Tag: Cary Grant (Page 2 of 2)

Blu Tuesday: North by Northwest: 50th Anniversary Edition

north_by_northwest It’s been awhile since I’ve seen “North by Northwest,” so when it was announced that Warner Bros. would be releasing it on Blu-ray in conjunction with the film’s 50th anniversary, I couldn’t wait to check it out again. As expected, it’s like watching the film for the first time, because the movie looks brand new thanks to the brilliant restoration it’s undergone. Warner Bros. has really been on top of their game in regards to re-releasing classic movies in high definition, and though last month’s “The Wizard of Oz” was undoubtedly a much bigger deal than Alfred Hitchcock’s 1959 genre mash-up, it’s still hard to deny the effect the film had on the industry.

Even those that haven’t seen the movie seem to know something about it – whether it’s the infamous crop-dusting plane chase sequence or the big finale on top of Mount Rushmore – and it’s been spoofed enough times throughout the years to know that it obviously had a big effect on several filmmakers. If there’s one complaint to be made about the new release, however, it’s that while the picture itself looks pretty darn flawless, the use of rear projection effects (of which there are many) are even more noticeable than they were before. Hitchcock may not have put too much stock in making his movies look realistic, but when your film looks like it was made yesterday but the effects are still dated, it’s a little disruptive.

Additionally, there isn’t quite as much going on in terms of bonus material. Owners of the previously released 2004 DVD will recognize the commentary by writer Ernest Lehman, as well as the Cary Grant biography, “A Class Apart,” and the Eva Marie Saint-hosted making-of special, “Destination Hitchcock.” Still, the latter two featurettes are definitely worth watching if you’re an avid fan of Grant or the film, and Warner Bros. has also included two new featurettes that are just as good. “The Master’s Touch” focuses on Hitchcock’s famous filmmaking techniques, while “North by Northwest: One for the Ages,” features an in-depth analysis of the film by directors like Curtis Hanson, William Friedkin and Guillermo del Toro that will almost certainly give you a new appreciation of what many believe to be Hitchcock’s best film. It’s no surprise that “North by Northwest” was the first to be given the Blu-ray treatment, but it really makes me wonder, how long are we going to have to wait before the others are released as well?

A post without a Tarantino

I just woke up and realized that there’s more to life than our talented and ever controversial lantern-jawed friend. For example…

* I’ve made it clear too many times that I’m not innately hostile to remakes. But in the annals of apparent bad ideas, Robert Zemeckis using his invariably uninspiring/unconvincing style of motion-capture to remake the Beatles psychedlic animation “Yellow Submarine” is a real contender. I don’t consider the original a great film but it is what it is and remaking it with two of the original Beatles now long passed on seems bizarre to me. I truly don’t see a point here, but maybe I’m missing something.

* I’ve been remiss in not mentioning the whole mishegas going on between Redbox and Warner Brothers. If Warners doesn’t want to sell them the titles prior to 28 days after their release on home video, I’m not sure if there’s any legal justification for forcing them too, but then I’m not a lawyer. On the other hand, as Patrick Goldstein points out in the article from Monday I linked to above, business models like Redbox are going to be unavoidable as the home entertainment market becomes ever more important.

I get more DVDs than I have time to watch for free as part of my critic gig, but I honestly have never understood why anyone would purchase a DVD of a movie that isn’t a huge favorite, much less a movie they’ve never seen before. It’s not like a CD where you can pop it into your car stereo or put it on for background music while you make dinner and, of course, people are figuring out ways to not buy those as well. Seems to me that the economy is forcing people to be a little more discriminating.

* Executive Tom Sherak is the new head of the Academy of Motion Pictures Arts & Sciences (AMPAS to its friends), stepping in for the term-limited Sid Ganis. Anne Thompson has no problem with it. Stepping right into character, Nikki Finke has a huge problem with it, and so do many of her commenters, while the rest are pro-Sherak. Why is it that every time I read the comments at Ms. Finke’s, I get the feeling I’m watching the road company version of “All About Eve”?

* The guy has “movie star” written all over him — he’s a little bit Gregory Peck, a little bit Cary Grant (including Grant’s gift for comedy), with a touch of young Montgomery Clift — so especially with the widely touted ratings success of “Mad Men” on Sunday night, it’s no surprise Jon Hamm is getting movie work. The latest addition to his resume is Zack Snyder’s “Sucker Punch”. Anne Thompson prefers “The Town,” however. One thing’s for sure, if anyone ever decides to do “The James Mason Story,” he’s the guy.

“Maybe I’ve just gone gay all over a sudden!”

With “Brüno” #1 at the U.S. box office, it may be time to mention that probably the first use of the word “gay” in a mainstream American film to denote something other than happiness came from an unlikely source. Director Howard Hawks is best known for films celebrating traditional masculine values, populated by tough, lovable guys and emotionally strong, super sexy women. (My DVD review of “El Dorado” starring John Wayne and Robert Mitchum covers a late example.) Epitome of movie guyness that he was, Hawks nevertheless had no problem playing with sexuality/gender roles just a bit in the 1938 screwball romantic comedy classic, “Bringing Up Baby“.

Fifteen years later, making the iconic Marilyn Monroe musical, “Gentlemen Prefer Blondes,” Hawks, who had never made a musical, decided to have famed choreographer Jack Cole direct all the musical sequences. As far as I can tell, he was delighted to let Cole really gay it up in this famed scene featuring the ultra-hot brunette Jane Russell, who was an even bigger sex symbol at the time than Monroe and received top billing. It was a reasonably safe move because, in those very pre-gay liberation days, homosexual innuendo flew right by most audience members. Besides, with Russell around, few straight males of the time were going to notice much of anything else.

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