Tag Archives: Vintage Movies

RIP James Garner, 1928-2014

When James Garner passed away the other week at the age of 86 I felt as if I had lost a favorite uncle. Wry, worldly wise, down to earth, a little cynical, a little cranky, very funny and definitely a man’s man, Garner was a uniquely successful and uniquely American actor. The native Oklahoman started out in 1950s television after a very brief theater apprenticeship, and quickly achieved fame in Maverick as the title character Brett Maverick, the dapper and quick-witted Old West card sharp who preferred talking his way out of trouble to shooting. He then rose to stardom as a romantic lead and action star during the last gasp of the old Hollywood studio system: alongside Steve McQueen and Charles Bronson playing the Scrounger in the all-star POW epic The Great Escape and wooing Julie Andrews in Blake Edwards’ sly, sophisticated anti-war comedy, the Americanization of Emily (Garner’s own favorite film). After the excellent Western comedy Support Your Local Sheriff and a foreshadowing turn as a bemused Marlowe, he found cultural immortality back on TV as the iconic and perpetually harassed ex-cop, ex-con gumshoe Jim Rockford.

For those of us who grew up in the 1970s, The Rockford Files was omnipresent, from the jaunty Mike Post theme song after the answering machine sequence to the initial run from 1974-1980 to the endless repeats in syndication. The series gleefully embraced a non-glamorous LA with the laconic and perpetually broke private eye working low rent bars and strip clubs while living in a cheap trailer home on Malibu beach, getting his meals from taco and hotdog stands and bouncing checks at the local grocery. It was a unique persona for a hero PI, totally at odds with, say, the slick rich kid mastermind of George Peppard’s Banacek. But then, maybe that’s why The Rockford Files went on to television immortality while Banacek, for all its tacky turtlenecked pleasures, is more of a fun footnote. There was just something so original about Jim Rockford as a hero: the loud sports coats with wide lapels; the wrongful conviction that gave him his cynical perspective; the beatdowns given and received; the clever ruses and identity games when on assignment; his meddling and very funny father (Noah Beery); and always a good old fashioned car chase in the mysteriously overpowered and rubber screeching gold Pontiac Firebird.

I told you that theme song was omnipresent! Garner was, in fact, an excellent driver and racer — he caught the bug starring in John Frankenheimer’s seminal racing movie, Grand Prix, competing in several grueling Baja 1000s thereafter — and did much of his own driving on the series, as well as many of his own stunts. Continue reading →

A little Thursday comedy — Slap Shot (1977)

The Stanley Cup Playoffs may be over (proud of you Rangers, congrats LA) but Slap Shot is forever (clips definitely NSFW).

Sure, 1977 was one of the all-time great years in cinema history with the release of Star Wars, Close Encounters, Saturday Night Fever and Annie Hall, not to mention such crowd pleasers as The Spy Who Loved Me and Smokey and the Bandit. But it also saw the premiere of the best, most profane and funniest hockey film ever.

The late, great Paul Newman, Strother Martin, one of the finest character actors of the 60s & 70s, and director George Roy Hill of Butch Cassidy & the Sundance Kid and The Sting fame team up to create not just an uproarious sports comedy but a great movie with the backdrop of the Recession in the Rust Belt grounding the hijinks in place and time and giving the rollicking plot a desperate, melancholy undertone. And for the hockey-oriented, the film serves as a knowing commentary on the eternal existential dilemma of the sport: goonism vs. skillful clean play.

Yes, ’77 was a landmark year for Hollywood where popular entertainment also achieved incredible quality and originality. And Slap Shot is a part of that magical run, a little gem among that year’s remarkable cinematic treasure trove.

Classic Movie Watch — Patton (1970)

Among the greatest of war movies, 1970’s Patton features a mind-blowingly good performance by George C. Scott as the famously colorful WWII general that serves to catapult this epic far above the standard military biopic. The film is not only remarkable for the vivid on-screen portrait of a gifted but notoriously impolitic and ambitious American general helping to turn the tide of war in the United States’ favor but also for the off-screen context of being made at the height of rampant anti-war sentiment in the US and abroad due to the Vietnam War. You would have expected the film to be a hatchet job on an unrepentant warrior from the gung ho past and to reflect the anti-authoritarian zeitgeist of the time. You would also have expected a war-weary public to reject yet another nostalgic World War II movie released at the end of the 60s. Instead, it’s a straightforward yet nuanced portrayal of a seriously flawed but undoubtedly great military leader that earned popular and critical success from the get go with an unapologetically pro-US message. And through the movie we come to see that a man like Patton, a true lover of war who believed himself reincarnated from Roman Legionnaires and Napoleon’s soldiers, should probably be kept in a glass case that says “Break Open in Time of War”. But we also see that it’s surely good to have old soldiers like George S. Patton handy when the stuff hits the fan.

The famous opening sequence, a stylized and also sanitized version of Patton’s famously profane speech to the Third Army, remains one of the movies’ best “grabbers”, as well as one of the most iconic 6 minutes in the history of cinema. And despite Scott’s misgivings that starting with the speech would overwhelm subsequent scenes, that acts as a preamble and the movie gets better from there. It really starts with Patton’s arrival in North Africa to take command of a green and badly demoralized US II Corps after their mauling by Rommel’s Afrika Korps at Kasserine Pass, quickly whipping them into a cohesive fighting unit ready to take on the seasoned and highly accomplished German troops. By utilizing Rommel’s own tank tactics against him, we see the revitalized Americans fight back via impressive large scale armored tank battles thundering from the oversized 65mm widescreen print.


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Classic Movie Watch — To Catch a Thief (1955)

One of Alfred Hitchcock‘s more effervescent cinematic cocktails, 1955’s To Catch a Thief is a must-watch for any cinephile or aspiring bon vivant. A gentleman can learn many lessons from the impossibly stylish Cary Grant as reformed (or is he?) jewelry thief and hero of the French Resistance, John Robie, aka “The Cat”. Grant’s Robie comes under renewed suspsicion when a series of high profile, high value robberies plague the glitterati of the French Riviera. His old war buddies, with whom he escaped from a bombed out prison, soon turn on him for fear of having their paroles revoked, leading Robie to endeavor to find out who the new “Cat” is before the police pin it on him or his old mates do him in to save themselves. Added to the heady mix is the lucious Grace Kelly in her prime as prim but sexy nouveau riche debutante Frances Stevens, determined to share in the excitement of “The Cat’s” criminal exploits and capture the uniquely intriguing Robie for her own pleasure.

Filmed largely on location in Nice, Cannes and Monaco, To Catch a Thief looks as stunning today as it must have when it was released if not more so because the coast and the Principality had not yet been so frantically overdeveloped. The helicopter shots of high speed drives through Mediterranean hills and villages are breathtaking. And the teasing rapport between the ultra-tan, ultra-suave Grant and the golden, precocious Kelly is pure cinema magic. It’s no wonder that Grant, along with James Stewart, was one of Hitchcock’s favorite male leads. They did four remarkably good films together — Suspicion, Notorious, Thief and North by Northwest — and Hitch was always able to coax the dark shadows of Grant’s sometimes glib personality to the fore. For the Master of Suspense, he was willing to reveal his weakness and even his unattractive side and if you know only the smiling playboy caricature of Grant you’ll be in for a treat watching any of those classic collaborations. One of the unquestionable cinema greats, Grant’s body of work for Hitchcock alone would put him near the top of any list of all-time best movie actors.

to-catch-a-thief-kelly-grant

And as is well documented, Hitchcock was enraptured by Kelly as his ultimate cool blond with hot blood. After making three terrific films for Hitch in quick succession — Dial M for Murder, Rear Window and Thief — Kelly married Prince Ranier in 1956 and retired from movies to be the Princess Consort of Monaco. While the great director quipped that he was “very happy that Grace has found herself such a good part” he was in fact bereft and struggled in vain to find a new version of her in subsequent films. Hence he has Kim Novak with Stewart in Vertigo, Eva Marie Saint with Grant in North by Northwest, Janet Leigh in Psycho and Tippi Hedren in The Birds and Marnie. While all those actresses did admirable work in their own way, especially the very touching and tragic Kim Novak in Vertigo, it’s no doubt that Hitchcock would have preferred Grace Kelly in all of those roles. After watching her take Grant on a white knuckle ride through the hills of Monaco before stopping to picnic and slyly offering him the choice of a leg or a breast, it’s easy to see why. The fact that Princess Grace was killed in a car accident in 1982 at the age of 52 in those very same cliffs just adds a layer of poignancy to the near-perfection of To Catch a Thief.

What we’re listening to today — Presidential Suite by Super Furry Animals

There’s something to be said for unabashed romanticism. And the accomplished Welsh band Super Furry Animals can certainly bring the love when they want to. It’s one of their many, many moods. A song like “Presidential Suite” from 2001’s hyper-ambitous Rings Around the World makes a virtue of beautiful horn-fueled, almost Bacharach-esque balladry — even if the lyrics are a scathingly sarcastic tribute to the foibles of 90s world leaders.

Rings features the Super Furry Animals showing off a dazzling array of musical approaches, from growling techno-punk to historical story songs to funked up tongue-in-cheek message music. One old friend of mind compared it to a modern day White Album. All in all, there’s a ton of good stuff to choose from. But call me a sucker for sophisticated love songs (not silly, though, despite the album cameo by Paul McCartney — the song actually features legendary misanthrope John Cale). “Presidential Suite” always reminds me of the scene in To Catch a Thief when Cary Grant & Grace Kelly kiss and then we cut to that cinematic symbol for something more profound outside their posh Monaco hotel room — “There were fireworks in the sky/Sparkling like dragonflies”. Strange that a Welsh alternative band in 2001 could bring a comparison from Hitchcock from the 50s to mind but there it is. Must be the universal language of love — and cinema — by way of Cardiff.

Happy New Year!

Happy New Year’s Eve, folks, and if you are going to tie one on tonight (as you bloody well should) this clip from 1942’s classic musical comedy Holiday Inn shows you how to do it with style and elán as only the great Fred Astaire can.

*Unfortunately, this video has its embedding disabled but click over to YouTube for this terrific performance–you won’t regret it.

We should all be so charming when we’re blitzed.

Wishing our loyal readers all the very best in 2014 and we hope you’ll keep hanging around our ever-evolving blog!

And of course, be careful who kisses you come midnight.

What we’re listening to today – Nevertheless by The Brian Jonestown Massacre

There are artists and there are artist’s artists, those who are always one step ahead and showing the rest how it’s done. The Brian Jonestown Massacre are in the latter category. Infamous before they were famous, the BJM have long gone unrecognized as what they really are…one of the best bands of the last 20 years. “Nevertheless” is an example of the BJM at their finest. Equally catchy and expansive, this one never gets old.

You can find it on the 2001 album “Bravery, Repetition, and Noise“, which also features an excellent cover of The Cryan’ Shames song, “The Sailing Ship”.

As a bonus, this fan generated video features footage of a canoodling Jane Birkin and Brigitte Bardot, from the 1973 film Don Juan (or If Don Juan Were A Woman). How can you go wrong?