The 1956 “Dance with Me, Henry” is a strange and dreary film that ended the on-screen teamwork of Bud Abbott and Lou Costello. Working within the tight confines of a low budget – the team had parted ways with their longtime studio Universal Pictures and wound up with independent producer Bob Goldstein – the duo eschewed the elaborate knockabout of their typical output in favor of a more situational comedy setting.
Continue reading
Ahead of Sunday’s Academy Awards ceremony, let’s take a few minutes to consider some of the unlikeliest nominations and winners in the history of cinema’s most prestigious prize.
Who Saw This Coming? Few people expected Hal Mohr to win the 1935 Best Cinematography Oscar for “A Midsummer’s Night Dream” – if only because he wasn’t nominated. In the mid-1930s, the Academy changed its rules to allow write-in votes to go alongside the ballot nominees, but after write-in candidate Mohr won his award the rules were rewritten to prevent another write-in winner.
Continue reading
Prior to the passage of the Civil Rights Act of 1964, Miami was a racially segregated city and Black visitors were not welcome in the fancy local hotels. The Hampton House Motel and Villas, originally opened in 1954 as the Booker Terrace Motel, was the most prominent lodging establishment that provided Black guests with accommodations.
Continue reading
In retrospect, it’s a shame that “Help!” wasn’t presented as a one-hour TV special rather than as a 92-minute feature film. In trying to one-up the lightning-in-a-bottle success of “A Hard Day’s Night,” director Richard Lester and his mop-topped stars reaffirmed the axiom that bigger is not always better by creating a large-scale romp that only occasionally percolates with hilarity but eventually wears out its welcome long before the closing credits.
Continue reading
Shot in 23 days on a shoestring budget at the cheapjack Republic Pictures, Orson Welles’ “Macbeth” was poorly received by American critics and audiences when it first came out in 1948 and again in 1950 when its compact 107-minute running time was edited by about a half-hour and the Scottish burr used by the actors was redubbed into accent-free English. Even today, Welles’ original vision doesn’t carry the same level of respect that his later Shakespearean films “Othello” (1952) and “Chimes at Midnight” (1966) enjoy.
Continue reading
One of the happiest moviegoing memories of my life did not take place in a cinema, but inside the auditorium of Junior High School 141 in the Bronx, New York, when I was in seventh grade. For reasons that had nothing to do with educational enlightenment, someone in charge decided it would be a good idea to show “The Three Stooges in Orbit” to the kids during their lunch break.
Continue reading
I wanted to fall in love with “Sweet Charity” very badly. Every time it turns up on television, I patiently sit through it hoping that this will be the time when the film will seduce me and fill me with adoration. But every time, I leave unhappy that I could not give my heart to the film – I desperately want to embrace the film, but it always winds up clobbering me with its cumbersome production.
Continue reading