The Story of Temple Drake (1933). 70 minutes. Directed by Stephen Roberts. Starring Miriam Hopkins (as Temple Drake), Jack La Rue (as Trigger), William Gargan (as Stephen Benbow), William Collier, Jr. (as Toddy Gowan), Irving Pichel (as Lee Goodwin), Guy Standing (as Judge Drake), Elizabeth Patterson (as Aunt Jennie), Florence Eldridge (as Ruby Lemarr), James Eagles (as Tommy), and Harlan Knight (as Pap).
The Story of Temple Drake is based on the controversial William Faulkner novel Sanctuary, which created a sensation when it was published in 1931 because of the way it handles the topic of rape. The movie, while more oblique than the novel, nevertheless also shocked the public. Critics lashed out against it, and its scandalous content helped catalyze the enforcement of the Hollywood Production Code in 1934. Yet while The Story of Temple Drake is laden with elements from the so-called vice movies of the pre-Code period, many of which will seem racy and distasteful even … Read the rest
Baby Face (1933). 75 minutes. Directed by Alfred E. Green. Starring Barbara Stanwyck (as Lily Powers), George Brent (as Courtland Trenholm), Donald Cook (as Ned Stevens), Alphonse Ethier (as Adolf Cragg), Henry Kolker (as J. P. Carter), Margaret Lindsay (as Ann Carter), Arthur Hohl (as Ed Sipple), John Wayne (as Jimmy McCoy, Jr.), Robert Barrat (as Nick Powers), and Theresa Harris (as Chico).
Baby Face tells the story of a young woman who is sexually exploited for all of her young adulthood and who in a life-changing reversal determines that she will exploit men instead for her own personal gain. The film, which charts her quest to use sex to move up the corporate ladder, is frequently cited as a catalyst for the 1934 enforcement of the Hollywood Production Code, the set of industry censorship policies that regulated motion picture content. I have to admit that even as a fan of pre-Code movies, I was surprised by how brazen … Read the rest
The Other Side of the Wind (2018). 122 minutes. Directed by Orson Welles. Starring John Huston (as J. J. “Jake” Hannaford), Peter Bogdanovich (as Brooks Otterlake), Susan Strasberg (as Juliette Rich), Norman Foster (as Billy Boyle), Oja Kodar (as the Actress), Bob Random (as John Dale), Joseph McBride (as Marvin Pister), Lilli Palmer (as Zarah Valeska), Edmond O’Brien (as Pat Mullins), Mercedes McCambridge (as Maggie Noonan), Cameron Mitchell (as Matt “Zimmie” Zimmer), Dan Tobin (as Dr. Bradley Pease Burroughs), Cathy Lucas (as Mavis Henscher), and Tonio Selwart (as the Baron). Featuring Henry Jaglom, Paul Mazursky, Claude Chabrol, Curtis Harrington, and Dennis Hopper as themselves. Cinematography by Gary Graver. Edited by Bob Murawski and Orson Welles. Produced by Frank Marshall and Filip Jan Rymsza.
This November, 48 years after its first day of shooting, Orson Welles’s film The Other Side of the Wind was finally released to the general public on Netflix. The film was not Welles’s last (he left … Read the rest
This 31-minute audio recording was made by film critic, screenwriter, and actor Joseph McBride on August 23, 1970—the first day of shooting on The Other Side of the Wind, Orson Welles’s film about the last day in the life of fictional director J. J. “Jake” Hannaford (played by John Huston). The recording features McBride (as Marvin Pister) rehearsing a scene with Peter Bogdanovich (as Charles Higgam) at Welles’s house in Beverly Hills, with Welles directing. Bogdanovich would later be recast as Brooks Otterlake.
Many thanks to McBride for making the recording available to Kozak’s Classic Cinema.… Read the rest
Piccadilly (1929). 109 minutes. Directed by E. A. Dupont. Starring Gilda Gray (as Mabel Greenfield), Anna May Wong (as Shosho), Jameson Thomas (as Valentine Wilmot), King Hou Chang (as Jim), Hannah Jones (as Bessie), Cyril Ritchard (as Victor Smiles), and Charles Laughton (as nightclub diner).
Piccadilly is an impressive silent film. From its dazzling camera work, to its invigorating jazz-era atmosphere, to its use of stunning lead actress Anna May Wong, the movie infuses its scenes with beauty and a keen artistic sensibility. Piccadilly provides Wong—a Chinese American actress who left the United States for more meaningful parts in Europe—with a role of substance, and her work as the nightclub dancer Shosho overshadows the performances of her colleagues, including dancer Gilda Gray, who was at one point a well-known Ziegfeld girl. In the end, the movie, while perhaps less clichéd than Wong’s American projects, still relies on stereotypes to get its points across and concludes Shosho’s narrative in what feels … Read the rest
The Divorcee (1930). 84 minutes. Directed by Robert Z. Leonard. Starring Norma Shearer (as Jerry Martin), Chester Morris (as Ted Martin), Conrad Nagel (as Paul), Robert Montgomery (as Don), Helen Johnson (as Dorothy), Florence Eldridge (as Helen Baldwin), Helene Millard (as Mary), Robert Elliott (as Bill Baldwin), Mary Doran (as Janice Meredith), Tyler Brooke (as Hank), and George Irving (as Dr. Bernard).
The Divorcee is a pre-Code drama that explores betrayal, revenge, and sexual double standards. In particular, it focuses on one woman’s efforts to overturn those standards in an attempt to wound her cheating ex-husband. The movie shows us a fair amount of wild living and is rather frank about its characters’ sex lives while they are single, married, and divorced, making it one of the most provocative of the pre-Code films. Nevertheless, it takes pains to demonstrate how unsatisfying the protagonist’s quest to hurt her ex is. The overall effect is that while the movie allows its female … Read the rest
The Sheik (1921). 80 minutes. Directed by George Melford. Starring Rudolph Valentino (as Sheik Ahmed Ben Hassan), Agnes Ayres (as Lady Diana Mayo), Ruth Miller (as Zilah), George Waggner (as Yousaef), Frank Butler (as Sir Aubrey Mayo), Lucien Littlefield (as Gaston), Adolphe Menjou (as Raoul de Saint Hubert), and Walter Long (as Omair).
The Sheik has to be one of the strangest expressions of romance and sexuality that I have seen in a long time. It tells the story of an Arab sheik who abducts an English gentlewoman exploring the deserts of North Africa and holds her captive. At times we see that he hopes she will develop feelings for him, but at others he is intent on having his way with her whether she desires it or not. Regardless of his unsavory intentions, she does fall in love with him, but the movie’s celebration of both him and their relationship is difficult to admire. Overall, The Sheik is an … Read the rest
Safe in Hell (1931). 73 minutes. Directed by William Wellman. Starring Dorothy Mackaill (as Gilda Karlson), Donald Cook (as Carl Erickson), Ralf Harolde (as Piet Van Saal), Morgan Wallace (as Mr. Bruno), John Wray (as Eagan), Ivan Simpson (as Crunch), Victor Varconi (as General Gomez), Nina Mae McKinney (as Leonie), Charles Middleton (as Jones), Clarence Muse (as Newcastle), Gustav von Seyffertitz (as Larson), George F. Marion (as Jack), and Cecil Cunningham (as Angie).
Safe in Hell is a dark but wonderful pre-Code movie about a fiercely willed prostitute on the run from the law in New Orleans and the Caribbean. Although raped and exploited in the United States, and ultimately executed in the context of the seedy underbelly of the South Seas crime world, she lives out her days devoted to her lover and herself with a rebellious passion. And yet, in spite of its serious content, Safe in Hell is actually laden with a great deal of playfulness both … Read the rest
All the King’s Men (1949). 109 minutes. Directed by Robert Rossen. Starring Broderick Crawford (as Willie Stark), John Ireland (as Jack Burden), Joanne Dru (as Anne Stanton), John Derek (as Tom Stark), Mercedes McCambridge (as Sadie Burke), Shepperd Strudwick (as Adam Stanton), Anne Seymour (as Lucy Stark), Katharine Warren (as Mrs. Burden), Will Wright (as Dolph Pillsbury), Raymond Greenleaf (as Judge Monte Stanton), and Walter Burke (as Sugar Boy).
If you have seen Born Yesterday (1950), the wonderful movie about a woman (played by Judy Holiday) who learns about American democracy and in doing do is inspired to end an abusive romantic relationship, you may remember Broderick Crawford as the politically aspiring businessman and thug Harry Brock—the person from whom Holiday’s character frees herself. Crawford’s Brock is brutish and malevolent, but Born Yesterday is not the first time the actor played a civic-minded and power-hungry antagonist. A year earlier he was in the astounding but perhaps today less well-known All … Read the rest
Black Narcissus (1947). 100 minutes. Directed by Michael Powell and Emeric Pressburger. Starring Deborah Kerr (as Sister Clodagh), Sabu (as the young general), David Farrar (as Mr. Dean), Kathleen Byron (as Sister Ruth), Flora Robson (as Sister Philippa), Jenny Laird (as Sister Honey), Judith Firse (as Sister Briony), Esmond Knight (as the old general), Jean Simmons (as Kanchi), and May Hallatt (as Angu Ayah).
Black Narcissus is a film of astonishing beauty. I liked it even more than I did The Red Shoes (1948), which was also created by The Archers, the production duo consisting of Michael Powell and Emeric Pressburger. Both films tell their stories, which are more than tinged with melodrama, in beautiful three-strip Technicolor. But whereas The Red Shoes tells a story about creative passion that its characters express nightly as members of a ballet company, Black Narcissus documents the development of smoldering erotic passion among a group of Roman-Catholic nuns living in a palace atop … Read the rest