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March 7, 2014 By iluvcinema Leave a Comment

The Case For Seeing B&Ws On the Big Screen

This past Tuesday I had the pleasure of seeing Michael Curtiz’s Casablanca in a packed house at the AMC Lincoln Square in NYC. New York was one of the twenty cities selected to screen this all time classic as part of the Turner Classic Movies (TCM) 20th anniversary festivities. After seeing the film, a brainwave hit me for something I wanted to discuss: my new appreciation for watching the classics as they were meant to be seen – on the big screen.

tcm_20_casablanca

Yes it is something that I am getting more and more used to over the years, previously confining my exhibition of said films to home viewings. But a couple of years ago, my preferences started to shift when I asked my readers their thoughts on attending repertory movie theaters to watch restored/classic films. I did not however, take the opportunity to explain fully why I think it is a wonderful way to see such films, mainly due the low number of films I had seen this way. Allow me to do so now.

I know for some the idea of paying for a film or acquiring a free pass, seems like too much trouble, especially when you factor in that you have to leave the comfort of your own house; well I am here to tell you why I think everyone should try it at least once for the following reasons:

  1. Level of Detail: I am not stating any groundbreaking laws of physics or anything when I say the smaller the screen, the smaller all the objects and minor details, whether they reside in the background or foreground. In many of these cases, these objects/actions may have story significance. Seeing them projected on the big screen (obviously) magnifies their visual presence and emphasizes their importance. Remember that these films (made before televisions invaded domestic life)  were made for ALL the detail to be seen since they were produced for exhibition and projection on a theater-size formatted screen.
  2. Audience Engagement: Sorry, but there is just something about seeing a film with an audience (of primarily strangers) that amplifies one’s viewing experience. It really becomes a community event, and barring any craziness with audience members (often the case in NYC) it is a friendly reminder and affirmation of a human desire to congregate around a shared purpose.
  3. It Takes You Back to Days of Yore: This point is a continuation of sorts to my discussion of level of detail (1). Because people my age are accustomed to watching “old”/classic movies on a television screen, we may not think of these actors and actresses of yesteryear as ‘larger than life.’ In doing so, we forget this is  the only way audiences of the time pre-television saw their favorite performers. The stars were very much larger than life. It truly is a transformative experience to see Humphrey Bogart and Ingrid Bergman striding across the screen, with a presence like that of gods parading before a mass of humanity, sat lowly in their theater seats.
  4. Support for Your Local Community: On this point, I am a lucky gal indeed – I live in a major metropolitan area, so I am spoiled for choice when it comes to seeing older film at the in a theatre, whether it be a chain multiplex or smaller multi-screen house. But even if I venture, say 30-40 minutes outside of Midtown Manhattan, there are independent movie houses that exhibit new releases and first-run films in addition to offering screenings of restored classics to the community. No matter where you live take a moment to do a quick internet search and see what’s out there. And do not just limit to these indie theaters – libraries, schools, and museums also screen films on occasion.

 

Filed Under: Classics Tagged With: turner classic movies

March 18, 2013 By iluvcinema 2 Comments

A Belated St. Paddy’s Day Post: Taking a Look at “The Quiet Man” (1952)

The-Quiet-Man-john-wayne-21939245-1000-791

Hope everyone had a joyful ♣ St. Patrick’s Day ♣ and a great weekend. Mine was spent catching up on Game of Thrones (just in time for the season 3 premier), going to the Metropolitan Museum of Art (and getting stuck in post-parade revelry).

Sunday night, however was spent tucking into that blanket known as Turner Classic Movies for at least a bit of their selection of Irish-themed films. You can imagine my (semi) pleasure when I realized I had just caught the beginning of John Ford’s homecoming of sorts, the 1952 Technicolor feature The Quiet Man starring his go-to guy, John Wayne, with Maureen O’Hara, Victor McLaglen, Mildred Natwick and the always entertaining Barry Fitzgerald rounding a solid cast.

SYNOPSIS

Sean Thornton (John Wayne) has returned from America to reclaim his Irish homestead and escape his past. Sean’s eye is caught by Mary Kate Danaher (Maureen O’Hara), a beautiful but poor maiden, and younger sister of ill-tempered “Red” Will Danaher (Victor McLaglen). The riotous relationship that forms between Sean and Mary Kate, punctuated by Will’s pugnacious attempts to keep them apart, form the main plot, with Sean’s past as the dark undercurrent. (Source: IMDB)

Now I must personally state for the record, that I grew up in a rather anti-Wayne household. Well maybe that may be a bit harsh – my dad was ambivalent at best and my mom could give a care about him. That said, as a classic film buff I (slightly) broke away from the family line and decided to see and judge for myself what I though of Mr. Wayne’s oeuvre.

The result? While I must admit that the ambivalence has translated down the generation, I do give Wayne props for his performance in the western he made with Ford four years after this film, The Searchers.

But I digress. The question of this post is What did I think of The Quiet Man?

Overall, I would say it was an enjoyable watch. The film balanced romance, comedy and drama very effectively and I cannot imagine a more sublime way of capturing the Emerald Isle than in the vibrancy of Technicolor. Honestly that was enough to pass the sniff test for me.

Now on to the acting. As I implied above, I am quite the fan of Barry Fitzgerald and love his screen presence; in this film my response is no different. Maureen O’Hara was solid as the fiery redhead who captures our hero’s heart. As for the main man himself, he does what he needs to make the performance convincing – enough so that it carried me through to the end.

It should also be noted that this film was a departure for Ford and Wayne, who, in case you didn’t know, primarily collaborated on Westerns. The Quiet Man was released by independent studio Republic Pictures, mostly known for it B-movie offerings. Due to the success of the picture, it garnered the studio its only “Best Picture” nomination in its history.

The one thing I did not see coming was the motivation for Sean Thornton’s desire to retire to a quiet, country life – packed quite a punch IMO (Note to self: the clue is in the title).

In end …

  1. Did I like it – yes and more than I anticipated.
  2. Will I be adding The Quiet Man to my video collection any time soon? Very likely not.

 

Have you seen this film? And what did you think of it? Submit in the Comments section below.

Filed Under: Classics, Commentary Tagged With: ireland, john ford, john wayne, maureen o'hara, the quiet man

December 23, 2012 By iluvcinema 4 Comments

Capra: One (Many) for the Common Man, A Retrospective

Always a fan of Mr. Capra’s work, I took great pleasure in participating in the event hosted by The Lamb. While many may easily dismiss his work as corny or saccharine, I feel, many have missed the point of his work. I find that in fact, it is a balance that falls somewhere in the middle – not overly cynical or schmaltzy. For goodness sake, he seemed acutely aware of the pitfalls and despair that are a part and parcel of the human condition (his films dealt with suicide on more than one occasion – read Meet John Doe and It’s a Wonderful Life), but ultimately, he saw the human spirit as an overwhelming force of good and one that would overcome any obstacle. Remember, in his heyday, the country was in the depths of a Great Depression and struck the right, hopeful tone that I can only imagine the everyday day would appreciate and celebrate. He also had the capacity to be completely madcap and screwball (read: Arsenic and Old Lace and, to a lesser extent, You Can’t Take it With You). The following films are four of my favorite Capra films. Note – I LOVE It’s a Wonderful Life with all my heart, but intentionally left it off this list because I wanted to shine a light on some other noteworthy Capra films.

 

You Can’t Take it With You (1938)

lionel barrymore, james stewart, jean arthur & edward arnold - you can't take it with you 1938

A perfect combination of that sentimental feeling and zany comedy I just mentioned above. Jean Arthur is a member of an eccentric/free-spirited/bohemian family led by Lionel Barrymore. She falls in love with the “boss’ son,” in the form of one Jimmy (not James) Stewart. ILC’s take: ♥♥♥♥♥ (outta 5)

 

Meet John Doe (1941)

For me this film strikes a decidedly dark tone but again from the darkness there is a beacon of light, which has been fashioned by Capra as his vision of the unrivaled American spirit. Barbara Stanwyck stars as a reporter on her way out who finds a lifeline through a story of her own creation – because of the state of the world, a dispirited “everyman” (Gary Cooper) has decided to publicly end his life.

Meet_John_Doe_1941

The overtly jingoistic message may not resonate with contemporary audiences, but stellar performances by a world-weary Cooper and a determined Stanwyck make this one worth the watch. (Available in the public domain) ILC’s take: ♥♥♥♥

 

Arsenic and Old Lace (1944)

with Boris Karloff and Cary Grant,  Arsenic and Old Lace (1944)

A pure gem and an all-time personal favorite. The perfect Halloween film with so much going on that you may wonder who’s coming and who’s going – but in the end, it is well worth the ride. Cary Grant shows a true mastery of the physical comedy genre with a great supporting cast, including wonderful turns by Raymond Massey and Peter Lorre. ILC’s take: ♥♥♥♥♥

 

Mr. Smith Goes to Washington (1939)

Hollywood's Greatest Year: The Best Picture Nominees of 1939

Capra’s entry into the “Golden Year of Hollywood,” 1939. An idealistic young politician (Jimmy Stewart) arrives in town and soon realizes that the inner workings of the political system are not as principled and virtuous as he thought. I know, SHOCKER. This makes my list principally became I love political theater ILC’s take: ♥♥♥♥

 

So, that’s my take; let me know what you think in the comments below.

Filed Under: Classics, Commentary Tagged With: frank capra

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