This is my favorite time of year, second only to Christmas. Autumn has arrived, the weather is cooling down, and October becomes the month long celebration of scary movies called Shocktober. There are a lot of horror movies out there, but as a genre, horror is still looked down upon by some mainstream critics and moviegoers. It doesn’t help that, admittedly, there are so few quality horror movies made but, like comedy, it’s a very difficult and subjective genre. So, in the days leading up Halloween I’ll be posting some recommendations for scary movies to help you celebrate Shocktober. Night 10: Horror Comedy Night/Gene Wilder Memorial Night Puttin' on the Ritz!
Like many people my age I first saw Young Frankenstein as a kid when it aired on TV for Halloween.
After several reassurances from my mother that it wasn’t scary I watched
hesitantly. It didn’t look or feel like any comedy I had seen up to that point
in my life. It still doesn’t look or feel like any comedies I’ve seen. The other
day, while working at the video store, I put this movie on in the background.
Even without actually seeing it, just hearing it, the jokes still made me laugh
and smile. Customers paused and watched for long stretches, their faces filled
with delight. I heard “this is my favorite part” from different customers at
different parts of the movie. I’ve worked at the video store for four years now
and I can say that this rarely happens. No, this film isn’t like other
comedies. It is something quite special indeed.
Gene Wilder plays the titular young Frankenstein, Frederick,
who is trying to escape the shadow of his grandfather Victor’s abominable
experiments. He insists his name is pronounced “Fronkensteen,” giving us one of
the most memorable quotes of the film. Frederick travels to his grandfather’s
homeland after inheriting the family castle in Transylvania. The castle comes
complete with eccentric characters: Marty Feldman as Igor (pronounce eye-gore,
giving us the second most memorable quote of the film) the hunchback servant,
Inga (Teri Garr) the lovely lab assistant, and Frau Blucher (Cloris Leechman)
the mysterious woman lurking in the castle playing eerie violin music. Fredrick
discovers Victor Frankenstein’s laboratory and is coaxed into continuing his
grandfather’s work and creates the Monster, but due to a mix up the monster has
a brain that is “abby-normal.”
Young Frankenstein
works both as a parody and homage to the Universal Studios monster movies of the 1930’s
and 1940’s. Some of the sets are in fact the same sets used in the Frankenstein
movies of that era. Young Frankenstein
is beautifully shot in black and white by Gerald Hirschfeld to give it the same
look as those classic movies. The cinematography and sets give Young Frankenstein a timeless feel. This
film doesn’t look or feel like a 70’s movie, though it is from 1974. Hairstyles
do not date this movie and neither does the film score, which is orchestral. The style
of comedy also does not date the movie. Unlike modern parody films, in which making
a reference to the original film is the punchline (and not a funny one), Young Frankenstein makes subtle
references to past Frankenstein films but the jokes come from the characters.
This is a film that has great affection for the films that inspired it and
instead of cynically riffing those films, it uses them as inspiration.
There are great performances all around. Cloris Leechman as
Frau Blucher is frighteningly funny and plays her character with an intensity
that matches Wilder’s outbursts. Her very name causes horses to rear up and she
leads a tour of the castle with an unlit candelabra. Marty Feldman finds a way
to stand out as the comic relief in a film filled with funny characters. He provides
a classic “walk this way” gag and countless others. Everything he says is a
punchline and every joke lands in every scene.
From start to finish Young Frankenstein is an excellent showcase for Gene Wilder’s
superb comic sensibilities. He can be broad and intense (is there anything
funnier than Wilder shouting?), but he is also great at subtle, nonverbal
comedy. He’ll let the audience catch an errant longing side eye gaze, which, in
addition to being a quick, funny moment, builds character in an instant
without any dialogue. That’s good acting and being a good comedian. While Wilder is infinitely memorable for his explosive outbursts of rage, he also brings a sweet tenderness to Frederick as well. Believably moving between these two extremes is a very difficult thing to do for any actor, but Wilder seems to accomplish it with a natural ease.
Young Frankenstein
is paced differently from modern comedies. Despite all of the hilarious
shouting, it feels like a quiet and intimate film. Mel Brooks, who co-wrote the screenplay with Wilder, does not let his direction does
not call attention to itself. Like in the horror films of the 1930’s there are
special transitions like wipes and fades, but rather than being an elbow
poking you in the side (did you notice? Did you notice??) these techniques help
evoke the feel of a movie from 30’s.
There are too many memorable comedic set pieces and
hilarious jokes to list. There’s plenty of physical comedy but most of the
humor is verbal (Werewolf? — There wolf. There castle). All of the comedy,
physical and verbal comes from the characters being themselves. This might be
why jokes and gags are still funny even if you know they are going to happen.
This is a very organic comedy. Nothing feels out of place or contrived. No gag
or set piece lasts longer than it should.
One of the most memorable scenes has the Monster meeting a
blind man played by Gene Hackman. The blind man pours hot soup on the Monster’s
lap, breaks his cup of wine, and sets the Monster’s thumb on fire. You can see
all of the gags coming a mile away but they are delivered perfectly and work
every time. Another favorite scene is, of course, Frederick and the Monster performing
Puttin' on the Ritz. Though it is
quite brief, I think my favorite scene is when Wilder and Teri Garr discover
the spinning bookcase (Put the kendle beck!). I’ve seen Young Frankenstein twice in the last month and it is funny every
time. I’ll likely see it again this Shocktober (it airs on TCM on Sunday,
October 30th, at 7PM Central Time). You should too.
Each month, I scour the Turner Classic Movies schedule for upcoming films that I can't miss. The highlights are posted here for your reading and viewing pleasure! (All listed times are Eastern Standard, check your local listings or TCM.com for actual air times in your area. Each day's schedule begins at 6:00 a.m.; if a film airs between midnight and 6 a.m. it is listed on the previous day's programming schedule.)
Cary Grant Deep Cuts 9/4, 8 PM - People Will Talk (1951) 9/11, 10 AM - Mr. Lucky (1943) Cary Grant is one of my favorite actors and I'm taking the opportunity this month to catch up with two of his lesser known films. In People Will Talk, Grant plays a doctor at a university medical school whose unconventional methods cause alarm among his more conservative colleagues. His problems at work come to a head when he falls in love with a patient, an unwed mother who attempts suicide (Jeanne Crain), while also facing charges of misconduct from his university's board. Because the film features topics like single motherhood, suicide, and abortion, it faced opposition from censors; however, the producers felt that Grant would give the film an air of moral uprightness which would override any disapproval of those taboo topics. Which is kind of ironic since many of Grant's early roles were cads and connivers (such as in Sylvia Scarlett and Topper),characters which he always seemed to relish more than the upstanding leading man types. In the wartime romance Mr. Lucky, Grant is far from morally upright as the scheming owner of a gambling ship. Though he is changed for the better when he falls for an altruistic heiress (Laraine Day) who is raising funds for war relief. So, I guess in the end he's not so bad after all.
Salute to Slapstick 9/7, 9:15 PM - A Dog's Life (1918) 9/14, 12:45 AM - The Inspector General (1949) 9/28, 1:15 AM - Strange Brew (1983) TCM has scheduled a month-long salute to slapstick comedy throughout film history. You can get the full schedule here, but I've selected three films spanning from the silent era to the 1980s, proving that some gags never stop being funny. In A Dog's Life, Charlie Chaplin, as his Little Tramp character, takes in a stray after saving it from a pack of attacking dogs. As in many of the Little Tramp stories, he also meets a pretty girl who is down on her luck and uses comedy to depict the struggle of poverty. Chaplin is said to have auditioned a dachshund, Pomeranian, poodle, Boston terrier, and bulldog before deciding that a mutt would best fit the part. The dog co-star "Mutt" was adopted by Chaplin and spent the rest of his life at the star's studio; so, this dog's life was a sweet one. Danny Kaye's vocal and physical dexterity are put through their paces in The Inspector General, in which Kaye stars as Georgi, an illiterate peasant mistakened for the titular agent of Emperor Napoleon sent to uncover corruption in a Hungarian village. The naive Georgi soon finds himself in over his head as villagers alternately beg for his help, offer bribes, and even plan his assassination. If you are a fan of Kaye, this is a must-see. In Strange Brew, a uniquely Canadian riff on Hamlet, brothers Bob and Doug Mackenzie (Dave Thomas and Rick Moranis) help a young woman reclaim control of her family brewery. Along the way, they must face off against an army of hockey goons, space age super lasers, and a shady brewmeister played by Max von Sydow. At the time, the Mackenzie Brothers were popular characters from the SCTV sketch comedy show and Moranis and Thomas's comedy album, Great White North. It's considered a classic of the so-stupid-it's-funny brand of comedy, while also being a decent interpretation of Shakespeare's play.
Midnight in the Disney Vault 9/8, 4:15 AM - Midnight Madness (1980) This month brings another trip into the Disney Vault hosted by film critic and Disney historian Leonard Maltin. The line-up contains 6 features and 2 shorts, including classic kid flick Treasure Island. You can see the full schedule here. I'm particularly interested in Midnight Madness, a live-action feature aimed at a slightly older audience than Disney's usual kiddie fare (rated PG!). The story follows teams of college students competing in an all-night scavenger hunt with Los Angeles as the game board. It's an "into the night" story meets wacky race in the tradition of It's a Mad Mad Mad Mad World and The Great Race, and perhaps the first (and only) Disney film to include an extended sequence at the Pabst Blue Ribbon brewery. It was the first film for David Naughton (then famous for the "I'm a Pepper" Dr. Pepper ad campaign) as the Yellow Team Leader, as well as Michael J. Fox playing Naughton's younger brother. Also, look for Paul Reubens, a.k.a. Pee-Wee Herman, in a small part.
9/29, 8 AM - Adventure (1945) Adventure was promoted relentlessly with the outstanding tagline: "Gable's back and Garson's got him!" The line was referring to the fact that former "King of Hollywood" Clark Gable was returning to the screen after several years away due to the untimely death of his wife, Carole Lombard, followed by two years of WWII service in the Army Air Corps and a vow not to act until the war in Europe ended. His comeback vehicle was this dramatic romance (not a straightforward adventure story as the title might lead you to believe) about a hard-living merchant marine who finds true love with a straitlaced librarian. Cast as the librarian was Greer Garson, the current Queen of Hollywood. She had made a name for herself in several hits while Gable was away, including the wartime drama Mrs. Miniver, for which she won the Best Actress Academy Award. In an interesting bit of trivia, Garson's first film was 1939's Goodbye, Mr. Chips, opposite Robert Donat; he would notably go on to win that year's Best Actor Oscar, beating out Gable's iconic performance as Rhett Butler in Gone with the Wind. Donat gives a great performance as mild-mannered school teacher Mr. Chipping, which is elevated in large part by Garson's effervescent presence as his beloved Mrs. Chipping. The two stars of Adventure apparently did not get along - it was a classic clash of opposites, not unlike their characters in the film. However, they both agreed that they hated the tagline and ad campaign. According to one Gable biography, "Clark hated being called 'Gable,' hated being 'got' by Garson, and hated the repetition of the slogan." See for yourself if these opposites believably attract. 9/29: Gene Wilder Tribute 8 PM - Role Model: Gene Wilder (2008), with encore at 11:15 PM 9:15 PM - Young Frankenstein (1974) 12:30 AM - Start the Revolution Without Me (1970) 2:15 AM - The Frisco Kid (1979) 4:30 AM -Bonnie and Clyde (1967) TCM will celebrate the career of the late Gene Wilder with a primetime lineup including his first feature film, an iconic Mel Brooks comedy, and two underseen gems. They will also re-air a TCM original production from 2008, Role Model: Gene Wilder, in which Alec Baldwin interviews Wilder about his life and career. Wilder was a versatile actor who, though known for broad comedy, approached each role very seriously and tried to inject his performance with the unexpected - think of his famous entrance as Willie Wonka. He was a wonderful physical comedian and one of the great shouters in cinema history, expertly moving from calm to hysteria in explosive shifts. But he could also convey multitudes through silence, understanding the effect of a well-timed pause and aided by his big expressive eyes.At turns impish and mischievous, gentle and kind, and sometimes a little bit sexy (I can't be the only one who sees it), Wilder's onscreen personas often echoed the sweetness and kindness which were, by all accounts, at the heart of his own personality. In Wilder's first film, Bonnie and Clyde, he made an impression in a small role as a nervous undertaker. His star turn would come that same year in The Producers directed by Mel Brooks, a role which earned Wilder a Best Supporting Actor Academy Award nomination. His collaboration with Brooks would continue over several films, including Young Frankenstein for which the two men would receive Oscar nominations for Best Adapted Screenplay. The role of Frederick Frankenstein (it's pronounced Frohn-ken-steen) gives Wilder a chance to showcase not only his comic timing, but a bit of range as the young doctor goes from reluctant heir to full-on mad scientist. The historical farce Start the Revolution Without Me gives Wilder a chance to flex his acting muscles in a dual role. In this story inspired by Shakespeare's TheComedy of Errors, Wilder and Donald Sutherland play two pairs of mismatched twins - that's one Gene and one Donald per set - on opposite sides of the French Revolution. When the twins start getting mistaken for one another, well...hilarity ensues. Another of Wilder's underseen comedies is The Frisco Kid, a "Jewish Western" in which he plays a rabbi who befriends an outlaw (Harrison Ford, fresh off Star Wars) on their way to San Francisco. It's a great role for Wilder, and though the film got mixed reviews at the time his performance was singled out for praise. And now please enjoy Gene Wilder demonstrating the art of the comedic pause in this clip from Everything You Ever Wanted to Know About Sex...
by Lani Each month, I scour the Turner Classic Movies schedule for upcoming films that I can't miss. The highlights are posted here for your reading and viewing pleasure! (All listed times are Eastern Standard, check your local listings or TCM.com for actual air times in your area. Each day's schedule begins at 6:00 a.m.; if a film airs between midnight and 6 a.m. it is listed on the previous day's programming schedule.)
While looking through this month's TCM schedule, I was drawn to several films from the mid-70s and later. This got me wondering -- how old is "old enough" to be considered a classic? 10 years? 20 years? I know there are some purists who define the "classic era" as films made before 1970 (give or take a few years). I'm not so rigid about when a film was made; I prefer to focus on quality. However, I'll admit it's a bit jarring to see a movie from 2008 on the TCM schedule. It's a bit like when "oldies" radio stations started playing Madonna songs: depending on when you were born it might seem completely out of place or perfectly normal (or if you were born in the 80s, it might make you contemplate your mortality). I've been writing these blogs for a few years now, and I try to keep it fresh by not picking the same films over and over again. So this month, I've decided to pick "new classics" which interest me, the oldest film being from 1976. If you're in the mood for something of a less recent vintage, you might enjoy Star of the Month Cary Grant on Monday nights. You really can't go wrong with The Awful Truth and My Favorite Wife, two slices of perfection with a side of Irene Dunne. Also, check the schedule for this month's Friday Night Spotlight which shines on Charles Walters, a choreographer and director whose name I didn't recognize, but whose films I've enjoyed for years. His speciality seems to be delightful musicals like Summer Stock,High Society, and The Belle of New York. And, of course, TCM will be showing holiday-themed films throughout the month. 12/17: Nastassja Kinski Double Feature
10:45 PM - Paris, Texas (1984) 1:15 AM - Tess (1980) Actress Nastassja Kinski had quite a good run in the late 70s and early 80s, working with several critically-acclaimed directors and making some very unique films such as Cat People, One From the Heart, and tonight's two films. Paris, Texas (a pick from guest programmer, actor Jason Lee), directed by Wim Wenders and written by Sam Shepard, won the Palme d'Or at the Cannes Film Festival. Harry Dean Stanton stars as a mysterious drifter who attempts to reconnect with the young son and wife (Kinski) he lost years before. The film is notable for Stanton's mostly mute performance and striking visuals of the American Southwest. Tess is an adaptation of Thomas Hardy's novel Tess of the D'Urbervilles directed by Roman Polanski. I was moved by Hardy's book back when it was required reading in high school, and I even like the TV movie from 1998, so I'm interested in seeing how Polanski's version, which is still probably the most high-profile film version, compares. Kinski plays Tess, a naive farm girl in Victorian-era England who attempts to move up in the world and receives mistreatment at the hands of the men who control her fate. The film received Academy Awards for cinematography, art direction, and costumes. 12/25: Mel Brooks Film Parodies 8 PM - High Anxiety (1977) 10 PM - Silent Movie (1976) This Christmas, TCM offers a prime time line up of Mel Brooks films. I've recommended Brook's films before, and while the humor can be hit-and-miss, I couldn't resist this pair of movie parodies. In High Anxiety, a spoof of suspense thrillers, Brooks plays a psychiatrist who takes over a mental institute after the mysterious death of its director. Fans of Hitchcock should recognize the story which combines plot elements from Spellbound and Vertigo, among other Hitchcock classics. For a slight change of pace from the high volume of High Anxiety, see Silent Movie, a parody of...well, take a guess. While technically a "sound" film, Silent Movie has only one line of dialogue; Brooks uses visual gags, music, and sound effects to get laughs in this story of three filmmakers (Brooks, Dom DeLuise, and Marty Feldman) attempting to make the first silent picture in 40 years. 12/30: Is it "classic" yet? 2:15 AM - Good Will Hunting (1997) 4:30 AM - Doubt (2008) I was surprised to see Doubt and Good Will Hunting on the TCM schedule, not because they aren't good films, but because they are so recent. It's what got me thinking about how much we factor in the age of a film when declaring it a "classic." I think that in a few decades time, both of these films could easily wear the classic label; though, it feels a bit soon to be seeing them in regular rotation on TCM. However, tonight's programming is a special tribute to notable actors, actresses, and filmmakers we lost in 2014. Good Will Hunting features Robin Williams in his Oscar-winning role as the therapist who helps Matt Damon's Will reach his full potential. It was my favorite film of 1997 and, I think, one of Williams's best roles. Doubt features Philip Seymour Hoffman as a priest who is suspected of abusing a student at the Catholic school overseen by an imposing nun played by Meryl Streep. Writer/director John Patrick Shanley adapted the story from his own play and the strength of this film lies in the strength of the story (it's not as clear cut as you might think) and the performances of Hoffman and Streep, as well as Amy Adams and Viola Davis in smaller roles.
12/31, 5 AM - The Total Balalaika Show (1994) This hour-long concert film by Finnish director Aki Kaurismaki caps off a New Year's Eve line-up of classic rock films (including one of my personal favorites of any genre, A Hard Day's Night featuring The Beatles). Kaurismaki is known as one of the most interesting filmmakers working today, so his name on the film got my attention. Plus, the film's description intrigues me: "The Leningrad Cowboys, the self-proclaimed World's Worst Rock n' Roll Band, perform with the Red Army Chorus before an audience of 70,000 in Helsinki's Senate Square." Could be a fun way to welcome the new year! BONUS PICK: Treasures from the Disney Vault, 12/21 TCM and Disney have created a new partnership to show classics from the fabled Disney Vault including animated shorts and features, live action films, nature documentaries, and TV shows. Of course, I love the cartoons, but I also really enjoy the old TV shows like Walt Disney's Wonderful World of Color. The TCM website says that they'll be showing these several times a year, so I'm looking forward to the next installment in 2015. 8 PM - Santa's Workshop (1932) On Ice (1935) Chip An' Dale (1947) 8:30 PM - The Disneyland Story (1954) 9:30 PM - the Reluctant Dragon (1941) 11 PM - Davy Crockett, King of the Wild Frontier (1955) 12:45 AM - The Vanishing Prairie (1954) 2 AM - Third Man on the Mountain (1959) 4 AM - Perilous Assignment (1959)
by Lani Each month, I scour the Turner Classic Movies schedule for upcoming films that I can't miss. The highlights are posted here for your reading and viewing pleasure! (All listed times are Eastern Standard, check your local listings or TCM.com for actual air times in your area. Each day's schedule begins at 6:00 a.m.; if a film airs between midnight and 6 a.m. it is listed on the previous day's programming schedule.) 7/12, 8 PM - The Bride Wore Black (1968) This month, TCM is spotlighting the films of French director Francois Truffaut on Friday nights. The Bride Wore Black stars Jeanne Moreau as a woman on a mission of revenge. The film was conceived as an homage to Alfred Hitchcock (Truffaut had recently published his now-classic book of interviews with Hitchcock) and was an inspiration for Quentin Tarantino's Kill Bill movies. So, if you like any of those three directors, this film may be worth a look. BONUS PICK: 7/26, 8 PM - Day for Night (1973) - Truffaut's Oscar-winner for Best Foreign Film is about the making of movies, lovingly depicting the contrast between the actual tedious labor of filmmaking and the captivating magic of a finished film. 7/22: Big Band Music on Screen All day long, 6 AM to 8 PM, enjoy musical movies and shorts featuring Big Band stars of the 30s and 40s. For an added level of fun, try to pick out future A-listers like Ronald Reagan, Ava Gardner, and Dale Evans in blink-and-you'll-miss-em roles. In Ship Ahoy (1942), airing at 12:30 PM, dancing dynamo Eleanor Powell and Red Skelton get mixed up in a spy plot to smuggle a magnetic mine on a cruise ship to Puerto Rico. It's got the Tommy Dorsey Orchestra, including a young Frank Sinatra, plus Eleanor tapping out messages in Morse code - what more do you need on a summer afternoon? 7/22: Fred and Ginger 9 PM - The Gay Divorcee (1934) 11 PM - Top Hat(1935) 1 AM - Follow the Fleet (1936) 3 AM - Swing Time (1936) 5 AM - The Story of Vernon and Irene Castle (1939) After a day of Big Band musicals, what's better than more musicals? Tonight's mini-marathon includes some of the best films featuring Hollywood's quintessential dance team: Fred Astaire and Ginger Rogers. 7/25: Controversial Teachers 8 PM - The Prime of Miss Jean Brodie (1969) This film kicks of a night of stories about students and teachers; however, it is not the usual story of an unconventional teacher who is championed by her students and ultimately vindicated (see Stand and Deliver, Mr. Holland's Opus, Goodbye, Mr. Chips, etc.). Anchored by an Oscar-winning performance by Maggie Smith as the arrogant, manipulative Miss Brodie, the film also contains strong performances by Celia Johnson as the school principal and Pamela Franklin as one of Brodie's favored students. 10 PM - Dead Poet's Society (1989) - If you haven't seen this "new classic" then seize the day - carpe diem! - or night, as it were. 12:15 AM - These Three (1936) - Lillian Hellman adapted her controversial play The Children's Hour into this film about the power of a lie. 7/24: Tribute to Mel Brooks 8 PM - AFI Lifetime Achievement Award: A Tribute to Mel Brooks 9:30 PM - The Twelve Chairs (1970) 11:15 PM - Carson on TCM: Mel Brooks (9/21/83) 11:30 PM - Excavating the 2000 Year Old Man (2012) 2 AM - Young Frankenstein (1974) 4 AM - The Producers (1968) 5:30 AM - The Dick Cavett Show: Mel Brooks Tonight we celebrate the work of Mel Brooks with a tribute show, three comedies, two talk show clips, and a documentary; take your pick or enjoy them all! I'm looking forward to The Twelve Chairs, which seems to be the Mel Brooks film no one remembers. Set in Russia following the Bolshevik Revolution, it follows a once-wealthy aristocrat, a con man, and a priest in a race to find a fortune of jewels hidden in one of twelve chairs. 7/28, 8 PM:Great Expectations (1946) John Mills, Jean Simmons, and Alec Guinness star in this Essentials, Jr. installment about poor orphan Pip who is raised up into society by a mysterious benefactor. Though the original story has been greatly pared down to focus on Pip's journey, this film version directed by David Lean remains the definitive screen adaptation of Dickens' novel.
