Crawford vs. McCambridge

“If you want to be in good standing with the international elite film snob community, you have to be down with even the most arcane Nicholas Ray film, just like you have to swear by the coded soap-opera kitsch of Douglas Sirk. This is a non-debatable clause in the dweeb contract. It’s there because Ray was a highly skilled and passionate filmmaker, yes, but also — primarily? — because Jean-Luc Godard once wrote that ‘Ray is cinema!’, or words to that effect.

“My favorite Ray films have always been Rebel Without A Cause, In A Lonely Place, On Dangerous Ground and They Live By Night. Yes, I know — a boring thing to say. I’m very sorry to offend the high priests of the temple but I hated Bigger Than Life when I saw it at the Film Forum a couple of years ago, and I’ve always been ‘meh’ on Johnny Guitar.

“Ever notice how the snobs never include Ray’s 55 Days at Peking or King of Kings in their retrospectives? Or mention them in their articles? (Except for this Glenn Kenny piece.) That’s because they’re regarded as somewhat embarassing paycheck gigs and not ‘genuine’ Ray films. But I kinda like 55 Days at Peking. Ray reportedly collapsed during shooting of that Charlton Heston war-siege drama; the offshoot was that he had trouble finding work for a long time after.

“My favorite Ray moment of the ’70s? When he kicks that paint can across the loft floor in The American Friend.” — from an 8.10.11 post titled “Remnants of Ray.”

The Olive Films Bluray of Johnny Guitar is out on 8.7.12. Amazon’s page says it’ll be presented at 1.37 to 1, but you can never trust them on aspect ratios. Presumably it’ll be Furmanek-ed at 1.85 to 1, especially since it opened on May 27, 1954, or more than a year after the industry-wide 1.85 mandate.

Promamazon

Pre-order now and a three-pronged Prometheus package — Bluray, DVD + digital copy — is yours for only $27.99. Are Fox marketers presuming that online U.S. buyers might be slightly more intrigued now, a week before the 6.8 opening, than later? It would appear that the idea of a theatrical debut being a singular, stand-alone event that warrants everyone’s attention and respect without the baggage of hustling other formats is out the window.

Eff This Show

Two years ago I wrote that the popularity of the MTV Movie Awards (which airs this evening) “derives from its blatant goof-off attitude and being 100% opposed to the idea of movie theatres as churches. Movies are celebrated instead as things you might watch on your iPhone or iPad while farting and belching during a McDonalds break.”

Forget the communion aspect, the notion that movies at their best are about shared uplift and transportation — a chance for everyone to hold hands and occasionally feel who and what we really are deep down. No awards show is better at expressing glitzy 20something quarter-of-an-inch-deep Eloi values. Tonight Hollywood’s empty Coke bottles will get all trussed up and renew once again their balls-out determination to banalicize an art form. The worst people in the film industry, all gathered together in a single room.

Pork Chops

In a highly droll, deliciously phrased 6.1 piece in the Los Angeles Review of Books, Dave White assesses “Full Service: My Adventures in Hollywood and the Secret Sex Lives of the Stars.” The Old Hollywood tell-all by Scott Bowers and Lionel Freidberg has been out for about four months. Read my riff about it, which was posted last January, and then savor White’s article, which is called “Town Pump.”

The book claims, says White, that Bowers and his “horniest, neediest, most open-minded pals, both male and female, serviced en masse all manner of Hollywood hot shots, names both above and below the title, with Bowers using his legendary penis to satisfy more of the rich and famous than anyone could count, himself included. The way he tells it, the scene was a non-stop, barely contained bacchanal. Orgies of every stripe, down-low gangbangs arranged in a wink, you name it. Right out in the open. Vice squad eluded. Everybody getting all the hot monkey sex any human being could want or even contemplate handling. Then everyone got up at five o’clock in the morning to make their call time.

“Sound impossible? No. It’s a big world, anything’s possible. But implausible? Hell yes.

“Think of it like this: you happen to live in Los Angeles where casually noticing celebrities in the supermarket, at the multiplex, at the gym is just something you’re used to. Now imagine each and every one of those celebrities not only noticing you in return, but laser-focusing their sights on you, hitting on you, offering you money for the sex, then becoming your close pal and subsequently fixing you up for more money and more sex with all of their famous friends, as well. If my life worked that way I’d have already been paid for sex by Jody Watley, Jennifer Beals, Patton Oswalt, Sandra Bernhard, Adam Sandler, Werner Herzog, Reese Witherspoon, Miranda July, Jim J. Bullock, and Johnny Mathis. But every one of those people ignored me, just like they’ll ignore you. In return I allowed them to buy their pork chops in peace.

“It’s a story of revelations — Tony Perkins was gay, Errol Flynn was drunk — that don’t feel revelatory any more. Stalker-y internet gossip site TMZ is its own TV show now and they’ve got a bus that runs all day long so tourists from Indiana can see where Chris Brown beat up Rihanna. Those tourists will pay attention to it for a few moments, walk away, forget it and then shop at the Hard Rock Cafe store, provided none of it makes them late for their shuttle ride back to the hotel in time for the Cirque du Soleil show at the former Kodak (now Dolby) Theatre.

“It’s a time in Hollywood history when Mel Gibson takes up with his mistress, puts a baby in her, screams weird racist things on the phone, they laugh about it on The View and then Jodie Foster turns around and puts him in her next movie. Charlie Sheen chases hookers around hotels and gets endorsement deals and a new sitcom out of it. Actors like Neil Patrick Harris simply announce their gayness and move on, rightly separating their professional, personal, and private experiences — no shame, no worries, no big deal.

“Scandal isn’t scandal anymore unless there’s murder involved, and Bowers’s book, out now these past few months, is just a badly-written blip in the entertainment news cycle, another tell-all sex book by someone you’ve never heard of. No lids ripped off. No eyebrows scorched from the burning shock of the page. It may all be true, but Gore Vidal is wrong when he calls it ‘startling’ on the jacket. It’s just repetitive, empty and, because the dead can’t be offended, harmless.

“If it has any value, it’s in its unstated, unexamined theme: That life used to be much, much harder for anyone whose desires fell outside the norm. Unless they were rich, of course. Then they called Scotty Bowers and he kept them in orgasms until the sexual revolution kicked in for everyone, including run-of-the-mill nobodies.”

Gog But Not Forgotten

I’ve never seen Ivan Tors and Herbert L. Strock‘s Gog (’54) but that title is perfect. There’s just something about that sound, that vibe….gog! The story is about fears of technology taking over everything — a sci-fi variant of The Desk Set. In this sense it’s almost a forebear of John Badham‘s WarGames.

It contains standard ’50 sci-fi characters — a handsome, thoughtful alpha male (Richard Egan) who’s new to an unusual scientific situation, an older, somewhat eccentric scientific authority figure (Herbert Marshall), an attractive, sexually seducable blonde or brunette (Constance Dowling) who either works for the scientist or is his willful daugfhter, a brilliant but posslbly malevolent lone wolf scientific figure (John Wengraf), etc.

You can’t tell from snippets, but I’d say the dialogue is reasonably intellligent sounding. It feels almost but not quite as well-written as Them! At one point a guy visiting a woman lying in a hospital bed says, “The doctor says it isn’t serious, just too much radiation. ” At a later point somebody says, “Can you hold off the robots until we get there?”

The trailer makes the story look fairly comical, of course, and the bargain-basement effects and cardboard-fortified sets seem to be almost Plane Nine From Outer Space-level, but I’m thinking of getting the DVD just so I can say I saw it.

From the Wiki page: “Gog was shot on two sets at Hal Roach Studios, with exteriors done at George AFB, a former Air Force base near Victorville, California. It took just 15 days to shoot all of the footage needed, and the film’s final cost was estimated at a quarter of a million dollars.

“Shortly after filming of Gog was completed, Constance Dowling married Ivan Tors and retired from acting.

“Although shot in 3-D, Gog was released at the tail end of the 3-D fad of 1953-54 and was therefore shown ‘flat’ in most venues, despite being available in its stereoscopic format. Gog was also filmed in flat widescreen at an aspect ratio of 1.85:1, which had become standard among US studios the year before.

“Critical response was generally positive, with many critics noting the story’s basis in science fact, rather than science fantasy. The film was previewed for the press at United Artists’ screening room in 3-D.”

Stewart Under Questioning

“It’s tempting to blame the peculiar leadenness of Snow White and The Huntsman on its casting,” writes Slate‘s Dana Stevens. “Charlize Theron isn’t a terrible choice to play the evil queen, though the poignancy of the queen’s obsession with youth might register more deeply if she were played by an actress who showed any visible signs of aging. But Twilight‘s Kristen Stewart as Snow White — especially this particular version of Snow White, a Joan of Arc-like medieval action heroine? Not gonna happen.

“Stewart’s whole manner, her slouchy bearing and general aura of sulky passivity, make her ill-suited to play a deposed princess whose irresistible charisma enables her to lead a peasant revolt. Stewart may have a limited range, but I don’t mind her in contemporary roles — she’s just right as the moony Bella in the Twilight movies or Jesse Eisenberg‘s object of desire in Adventureland, and she even made a passable Joan Jett. Still, the image of her leading a castle siege in full battle armor is so incongruous it might come from one of those parody trailers that opened Ben Stiller‘s Tropic Thunder.”

In a 12.5.11 piece called “Stewart Needs To Dump CG Flicks,” I wrote that “I’ve admired Stewart’s work in The Runaways, Welcome to the Rileys and Adventureland. And I’m looking forward to her reportedly upfront Marylou performance in Walter SallesOn the Road. I used to think KStew might be evolving into Sean Penn. Now I’m not so sure.”

If LexG wasn’t banned I’m not sure he’d have a whole lot to say beyond the usual erotic fixation stuff. It’s probably just as well.

Vamps or Zombies?

It seems obvious that Richard Shenkman‘s Abraham Lincoln vs. Zombies (out now) is a cheesy Asylum attempt to cash in on the awareness levels for Timur Bekmambetov‘s Abraham Lincoln, Vampire Hunter (20th Century Fox, 6.22). But it’s not as if the Fox version, produced by Tim Burton, is a David Lean film. I’m presuming they’re both crap — the Bekmambetov is just costlier. I have an idea that the Shenkman will be funnier. I’ll be catching it this weekend.

Some IMDB Asylum crony from Denmark named Paul Haakonsen wrote on 5.28 that in the making of Abraham Lincoln vs. Zombies, “I can honestly say that [Asylum] went all in this time, guns blazing and digging deep into their pockets. This movie is such a major step up the ladder, production-wise, for Asylum, and just looking at the movie on the screen is a testament to them suiting up and stepping up to join the major league of movie production. The cinematography was great, the effects were great, and the people they had cast did great jobs. So it was really a refreshing touch to Asylum’s production value.” Sure thing!