As soon as the old detective starts talking about buying a boat and all the fish he’s going to catch, or what the view will be like from his back window when he retires, you pretty much know he’s not gonna make it. Or maybe he will, but not without taking a bullet in the gut first just to psych you out. It’s not because he’s not a good guy – in fact he’s often the most genuinely decent, likeable character. It’s because life isn’t fair, and bad guys are only clearly bad if they hurt good people. And, like a bad boyfriend/girlfriend, the movie wants to hurt you so it can be the one to make you feel better. Continue reading…
“Alfred Hitchcock’s original 1935 version of The 39 Steps is one of those films that’s so seminal that when watched today it can seem like little more than a parade of hoary old clichés; that is, until you consider that The 39 Steps is where many of those clichés originated.” Friend of the Gutter Todd […]
The Hairpin‘s Anne Helen Petersen has written an excellent piece on Cary Grant’s career and life–scandals, Randolph Scott, sartorial brilliance and all: “Grant’s image was in many ways univocal — he played variations of the same character, he seemed to be a ladies’ man on and off the screen — but it also had room […]
Art of the Title presents “a brief visual history” of Saul Bass’ title design work. (via Bleeding Cool, which exhorts us not to forget Elaine)
A couple of looks at the art and history of film title sequences.
Horror movies are celebrating their hundredth year in 2010, with the anniversary of the 1910 Edison Lab’s production of Frankenstein. Bloody Disgusting catalogs “some of the biggest…genre snubs in Oscar history, in Part Four of B-D’s ‘100 Years in Horror’ series.”