shot Some Like It Hot in a steamy black and white. Wilder had already directed Monroe in The Seven Year Itch, so the pairing was an obvious fit. Wilder and Lemmon would start a partnership that lasted until 1981. Wilder was the true King of Comedy. He worked on nothing but hit movies over the course of his career–serious stuff like Double Indemnity, Sunset Boulevard, Stalag 17, The Spirit of St. Louis, and Witness for the Prosecution, in addition to comedies including Sabrina, The Seven Year Itch, The Apartment, Ocean’s 11, Irma la Douce, The Fortune Cookie, and Casino Royale.
The National Film Registry has grown to include 700 films this year with the addition this week of 25 films. In accordance with the National Film Preservation Act, a film is eligible to be preserved under the registry if it is at least a decade old and recognized in the National Film Preservation Board’s view as “culturally, historically, or aesthetically significant.” The Librarian of Congress makes the final determination, considering public nominations in the analysis.
The new list includes Rob Reiner’s adaptation of William Goldman’s The Princess Bride, possibly the most beloved of all live-action fantasy films. The Howard Hawks/Billy Wilder classic, Snow White-inspired comedy Ball of Fire, starring Barbara Stanwyck and Gary Cooper also made the cut. Robert Zemeckis’s live action/animated caper Who Framed Roger Rabbit is on this list, along with the John Hughes coming of age film The Breakfast Club.
Alfred Hitchcock’s The Birds increases the famous director’s horror film count on the preservation list along with the likes of Rear Window, North by Northwest, Vertigo, and Psycho. And Elia Kazan’s adaptation of John Steinbeck’s coming of age story East of Eden, starring James Dean, joins the list. Now all three of the films Dean is known for are on the list, adding to prior registry films Rebel Without a Cause and Giant.
Below is the full list of films named to the registry for 2016:
“Don’t mess with the Mouse,” is a maxim in American intellectual property law. Ask any law professor. Those who challenge Disney in court usually lose. But the view that Disney can’t be beaten is part of the myth Disney has created itself, and the success of the critically acclaimed independent film Escape from Tomorrow is throwing movie watchers’ pre-conceived notions of Disney as sacrosanct out the window. Escape from Tomorrow was filmed nearly entirely on location at Disney theme parks without the permission of Disney. It turns out there’s nothing Disney can do about it. The result is better than just a stunt project, but it has its misfires as much as it has its triumphs.
The talented Roy Abramsohn, mainly a character actor who has shown up in TV series from Charmed to Medium to Monk and Without a Trace as well as a recurring role on Weeds, takes on the lead role of Jim, a father and husband of the Clark Griswold variety on his last day of vacation at Epcot and Disney World, the celebrated “Happiest Place on Earth.” Jim just learned he’s lost his job and is having one of those days where everything goes wrong. But this is no National Lampoon’s comedy. Jim is living out his own House of Horrors.
Structurally, the film is brilliantly executed for a first effort. Were you to go back and look at THX-1138 and Duel and predict the future of its directors, no one could have predicted Star Wars or American Graffiti or Raiders of the Lost Ark or Jaws.Escape from Tomorrow is better than THX-1138, but not as compelling as Duel. Does that mean we have a future genius on our hands? Not likely, but it will make viewers take notice of the next projects of writer/director Randy Moore and cinematographer Lucas Lee Graham.
