Review: Warner Bros. 100 Years of Storytelling

 

Readers of the Plan9Crunch blog may have realized that TCM has of late been showing a lot of Warner Bros. films. It's because the iconic film studio is realizing its centennial.

On May 30, 2023, the volume Warner Bros. 100 Years of Storytelling (2023, Running Press, NYC), will be for sale. Written by Mark A. Viera, it's mostly a compendium of photos and awards Warner Bros. appropriately boasts of each year of the century. Although a Kindle version is available for reading on the go, this 360-page, exhaustively researched tome is at its heart a "coffee-table" book. It's best suited for interested parties to glance at the many illustrations, or for a film buff to sit in his or her easy chair and read a chapter on the 20s, 30s, 40s, 50s, 60s, 70s, and so on. 

Viera does a good, pithy job recapping the changes and evolving styles of the decades and how the studio reacted to the mores. I particularly liked his essay on the '70s, described as "The Era of the Auteur,." It talks of the young directors, inspired and emboldened to explore through film sexuality, race relations, politics and other controversial issues.

Although it's brief, TCM's Ben Mankiewicz provides an interesting forward in which he discusses being regarded as part of "Hollywood royalty" by virtue of his name. He notes that long ago, beginning in the pre-code era, Warner Bros, explored controversial topics, such as the plight of veterans in the film "Gold Diggers of 1933," and prison conditions in the film "I am a Fugitive From a Chain Gang." 

The book is moderately pricey but worth a buy, particularly for film buffs. You can leaf through it for hours, enjoying Viera's recaps, the photos of the films produced, and the Oscars tally sheets for each year.

-- Doug Gibson

TCM features its must-see Underground cult films in new book

 

Review by Doug Gibson

Roughly 40 years ago film critic Danny Peary began his Cult Films trilogy book series. It was groundbreaking for its detailed analysis of films that capture our imagination far beyond the first time we viewed them. We have to see them multiple times. Whether arguable great works of cinema, such as "Night of the Hunter," or a malformed puppy, like "Blood Feast," they were so damn unique. Derivative was not in their vocabulary. You could not replicate a film such as "Plan 9 From Outer Space," or "Pink Flamingos." It was the work of inspired minds, even if a bit, or a lot, unhinged.

I read Peary's three books to tatters, of course. I still have copies. But the books began to fade in impact, something that was written a long while ago. And, then in 2006, TCM started its TCM Underground series and suddenly these fantastic cult films that Peary had written about, and many more, began airing in "the wee small hours of the morning." Directors such as Russ Meyer, Herschell Gordon Lewis, Ed Wood, Ray Dennis Steckler, William Beaudine (post 1960), Timothy Carey, William Castle, Jamaa Fanaka, Penelope Spheeris, Paul Bartel, and others joined the list of respectables that dot TCM's schedule.

It's been 17 years of TCM Underground and I never miss it. If for some reason I cannot be up at those hours, I DVR. And yes, I watch re-runs; after all, they're cult films. Without TCM Underground, I don't think I'd have ever discovered diamonds like "Hausa," or "Emma Mae." For a list of all films aired, including shorts, go here. 

So, when I learned of the October release of "TCM Underground: 50 Must-See Films From the World of Classic Cult and Late-Night Cinema" (Running Press/Turner Classic Movies Philadelphia, 2022), I had to get it. I was hoping for a contemporary update of cult cinema; one that complements Peary's earlier work. 

Readers will not be disappointed. "... 50 Must-See Films" is a gem. The reviews are expertly recapped and analyzed by writers Millie De Chirico (TCM Underground's chief programmer) and critic Quatoyiah Murry. I will briefly recap three reviews. The strength of the analysis includes the authors noting where these cult gems challenged conventional mores of their era, and take positions and assumptions that are accepted more today. Cult films, crudely made or not, can do this. As author/comedian Patton Oswalt says in the book's Foreward: "Moment and feeling always conquer plot and logic, especially out beyond the edge."

The authors have placed the films in various genre categories. Dig just a few of the titles: "I Saw What You Did," "The Honeymoon Killers," "Shack Out on 101." Or "Polyester," "Sometimes Aunt Martha Does Dreadful Things," "Fleshpot on 42nd Street." How about "Blacula," "Haxan" (this film is a big personal favorite), or "Lets Scare Jessica to Death."  And there's "Little Darlings" (I'd forgotten about this film), "Two Lane Blacktop," and the aforementioned "Emma Mae." And besides "Hausa," there is "Belladona of Sadness," "Beyond the Valley of the Dolls," "Mac and Me," and "Funeral Parade of Roses" (which will blow your mind away). 

One thing I like about "... 50 Must-See Films ..." is its daring. It's willing to include films that were almost universally derided. The author's sense films that are just starting to develop a cult. Peary, for example, foresaw that the box office flop "Willy Wonka and the Chocolate Factory" would gain a big following. De Chirico and Murry are putting out the word that '80s box-office failures "Mac and Me," and "The Garbage Pails Kids Movie," have grabbed cults and are worthy of note and further interest.

And, indeed, when you look at the ultra-slick, somehow derivative high-production quality animation and fantasy today, you appreciate the uniqueness of the outcasts of the "... Garbage Pail Kids ...," sent to the State Home for the Ugly, or the awkward, crass, in-your-face commercialism of "Mac and Me." It's endearing to see another one-time failure, "Xanadu," bloom today from new viewers who simple marvel at its ability to capture a dozen artistic genres in one feature.

Here are recaps of three films in the book that represent cult genres that -- to my observations -- were not noted as cult material 40 years ago, during the era of Peary. 

The first is "Emma Mae" (1976). Lumped incorrectly as "blacksploitation," (it was given a cheesy other title, "Black Sister's Revenge," in hopes of boosting sales) the film details a young, naive southern girl/woman (Jerri Hayes) moving to live with relatives in Compton. It's a whole new life and culture. She's awkward, not conventionally pretty, and sometimes mocked by family and others. But Emma Mae has a mixture of sweetness and ferocity that slowly earns her respect and friendship. Naively, she falls in love with a man who disrespects her badly, even after she's risked her life and freedom for him. The authors correctly note that this is a hybrid film. "It's part fish-out-of-water story, part coming of age, part family drama, and part revolutionary tale of Black female empowerment."

Another film is the Andy Milligan-directed "Fleshpot on 42nd Street." I was very pleased that TCM Underground finally recognized Milligan's work. His films, ranging in budgets of $10,000 to $40,000, often were "horror" flicks. But Milligan's real skill was digging deep into the domestic lives of his characters, and creating dysfunctions that often led to violence and death. "Fleshpot" is not a horror film. It captures the grimy, dangerous lives of sex workers around 42nd Street in New York City in the 1970s. The main character is Dusty (Laura Cannon) a semi-grifter who steals and leaves her current boyfriend, grifts a horny antique dealer, and moves in with transgender sex worker friend Cherry Lane (Neil Flanagan). (Flanagan, by the way, would note an Oscar nomination if conventional Hollywood cared a whit about grindhouse cinema.)

A small time is spent with these characters, who are survivors enduring life, and we are voyeurs, witnessing their world in grubby sex settings, the streets of 42nd Street, and a lower-tier bar with an eclectic mass of characters, including two sisters who need to be seen to be appreciated. Things might began to look up for Dusty. She meets an interesting man. But you get the feeling there are far more lows than highs in this world. Even Dusty and Cherry -- who need each other -- began to quarrel. 

This is a powerful film. The authors note: "Viewing this edgy classic will likely be a jarring experience for most filmgoers today, even the staunchest cult movie fan. This film was made for a particular and very small subsection of the public, not the masses. This is its charm and its strength. Its an examination of a concealed world operating in the fringes outside mainstream society, and from the artistic bird's-eye view alone, it's a captivating watch."

Many of Milligan's films are lost. Thank heavens "Fleshpot" is one that survived.

The authors also include "Wild Seed," 1965, a film about a teenager 17, Daffy, who runs away from home. After being sexually attacked, she runs into a protector named Fargo, a somewhat harsh 20-something man who is a migrant worker and drifter. He takes her on a nomadic train-hopping cross-country journey to Los Angeles, with all the dangers this type of life offers.

Daffy (Celia Milius) wants to confront her father. She begins to have feelings for Fargo, but he's been battered by life into a type of protective cynicism. But through conflict, they yearn for each other. The authors write: "Wild Seed" is a sensitive, thoughtful film, big on mood and atmosphere and with tons of talent behind it .... (Daphne's) foray into the train-jumping life feels like a glimpse into a secret society ..."

Fans of diverse genres of film will love this book. Readers will make it a constant occasional read, skipping through and back to pages to different films they enjoy at that particular time, and wish to revisit. I hope that, given the amount of films already shown on TCM Underground, there will be several further editions of "50 Must-See Films." 

David Skal's Fright Favorites -- 31 spooky films for Halloween season.

Review by Doug Gibson

David J. Skal has a long resume of writing genre-intensive books on the horror genre. I'm sure many readers have enjoyed his film, etc., critiques in The Monster Show and Hollywood Gothic. And his biography of Bram Stoker, Something in the Blood, was an informative, provocative read, one of my favorite birthday gifts.

Just a few days ago, Skal's new book, "Fright Favorites: 31 Movies to Haunt Your Halloween and Beyond," arrived at book stores and online retailers. It has a 2020 copyright from Turner Classic Movies and is published by Running Press, of Hachette Book Group, New York City. Amazon sells Fright Favorites. I was fortunate enough to receive a review copy.  Here is the link to Running Press. And also, here is Skal's Amazon page.

Although veteran genre fans will enjoy this book (I sure did), it's just as much geared toward the casual viewer of horror films; those ones who draw a blank when "Nosferatu" or "The Mystery of the Wax Museum" (1932) are mentioned. Skal provides a brief history of Hollywood horror of the past 98 years, and even longer if you read his introduction on film culture's long, evolving relationship with October's spooky season.

I really enjoyed learning a little more about the backstory of a film. Skal offers tidbits from a featured film that you might not have known. Myself, for example, never knew that early plans for the giant ants attack film "Them" originally planned to have the ants invade the New York City subway system. Instead, the budget dictated that the ants visit the cheaper-to-film Los Angeles storm drains.

Another thing learned was that William Castle, director of tongue-in-cheek horrors, was the initial driving force to bring "Rosemary's Baby" to the screen. He did not direct it, of course. Paramount did not want a gimmicky adaptation along the lines of a "13 Ghosts." Castle took on the role of producer.

The wonderful films discussed include. "Nosferatu," "Dracula," "Frankenstein," "The Mummy," "Dr. Jekyll and Mr. Hyde," (1932), "The Wolf Man." Universal of course dominates the early offerings, the aforementioned "... Wax Museum" and "... Jekyll and ... Hyde" are from other studios.

I enjoyed seeing RKO's "Cat People" getting an inclusion, as well as Allied Artists "Invasion of the Body Snatchers." Hammer Films get its due with "The Curse of Frankenstein" and "Horror of Dracula." Offbeat imports from greats such as Mario Bava are included, as are films indicative of the switch to gore, very dark comedy and downbeat endings, such as "Night of the Living Dead," and Rosemary's Baby." In fact, the final of the 31 films is 2017's "Get Out."

Film directors/producers such as Roger Corman, with his Poe films, and William Castle, are included. Other appropriate inclusions are "The Exorcist" and Mel Brooks' perfect spoof/homage "Young Frankenstein."

Your reviewer was born in 1963, and he appreciates Skal including the films I saw faithfully (to a fault), such as John Carpenter's "Halloween," "Nightmare on Elm Street," and the delightfully dark, infamous "Friday the 13th."

I mention "Friday the 13th"  because it's included with 30 other films in the "If you've enjoyed ...., you might also like" section of the book. So there are really 62 films to sample in this book. Some of these runner-ups -- with large-capsule summaries -- include "The Black Cat," (with Karloff and Lugosi), Dario Argento's classic "Suspiria," (1977), the recent horror flick "The Conjuring,"' and James Whale's great dark horror comedy "The Old Dark House." (1932), once lost for decades.

To be even more precise, there are likely closer to 90 films discussed as Skal frequently offers his comments on sequels to the 31 main films noted, including the Universals and Hammers.

The 31 chapters on the featured horror films have summaries and analysis which are neither too long or too short. The casual fan, just learning about the horror film genre, would likely get bored if the chapters were the length of, say a Midnight Marquee Press book, or one of Danny Peary's books on cult films. (Both MMP and Peary are valuable reads, by the way). But these chapters are roughly 5- to 10-minute reads and will whet an appetite to see a film profiled. I cite myself as an example: I have never seen two comedy offerings, "Hocus Pocus" and "Beetlejuice,"' but plan to see both -- in October, of course. 

If you buy the dead-tree edition, "Fright Favorites" is a slightly oversized book -- with an abundance of photos -- perfectly appropriate to sit on your coffee table, to be read in an easy chair or couch, at your leisure. It would be so cool for Turner Classic Movies to show these films, all 31, from Oct. 31 to Halloween.

Maybe that will happen one day. But until then, just about all are easily accessible via streaming. So one could indeed watch one a day this Halloween season.