Happy birthday, Tippi Hedren! ‘Marnie’ is a marvelous yarn

By Film Noir Blonde

Marnie/1964/Universal Pictures/130 min.

In honor of Tippi Hedren’s 86th birthday on Jan. 19, we are running a review of “Marnie.” In 1983, Hedren, a Minnesota native of Scandinavian descent, founded the Roar Foundation to support abandoned exotic felines at the Shambala Preserve in Acton, Calif.

Most cynics have romantic souls and if there’s one Hitchcock film that works on this premise it’s “Marnie.” Though the legendary auteur frequently featured redemptive, romantic endings, here a pair of feuding lovers must work through many an issue before they hit happily ever after. It’s also a portrait of a wayward woman struggling with a tortured psyche, stemming from an unresolved childhood trauma.

Marnie (Tippi Hedren) and Mark (Sean Connery) must work through many an issue.

In the opening scene we meet impeccably dressed, raven-haired career girl Marnie Edgar (Tippi Hedren) carrying a citron-colored handbag that’s as covetable today as it was in 1964. (Hedren starred in Hitchcock’s “The Birds” one year earlier.)

Marnie has just finished doing what she does best: stealing from her employer, then donning a new disguise so she can pull the same scam at another company.

Besides her sizable clothing and hair-color budget, Marnie wants money to give to her poor frumpy Mama (Louise Latham), telling her: “That’s what money’s for. To spend.” (Especially when it’s someone else’s cash.) But despite these handouts, which Marnie personally delivers, Mama’s uptight and hard to please, preferring to lavish her attention on a little girl from the neighborhood (Kimberly Beck) instead of on her daughter.

At her next job, Marnie sports auburn up-do’s and sensible shoes. It’s here that she meets devastatingly handsome businessman Mark Rutland (Sean Connery). Intense and domineering, Mark is quickly smitten but ice-queen Marnie has no interest in him or in any man, though she does weaken long enough to kiss him.

Diane Baker plays sassy Lil.

Not so impressed with Marnie is the sharp and sassy Lil (Diane Baker). Packed with interesting women, the cast also includes Mariette Hartley as Marnie’s office colleague and Melody Thomas Scott as young Marnie.

Marnie’s coldness just makes Mark more determined – he is used to getting what he wants – and once he finds out about her criminal past, he uses this info to hasten their marriage.

The fact that Marnie can’t stand his touch doesn’t make for the most romantic honeymoon. Perhaps if he were a tad less controlling …

Will Mark help Marnie confront her past before her spate of Dior-collar crime catches up with her? That’s the movie’s source of suspense. It’s loosely based on a novel by Winston Graham but Hitchcock typically used the literary source material as merely a starting point to create a tension-filled, sometimes terrifying, reality and render his unique vision. The script came from Jay Presson Allen, a former actress and writer, who also worked with Sidney Lumet.

Hitchcock enjoyed exploring psychosexual theory in his films, sometimes with a smirk, sometimes not. In this case, Dr. Hitch diagnoses frigidity, rescue fantasies, control issues bordering on obsession, repressed memories and of course a major power struggle.

The movie was trashed upon its release. Critics called Hitchcock sloppy and unfairly pounced on Hedren’s acting. The editing is occasionally choppy, some of the backdrops look fake, the screen goes red when Marnie sees the color red, there are thunderstorms aplenty. Though they might seem flawed or slightly old-hat, these noirish devices reflect Marnie’s off-kilter world, her confused and anguished psychological state.

And Hitchcock’s personality was too controlling and perfectionistic to have coasted through this movie. Conscious of every detail of every frame, he sometimes shopped for and selected accessories like hats and handbags because even these seemingly minor visual elements affected the color palette of each shot. He also wanted classic lines for the clothes so that in years to come they wouldn’t look dated.

Always engaging, sometimes thrilling, “Marnie” is a complex, thoughtful and satisfying story.

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Film Noir File: TCM’s badass binge continues with darkside divas Barbara Stanwyck, Lizabeth Scott and more

By Film Noir Blonde and Mike Wilmington

The Film Noir File is FNB’s guide to classic film noir, neo-noir and pre-noir on Turner Classic Movies (TCM). The times are Eastern Standard and (Pacific Standard). All films without a new review have been covered previously in Film Noir Blonde and can be searched in the FNB archives (at right).

Pick of the Week: Summer of Darkness soldiers on

Barbara Stanwyck plays the tough-as-nails title broad in “Martha Ivers.” Kirk Douglas plays her husband.

Barbara Stanwyck plays the tough-as-nails title broad in “Martha Ivers.” Kirk Douglas plays her husband.

Unless you’re a noirista who has been living under a rock, you know that TCM’s badass binge of film noir continues this Friday.

This week TCM’s list includes the spine-tingling masterpiece “Strangers on a Train” and the lesser-known but compelling melodrama “The Strange Love of Martha Ivers,” plus noir highlights by and with ace actors like Humphrey Bogart, Robert Ryan, Robert Mitchum, recent birthday gal Barbara Stanwyck, Lizabeth Scott, and Audrey Totter, brilliant writers like Patricia Highsmith, W. R. Burnett and Cornell Woolrich, and directors like Alfred Hitchcock, Joseph H. Lewis, Phil Karlson and Anthony Mann.

Lizabeth Scott and Van Heflin co-star in “Martha Ivers.”

Lizabeth Scott and Van Heflin co-star in “Martha Ivers.”

Curated and hosted by the Czar of Noir himself, Eddie Muller of the Film Noir Foundation and the Noir City film festivals, TCM’s Summer of Darkness is one festival of classic dreams and movie nightmares, you don’t want to miss. As Raymond Chandler once said about Phillip Marlowe, in “The Simple Art of Murder”: “Down these mean streets a man must go who is not himself mean, who is neither tarnished nor afraid…”

Friday, July 17

7:45 a.m. (4:45 a.m.): “Tension” (John Berry, 1950).

Robert Mitchum

Robert Mitchum

9:30 a.m. (6:30 a.m.): “Where Danger Lives” (John Farrow, 1950). Robert Mitchum is dragged to the bad side of the border and the law by second-tier femme fatale Faith Domergue. This one has its moments.

11 a.m. (8 a.m.): “The Woman on Pier 13” (“I Married a Communist”) (Robert Stevenson, 1950).

12:30 p.m. (9:30 a.m.): “A Lady Without Passport” (Joseph H. Lewis, 1950). Hedy Lamarr is an illegal alien who proves irresistible to secret service man John Hodiak. Stylishly wrought by the director of “Gun Crazy” and “My Name is Julia Ross.”

2 p.m. (11 a.m.): “Cause for Alarm” (Tay Garnett, 1951). Loretta Young, caught in a noir trap of lies and murder. With Barry Sullivan.

3:15 p.m. (12:15 p.m.): “No Questions Asked” (Harold F. Kress, 1951). Barry Sullivan is an insurance agent gone bad. With Arlene Dahl and other temptations.

Farley Granger and Robert Walker have a wonderful weird chemistry in “Strangers on a Train.”

Farley Granger and Robert Walker have a wonderful weird chemistry in “Strangers on a Train.”

4:45 p.m. (1:45 p.m.): “Strangers on a Train” (Alfred Hitchcock, 1951).

6:30 p.m. (3:30 p.m.): “The Racket” (John Cromwell, 1951). Gangster Robert Ryan and tough cop Robert Mitchum duke it out in this moody adaptation of Bartlett Cormack’s hit stage play.

8 p.m. (5 p.m.): “Too Late for Tears” (Byron Haskin, 1949). Recently restored by the FNF, this sleeper stars Lizabeth Scott and Dan Duryea. The film examines the evils of money. Seriously?

10 p.m. (7 p.m.): “The Strange Love of Martha Ivers” (Lewis Milestone, 1946).

12:15 a.m. (9: 15 p.m.): “99 River Street” (Phil Karlson, 1953). Taut little thriller, with unlucky but feisty cabbie John Payne caught in a frame-up, directed with panache by B-maestro Karlson (“The Phenix City Story”). Evelyn Keyes co-stars.

2 a.m. (11 p.m.): “Conflict” (Curtis Bernhardt, 1945). Bogie in his bad mode, tormenting Alexis Smith and trying to evade Sydney Greenstreet.

3:30 a.m. (12:30 a.m.). “Klute” (Alan Pakula, 1971).

Saturday, July 18

8:15 a.m. (5:15 a.m.). “Crime and Punishment” (Josef von Sternberg, 1935). Director Sternberg, in his Dietrich years, tackles Fyodor Dostoyevsky, with the young Lucien Ballard behind the camera, and a cast that includes Peter Lorre (as the gloomy, philosophical student killer) and Edward Arnold (as his nemesis, genial and persistent police detective).

3:15 p.m. (12:15 p.m.) “Rebel Without a Cause” (Nicholas Ray, 1955).

5:15 p.m. (2:15 p.m.): “Lolita” (Stanley Kubrick, 1962). Kubrick’s superb film of Vladimir Nabokov’s classic comic-erotic novel about the dangerous affair of college professor Humbert Humbert (James Mason) with nymphet Lolita (Sue Lyon). [Read more…]

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‘A Perfect Man’ is an ideal start to COLCOA film festival

Last night, the COLCOA French Film Festival kicked off with a lovely reception and a screening of “A Perfect Man,” directed and co-written by Yann Gozlan.

A Perfect Man posterIn the movie, Pierre Niney plays Mathieu Vasseur, a sensitive smart loner and struggling fiction writer. When he happens to find an unpublished manuscript written by a French soldier in the Algerian War (who is now deceased), Mathieu takes a gamble and sends it to a publisher. It’s an instant success and Mathieu’s once-dismal existence is transformed, bringing him money, acclaim and the love of Alice Fursac (Ana Girardot), a beautiful and brainy literature professor who hails from a prominent family.

But three years later, Mathieu’s lies catch up with him: he’s spent all his money and he’s made zero progress on a second book. Also bothering him: a blackmailer and a nosy friend of the Fursac family. As Mathieu gets more desperate to cover his tracks (à la Patricia Highsmith’s Mr. Ripley), he turns to increasingly dire methods to hang onto his pretty illusion.

As always, the COLCOA opening-night reception was delightful.

As always, the COLCOA opening-night reception was delightful.

Granted, there are several times where “A Perfect Man” might inspire head-shaking incredulity. But I found that easy to forgive because there is so much that’s highly entertaining about the film – Niney and Girardot are just right for their parts, not to mention the luscious cinematography, shocking twists, taut pacing and gorgeous locations.

Alfred Hitchcock had a name for viewers who quibbled with the likelihood of a suspense movie’s plot points occurring in real life: The Plausibles. In his view, these nitpickers were missing the point, which was to enjoy the story’s thrills, both narratively and visually.

Of course, there needs to be some semblance of reality as well as sophistication in terms of storytelling in order to gloss over pesky points of fact. And it’s a difficult balance to maintain – some films are so compelling that it’s easy to forgive even major errors, others we dismiss completely because we just can’t buy into the film’s reality.

In the case of “A Perfect Man,” ditch your Plausibles checklist and just have a good time.

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Laura Linney plays Patricia Highsmith, Rendez-Vous with French Cinema opens at the Crest Theater in Westwood

Laura Linney

Laura Linney plays the role of crime writer Patricia Highsmith in the new stage drama “Switzerland,” by Joanna Murray-Smith, at the Geffen Playhouse in Westwood. The play opens Friday and runs through April 19.

Highsmith (1921-1995), a Texas-born novelist and short-story writer, was much admired in Europe and is considered part of the Existentialist tradition started by Dostoyevsky, Conrad, Kafka and Camus. Alfred Hitchcock’s 1951 film adaptation of her novel, “Strangers on a Train,” which she published in 1950, put her career on the fast track.

In the play, Highsmith is near the end of her life and residing in the Swiss Alps. A visit from a young American man (played by Seth Numrich) sets the drama in motion.

“There’s something sort of exotic about [doing theater in Los Angeles],” Linney told the LA Times.

The Geffen Playhouse is at 10886 Le Conte Ave. in Westwood.

Also starting Friday in Westwood: The Crest Theater, in association with Emerging Pictures, will present the 20th annual Rendez-Vous with French Cinema – a first-time look at some of France’s most exciting modern cinema. Rendez-Vous runs through March 19.

The Crest Theater is 1262 Westwood Blvd.

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Film Noir File: Hitchcock’s ‘Psycho’ still gives us chills

By Film Noir Blonde and Mike Wilmington

The Film Noir File is FNB’s guide to classic film noir, neo-noir and pre-noir on Turner Classic Movies (TCM). The times are Eastern Standard and (Pacific Standard). All films without a new review have been covered previously in Film Noir Blonde and can be searched in the FNB archives (at right).

Anthony Perkins and Janet Leigh star in “Psycho.”

Anthony Perkins and Janet Leigh star in “Psycho.”

Pick of the Week

Psycho”(1960, Alfred Hitchcock). Saturday, March 7, 4:15 p.m. (1:15 p.m.)

Saturday, March 7

2 p.m. (11 a.m.): “A Face in the Crowd” (1957, Elia Kazan).

6:15 p.m. (3:15 p.m.): “Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb” (1964, Stanley Kubrick).

Sunday, March 8

Gun Crazy poster narrow8:30 a.m. (5:30 a.m.). “Gun Crazy” (1950, Joseph H. Lewis).

4:30 p.m. (1:30 p.m.): “The Defiant Ones” (1958, Stanley Kramer).

Tuesday, March 10

8 p.m. (5 p.m.): “A Place in the Sun” (1951, George Stevens).

Wednesday, March 11

6 a.m. (3 a.m.): “Stage Fright” (1950, Alfred Hitchcock).

8 a.m. (5 a.m.): “Ministry of Fear” (1944, Fritz Lang).

9:45 a.m. (6:45 a.m.): “Lured” (1947, Douglas Sirk).

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Film Noir Blonde, Durant Library celebrate Women in Film Noir

I am very pleased to announce that I have programmed a series for the Will & Ariel Durant Library in Hollywood called Women in Film Noir. The series runs in March to honor Women’s History Month. We are highlighting women’s contribution to the genre at a time when there were many barriers to working outside the home.

Ida Lupino juggled work and family. Shown: Ida with her husband Howard Duff and daughter Bridget.

Ida Lupino juggled work and family. Shown: Ida with her husband Howard Duff and their daughter, Bridget, who was born in 1952.

The library will screen five films, starting March 2.

I will be giving a talk at the library at 1 p.m.  Saturday, March 7. The opening night double feature is a spotlight on Ida Lupino, actress, director, writer and producer.

5 p.m. March 2: “On Dangerous Ground” (1951, 82 min.): Ida Lupino plays a blind country girl who lives with her brother. She meets a psychologically scarred cop (Robert Ryan) when her brother becomes a suspect in a murder. With a taut script by A. I. Bezzerides (“Kiss Me Deadly”) and moody, poetic direction from Nicholas Ray, “On Dangerous Ground” is an unforgettable film noir.

Nightmare Alley poster 214The Hitch-Hiker” (1953, 71 min.): Fate isn’t smiling when two guys on vacation give a lift to a man who turns out to be serial killer. “The Hitch-Hiker,” starring Edmond O’Brien, Frank Lovejoy and William Talman, is the only classic film noir directed by a woman, the great Ida Lupino. Best known as an actress, Lupino was also a director, writer and producer. She co-wrote “The Hitch-Hiker.”

5 p.m. March 9: “Nightmare Alley” (1947, 110 min.) A film noir set in the seedy world of a carnival, “Nightmare Alley” tracks an ambitious performer (Tyrone Power) as he pursues a better life. Crucial to his rise and fall are three women: Joan Blondell, Coleen Gray and Helen Walker. Unusual for time, Walker plays an upper-class working woman who is not a teacher, nurse or secretary.

Based on William Lindsay Gresham’s novel and directed by Edmund Goulding, “Nightmare Alley” is unusually cerebral and rich with subtext. Also unusual for that time: Barbara McLean served as editor – by 1947, many women had been pushed out of film editing jobs, despite the fact that in the early days of the industry they dominated that function.

In a Lonely Place poster5 p.m. March 16:  “Strangers on a Train” (1951, 101 min.) With standout performances from Robert Walker and Farley Granger, “Strangers” stands as an excellent example of Alfred Hitchcock’s subversive casting. The film is based on the novel of the same name by master of suspense Patricia Highsmith. Czenzi Ormonde (aka Gladys Lucille Snell) co-wrote the script with Raymond Chandler. Pat Hitchcock plays a small but memorable part.

5 p.m. 23: In a Lonely Place” (1950, 94 min.) Based on a novel by Dorothy B. Hughes, “In a Lonely Place” tells the story of a screenwriter (Humphrey Bogart) and an actress (Gloria Grahame) who live in the same Hollywood apartment building and fall in love. All is not well, however, when it seems the writer might also be a deranged killer. Masterfully directed by Nicholas Ray and edited by Viola Lawrence, sometimes called “Hollywood’s first lady film cutter.”

The Durant Library is at 7140 W. Sunset Blvd. (one block west of La Brea), Los Angeles, CA 90046, 323-876-2741.

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Film noir news: Come out & see her this time, Noir City opens, ‘Dog Day’ turns 40, Poverty Row book party, Cecil B. DeMille showcased and ‘Sunset’ in Sherman Oaks

Mae West

Mae West

“It’s not the men in my life, it’s life in my men.” The original bad girl Mae West will be honored at 7:30 p.m. Wednesday, Jan. 14., with a special program at the Hollywood Heritage Museum.

Happily ever after. Not. Noir City: The Film Noir Festival returns to the Castro Theatre in San Francisco, Jan. 16–25, with a program of 25 titles depicting the darker side of marriage. The fest will travel to several other cities, including Los Angeles, later in the year.

Catch this dog. The singular neo-noir “Dog Day Afternoon” (1975, Sidney Lumet), starring Al Pacino, screens at 7:30 p.m. Friday night at the Egyptian Theatre in Hollywood. It’s on a double bill with “The Dog,” (2013, Allison Berg, Frank Keraudren). The story behind “Dog Day Afternoon” (a man robbing a bank to pay for his lover’s sex-change operation) was true, and this doc explores the off-screen drama, providing a riveting look at New York in the 1970s and the early days of the gay liberation movement.

Early Poverty Row StudiosLocation, location, location. Though it’s a myth that the classic film noir canon consisted entirely of B-movies, the genre’s writers, directors, cinematographers and set designers often worked on minuscule budgets. Hey, it wasn’t all bad. They had more room to experiment and defy the censors that way – just look at Edgar Ulmer.

Many of them were regular denizens of the scrappy little Hollywood studios known as Poverty Row and so we are eagerly looking forward to Marc Wanamaker and E.J. Stephens’ new book: “Early Poverty Row Studios.”

The authors will discuss the book at 4 p.m. Saturday, Jan. 17, at Larry Edmunds Bookshop in Hollywood. See you there!

UCLA honors DeMille, a Hollywood pioneer. Starting Sunday, Jan. 18, the UCLA Film & Television Archive presents the film series, “The Greatest Showman: Cecil B. DeMille,” at the Billy Wilder Theater in Westwood Village.

This retrospective of one of cinema’s greatest storytellers will showcase 10 films restored by the archive, including “The Ten Commandments” (1956), “The Plainsman” (1937) and “The Buccaneer” (1938). A legendary producer and director, DeMille (1881-1959) helped put Hollywood on the map and set a high bar in terms of both artistry and showmanship. The series ends Feb. 28.

Joe (William Holden) lets Norma (Gloria Swanson) dry him after a swim.

Joe (William Holden) lets Norma (Gloria Swanson) dry him after a swim.

“I’m ready for my closeup, Mr. DeMille.” Arguably, Billy Wilder’s “Sunset Blvd.” is the finest movie ever made about Hollywood. Inarguably, it’s deliciously noir. Aging Hollywood star Norma Desmond (Gloria Swanson) is admittedly a little cut off from reality. She fawns over her pet monkey, has rats in her pool, autographs pile after pile of 8 x 10 glossies for her fans, even though she hasn’t made a picture in years. But, like so many women of film noir, she was ahead of her time. Norma was a veteran movie star who wanted to create her own roles, look her best and date a younger, sexy man. Anything wrong with that?

Robert Walker is hard to top in 1951’s “Strangers on a Train.” So is co-star Farley Granger.

Robert Walker is hard to top in 1951’s “Strangers on a Train.” So is co-star Farley Granger.

Luscious William Holden plays Joe, Norma’s younger lover, and it’s worth watching just to lust after Holden. See it on the big screen at 7:30 p.m. Monday, Jan. 19, at the ArcLight Cinema in Sherman Oaks. Co-presented with the Skirball Cultural Center, in conjunction with its outstanding film noir exhibitions.

Read the FNB review here.

Just the ticket? Meanwhile, Ben Affleck and others from the “Gone Girl” team are remaking Alfred Hitchcock’s “Strangers on a Train.” Hmm. Hope they can do it justice. Or at least give the Robert Walker character a few flashy suits. 😉

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The Film Noir File: A day with Hitch, master of suspense

By Film Noir Blonde and Mike Wilmington

The Film Noir File is FNB’s guide to classic film noir, neo-noir and pre-noir on Turner Classic Movies (TCM). All movies below are from the schedule of TCM, which broadcasts them uncut and uninterrupted. The times are Eastern Standard and (Pacific Standard).

Pick of the Week

A Day With Alfred Hitchcock (Friday, Nov. 28)

Robert Cummings, Ray Milland and Grace Kelly form the love triangle in “Dial  M for Murder.”

Robert Cummings, Ray Milland and Grace Kelly form the love triangle in “Dial M for Murder.”

When it came to making movie thrillers, manufacturing chills, and squeezing the last drop of tension out of every thrill-packed scene and breath-catching set piece, Alfred Hitchcock was, by common consent, the Master of Suspense — king of the genre in the cinema’s Golden Age. Born in London, an émigré who moved to Hollywood in the ’40s, “Hitch,” as he was called by most movie folk, could plan and plot a suspense scene like no one else — riveting his audiences almost from his opening minutes, and building his unforgettable sequences and his little gems of nerve-racking tension with a meticulous expertise and vivid imagination that all thriller-makes envied and all tried (usually unsuccessfully) to emulate.

Hitchcock liked his heroines to be blonde and in distress, his villains to be charming and deadly, and his heroes to be fallible or accused of something they didn’t do. And he liked his movies (like those villains) to be devilishly seductive and watchable. Of all his contemporaries, he is still the film director most known, most watched and most imitated. And when his 1958 masterpiece “Vertigo” — that eerie romantic chiller starring James Stewart as a detective afraid of heights and Kim Novak as the beautiful mystery woman for whom he falls — was recently voted the best movie of all time, finally beating out runner-up “Citizen Kane” in the Sight and Sound film poll, it was a recognition that was probably as much for Hitchcock’s entire oeuvre.

Tippi Hedren gets direction from Hitch.

Tippi Hedren gets direction from Hitch.

Today’s Hitchcock mini-festival gives us five of his acknowledged classics, from the ’30s (“The Lady vanishes”), the ’40s (“Shadow of a Doubt,” which Hitchcock often named as his personal favorite), the ’50s (”Dial M for Murder”), to the ’60s (“Psycho” and “The Birds“), as well as the underrated 1942 “Saboteur” and 1964 “Marnie.” His constant, though often uncredited, collaborator on all these pictures, and on most of his others, was his one-time script woman, wife and life-long partner Alma Reville Hitchcock. If you’re a movie aficionado, you’ve probably seen them all, but they always repay a return visit. After all, life and love may fail you, but a thriller by Hitch will almost always get you on the hook.

5:30 a.m. (2:30 a.m.): “The Lady Vanishes” (1938, Alfred Hitchcock). With Michael Redgrave, Margaret Lockwood, Paul Lukas and Dame May Whitty. Reviewed in FNB on March 12, 2012.

7:30 a.m. (4:30 a.m.): “Saboteur” (1942, Alfred Hitchcock). With Robert Cummings, Priscilla Lane, Otto Kruger and Norman Lloyd. Reviewed in FNB on Oct. 18, 2014.

9:30 a.m. (6:30 a.m.): “Shadow of a Doubt” (1943, Alfred Hitchcock). With Joseph Cotten, Teresa Wright, Macdonald Carey and Hume Cronyn. Reviewed in FNB on Oct. 9, 2014.

11:30 a.m. (8:30 a.m.): “Dial M for Murder” (1954, Alfred Hitchcock). With Grace Kelly, Ray Milland and Cummings. Reviewed in FNB on Sept. 11, 2012.

1:30 p.m. (10:30 a.m.): “Marnie” (1964, Alfred Hitchcock). With Sean Connery, Tippi Hedren and Diane Baker. Reviewed in FNB on Jan. 30, 2012.

3:45 p.m. (12:45 p.m.): “The Birds” (1963, Alfred Hitchcock). With Rod Taylor, Hedren and Jessica Tandy. Reviewed in FNB on Oct. 23, 2014.

6 p.m. (3 p.m.): “Psycho’ (1960, Alfred Hitchcock, 1960). With Anthony Perkins, Janet Leigh, Vera Miles and Martin Balsam. Reviewed in FNB on July 7, 2011.

[Read more…]

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The Film Noir File: Crawford at her craziest in ‘Possessed’

By Film Noir Blonde and Mike Wilmington

The Film Noir File is FNB’s guide to classic film noir, neo-noir and pre-noir on Turner Classic Movies (TCM). All movies below are from the schedule of TCM, which broadcasts them uncut and uninterrupted. The times are Eastern Standard and (Pacific Standard).

Pick of the Week

Possessed

Van Heflin is immune to Joan Crawford’s charm in “Possessed.” What nerve!

Van Heflin is immune to Joan Crawford’s charm in “Possessed.” What nerve!

(1947, Curtis Bernhardt). Thursday, Nov. 20. 4:15 p.m. (1:15 p.m.) With Joan Crawford, Van Heflin and Raymond Massey. Read the full review here.

Thursday, Nov. 20

2:15 p.m. (11:15 a.m.): “A Stolen Life” (1946, Curtis Bernhardt). Two Bette Davises, both in love with Glenn Ford, create mass confusion when one of them (his wife) dies and the other (her sister) substitutes herself. A double-role tour-de-force, which two-faced Bette tried again in 1964‘s “Dead Ringer.” With Walter Brennan, Dane Clark and Charlie Ruggles.

8 p.m. (5 p.m.): “The Birds” (1963, Alfred Hitchcock). With Rod Taylor, Tippi Hedren, Suzanne Pleshette and Jessica Tandy. Reviewed in FNB on Oct. 23, 2014.

Friday, Nov. 21

Dennis Weaver goes from frustrated to freaked out in “Duel.”

Dennis Weaver goes from frustrated to freaked out in “Duel.”

8 p.m. (5 p.m.): “Duel” (1971, Steven Spielberg). “Jaws” made Steven Spielberg famous, but it was the earlier made-for-TV movie “Duel” that first showed he could scare the pants off any decently susceptible audience. Based on a Richard Matheson story, this brilliantly made, terrifying action movie pits an increasingly exasperated and then frightened motorist (Dennis Weaver) against an oncoming truck driven by a faceless trucker. A huge smoke-belching behemoth of a truck keeps pursuing him, apparently trying, for no reason he can fathom, to run him off the road and kill him. A real shocker.

12 a.m. (9 p.m.): “Scarecrow” (1973, Jerry Schatzberg). With Al Pacino, Gene Hackman and Dorothy Tristan). Reviewed in FNB on May 6, 2013.

2 a.m. (11 p.m.): “The Last Detail” (1973, Hal Ashby). With Jack Nicholson, Randy Quaid and Otis Young. Reviewed in FNB on Feb. 20, 2013.

Sunday, Nov. 23

9:45 a.m. (6:45 a.m.): “Citizen Kane” (1941, Orson Welles). With Welles, Joseph Cotten, Everett Sloane, Dorothy Comingore and the Mercury Players. Reviewed in FNB on July 13, 2012.

2 p.m. (11 a.m.): “The Big Sleep” (1946, Howard Hawks). With Humphrey Bogart, Lauren Bacall, Dorothy Malone and Elisha Cook, Jr.

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Ahead of her class: Remembering a legendary designer

Edith Head won eight Oscars.

Edith Head won eight Oscars.

Edith Head was born today in 1897 in San Bernardino, Calif. Starting with scant experience and no design training, she nonetheless had a stellar career – at Paramount and Universal, frequently collaborating with Alfred Hitchcock.

Grace Kelly, Tippi Hedren, Kim Novak, Veronica Lake, Barbara Stanwyck, Ingrid Bergman, Rita Hayworth, Marlene Dietrich, Sophia Loren, Natalie Wood, Audrey Hepburn and Katharine Hepburn were just some of the women she dressed.

Head won eight Academy Awards for costume design. She died on Oct, 24, 1981. You can learn more about her work at the Academy’s Hollywood Costume show.

 Slacking off

Meanwhile, the Los Angeles Times recently shared this nifty item from 1938 about a woman who went to jail for wearing slacks in courtroom. Yikes! Times have changed, just a bit.

 Helen Hulick defied convention by wearing slacks. Photo by Andrew H. Arnott/L.A. Times Archive/UCLA

Helen Hulick defied convention by wearing slacks. Photo by Andrew H. Arnott/L.A. Times Archive/UCLA

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