The Late Show - The Late Movies Blogathon: Giant (1956)

by Tony Dayoub

This post is a contribution to The Late Show - The Late Movies Blogathon running through December 7th and hosted by David Cairns of Shadowplay.

I'm sure it's been written about, but personally, I'm just speculating when I say that a classicist like George Stevens (Shane) probably had his hands full tamping down the Method-y exuberance of rising star James Dean when they collaborated on what would be the doomed actor's final film, Giant (1956). But why guess, when you can see the lengths Stevens went to in order to keep Dean from running away with Giant in the movie itself? Let's look at some screen grabs (off the new Giant Blu-ray and which can all be enlarged if you click on them) of three key scenes featuring Dean.

Now It’s Dark

From prose to poetry: the Blue Velvet: 25th Anniversary Edition Blu-ray

by Tony Dayoub

The first thing that comes to mind when I think of Blue Velvet, surely one of the most significant films of the last 25 years, is something rather ordinary for a movie with so many shocking and memorable images. It is the opening shot. Not the saturated opening shot of the red roses against the white picket fence of the film proper, mind you. I mean the fade up into the image of blue velvet flapping as if being blown by some mysterious wind. Composer Angelo Badalamenti’s timpanists roll right into the plaintive violins of his main theme, paving the way for a solitary clarinet repeating their melody. Initially, the clarinet’s crisp intrusion into the lushness of the violins is as transgressive as that of the film’s main character, Jeffrey Beaumont (Kyle MacLachlan) into the nightmarish beauty of his sleepy hometown, Lumberton. But eventually, the clarinet blends in with the violins, achieving a harmonic unity not unlike the one the naïve Jeffrey does when he gets simpatico with the twisted underbelly of his innocent-looking small town and its frightening denizens.

UPDATED: Blue Velvet 25th Anniversary Blu-ray Giveaway

by Tony Dayoub

One of my all-time favorite films, Blue Velvet, is now available for the first time ever on Blu-ray. A week from today, I should have a review up at my other outlet, Nomad Editions: Wide Screen, where I'll focus on the 50 minutes of lost footage that appears on the disc as a bonus feature.

To celebrate this release, I am happy to give away a free copy of the new 25th Anniversary Blu-ray (courtesy of Twentieth Century Fox Home Entertainment and Metro-Goldwyn-Mayer Studios, Inc.) to each of the first FIVE people who can correctly answer a question related to the bonus footage (hint: if you go back through some of my recent tweets you can easily find the answer). But first, the rules:

Nicholas Ray Blogathon: Rebel Without a Cause (1955)

by Tony Dayoub

Rebel Without a Cause is one film of which so much has been written I hardly have anything new to contribute. Whether it's the legendary tales that have sprung up around the cult of its star, James Dean, the mysterious curse (proposed by some) which took its three leads' lives prematurely or the film's embrace of the explosive Method style of acting you can find a multitude of essays which pick the film apart from any number of perspectives. Continuing my look at the Nicholas Ray's work, I'd like to look at the director's collaborative relationship with Dean.

Dennis Hopper

by Tony Dayoub

Just a few months after I started this site, I got the opportunity to meet Dennis Hopper in New York. I had just flown in to cover the 2008 Tribeca Film Festival, and attended a rare screening of a restored version of Curtis Harrington's Night Tide (1961) that evening. Hopper surprised all of us by making an appearance to give an impromptu discussion on the film, his first as a lead. As I recount elsewhere, the screening of this surreal love story between a sailor and a mermaid took a turn for the stranger due to some inadvertent rearranging of the film's second and third reel. Hopper seemed fairly irritated, but as I braced myself for the actor-director to explode in a rant derived from some bizarre melding of his photojournalist character in Apocalypse Now with Blue Velvet's deranged Frank Booth, I was instead pleasantly surprised to see the actor-director take a breath and begin to get us up to speed on the plot points we'd missed from the misplaced second reel.

DVD Review: Cool Hand Luke - Classic Is Worth Revisiting For Its Strong Cast

by Tony Dayoub



Stuart Rosenberg's Cool Hand Luke (1967) is out this week in a beautiful deluxe edition. It is an amazing film worth revisiting, and for me, an overlooked classic I've only now had the opportunity to watch. Though the spotlight is on Paul Newman, in what is possibly his most iconic lead role (in a career filled with other roles of arguably equal stature), the big surprise for me is its supporting cast.


There are the three standouts. One is, of course, George Kennedy as Dragline, the oafish leader of the motley Florida chain gang. Winning a deserved Academy Award for this role, it saddens me that he became better known for his continuing appearances in both the Airport and Naked Gun franchises. Dragline is the camp's teller of tall tales, spreading the myth of Luke's rebellious nature with little regard for the man's relatively frail humanity. Then there's the prison's Captain, played by Strother Martin (The Wild Bunch). With one line, "What we've got here is... failure to communicate," Martin became the answer to a movie trivia question. But with little screen time, he is still able to make his insidious presence felt throughout the film. Morgan Woodward (Dallas), is the third, playing the evil guard Boss Godfrey, known to the chain gang as "The Man with No Eyes" for his propensity to hide behind mirrored sunglasses. Godfrey speaks only one or two lines in the entire film, even shooting his rifle more often than that. But Woodward grimly hovers over the gang like a vulture, ready to swoop in at the first sign of weakness.

The film's charm, though, rests squarely on the shoulders of Paul Newman at his most roguish. His Luke is not out to topple the status quo like McMurphy in One Flew Over the Cuckoo's Nest (1975). Luke simply carries a death wish ever since his return from the war, where he was an ill-suited hero who, despite winning numerous citations, never made it past buck private for his insubordination. Newman lets us see the frail ego behind the bluster in a scene where he has a final visit from his mother (Jo Van Fleet) before her death. His determination to escape, prompted by his captors' decision to keep him "in the box" during his mother's funeral (so he won't get any ideas), is motivated primarily by his self-destructive streak. While inspiring to his fellow prisoners, it is really a continuation of the downward spiral that landed him in prison in the first place. But he sure looks like a handsome devil while he goes down in flames.

Luke encourages his friends to overcome their oppressors by example. Whether its serving as the sacrificial lamb in a wager concerning whether he can eat 50 eggs in 1 hour, or hurriedly tarring a road so that the chain gang will have two hours of free time in the day left over to relax, Luke inspires the inmates to consider optimism as their biggest weapon against the jailers.

Run down the cast list and you'll find others who would go on to fame in TV or cinema. There's Luke Askew (Easy Rider) as Boss Paul, Joe Don Baker (Walking Tall) as Dynamite, J.D. Cannon (McCloud) as Society Red, Clifton James (Live and Let Die) as Carr, Wayne Rogers (TV's M*A*S*H) as Gambler, Ralph Waite (The Waltons) as Alibi, and Anthony Zerbe (The Matrix Reloaded, The Omega Man) as Dog Boy. Better known to the public are two future stars, Dennis Hopper (Blue Velvet, Easy Rider) as the mentally disabled Babalugats, and Harry Dean Stanton (Big Love, Alien), here credited as Dean Stanton, as Tramp. Director Rosenberg smartly filled out the cast with strong character actors, allowing each to make his role distinct in a relatively short amount of time onscreen.

Owing to the relationship they developed in this film, Newman and Rosenberg would go on to collaborate in three more films before Rosenberg would receive renewed acclaim for films like The Amityville Horror (1979) and The Pope of Greenwich Village (1984). Stuart Rosenberg died last year at the age of 79.

Cool Hand Luke is now available in a Deluxe Edition on standard DVD and Blu-ray.

Still provided courtesy of Warner Home Entertainment.

Tribeca Film Festival 4/29 - Dennis Hopper Makes Surprise Appearance at Premiere of Restored Night Tide

by Tony Dayoub

Day 1 - 1:17 pm - I arrived into LaGuardia half an hour late, picked up my bags at baggage claim, where a locust-like group of hustlers start trying to convince me why I should skip the taxi line and pay more to share their cab with another passenger. SCAMMERS!!! Welcome to New York... I MISSED YOU SO MUCH!!!

1:24 pm - My much cooler cab driver, Fariq, drove me into the city through scenic Spanish Harlem. I'm staying in the Upper East side, at lovely Amy Coward's apartment (thank you so much), with a nice view of Roosevelt Island. I order a Ham sandwich from Hot and Crusty (1201 Second Ave, 212-753-2614), which is delivered to my door (did I tell you how much I miss this place?), and off to work it is.

3:46 pm - Right about the time I finished sending a lot of you readers my promotional email, I realized I hadn't showered, and I was going to have to take the 4 train down to Tribeca to catch the first film, Curtis Harrington's restored Night Tide (1961), which starts at 5pm. Did I tell you how much I hate New York?

4:33 pm -Made it to the platform, just as the train arrived, so I hop in. I have a few minutes to relax and get my bearings, except... I'm on the wrong train, the W headed towards Whitehall.

4:56 pm - Jumped off at Canal St. and walked through Chinatown for 45 minutes (now I know what my wife must have felt like the first time she was in Little Havana) trying to find the small screening room at Pace University.

5:41 pm - Boy, am I late. Luckily, I only missed the short film preceding the feature (or unluckily, some would say, as this was Harrington's little seen early experimental film, Picnic). But what a wonderful surprise. Last minute arrangements were made to have a Q&A with Night Tide's lead actor, Dennis Hopper. 72 years old, and the man still emanates cool as he assuredly strolls down to the podium to speak.

Night Tide is about a young sailor (Hopper) on liberty in Venice Beach, California. He meets a young lady named Mora who works as an amusement park "mermaid," sitting in a tank that appears to be full of water, wearing a fish tail. But with two former boyfriends now dead, she may actually be a mythological siren, luring men to their demise with her beauty and feminine wiles. The surreal film is interesting in its collision of the film noir genre with a touch of the horror genre. Hopper's performance appears improvised, and demonstrates some of the ability to carry a movie that allowed him to go on to a legendary career. The Academy-restored print was bright and clean, and apparently had just been brought over from the lab.

As if the movie wasn't odd enough, someone had accidentally transposed the second and third reels, leading to some unintended surreal, and humorous, moments.

Some interesting points Hopper spoke of:

• This was Harrington's first feature film, and it was a non-union film, preventing it from being shown in theaters for close to 3 years.
• Hopper had been released from his contract with Warner Bros. where he had already been in movies such as Rebel Without a Cause, Giant, and Gunfight at the OK Corral.
• This was Dennis Hopper's first lead role.
• Hopper was and is a strong supporter of nascent filmmakers, having supported not only Harrington, but notable underground filmmakers Andy Warhol and Kenneth Anger.
• Luana Anders, who costars, was later cast by Hopper as Peter Fonda's girlfriend in his own directorial debut, Easy Rider. She also wrote some things for Francis Coppola and appeared in his first studio film, The Rain People.
• Among Hopper's performing influences were Marlon Brando and James Dean, but this performance was influenced greatly by Montgomery Clift's acting.

7:36 pm - Stopped by Nobu Tribeca (105 Hudson St, 212-219-0500) where I ate some of the best and freshest sushi I had in a long time (Atlanta being quite a ways inland, it is not really known for its fresh fish). I highly recommend the Tiraditos, delicate thinly-sliced whitefish with a pinhead-size drop of spicy red chile sauce and cilantro leaves. There is also the Yellowtail sashimi with a slice of jalapeño on top. If raw food is not your thing, try the miso-glazed black cod, or the beef tenderloin in teriyaki sauce, which was prepared perfectly at the medium temperature I asked for, and served with a variety of mushrooms on the side. The service was excellent too, as I was in a hurry to catch my next film, and made it out in less than an hour.

9:00 pm - Four short films, directed by Isabella Rossellini for the Sundance Channel, showing the mating habits of insects, are shown before the feature, Toby Dammit. The films, called Green Porno, were meant to be shown on cell phones, but I can't see how they'll be tossed away like that. They are educational, strange, and some of the funniest viral video out there. All 8 videos will be available at http://www.sundancechannel.com/greenporno?go=watch and on all Helio mobile devices on May 5th.

Toby Dammit is a short film that was originally part of a troika of Edgar Allan Poe adaptations released as Spirits of the Dead. This one, based on Poe's Never Bet the Devil Your Head, was directed by Federico Fellini, and stars Terence Stamp. It was just restored by the film's original cinematographer Giuseppe Rotunno in conjunction with the Cineteca Nazionale de Italia for the Ornella Muti Network. Ornella Muti is an Italian actress best known stateside for playing Princess Aura in Flash Gordon (1980). But she is also one of the leading contributors to film restoration in Italy. What we saw last night was essentially a sneak preview, as Toby Dammit is actually the opening film of the 2008 Taormina Film Fest in Sicily.


The film was Rotunno's first with Fellini, but he went on to become the cinematographer on all of his subsequent films. It's easy to see why, with the restoration finished. The film's color and contrast is brilliant, and well-defined. This is one of my favorite movies, and I owned the original DVD by Image, which was atrocious, just because I liked it so much. When Janus Films (the people behind the Criterion Collection) released a much improved version, I quickly ran out to purchase it. But it looks like I may have to do it one more time (no plans for a DVD yet) because this restoration borders on the revelatory. And what a movie to choose to restore.

Terence Stamp, a powerful British actor in the 1960's (now know primarily for his campy General Zod in Superman and Superman II), plays an alcoholic actor on a downward spiral. He keeps encountering the devil as he declines further and further, personified as a strange white-haired little girl bouncing a ball. The movie captures an uncomfortable feeling of suspension in time that I've never seen done to such great effect as I have here. If you have the opportunity, seek this one out once it becomes available, or just rent the current version on Netflix.