The City in the Sky 🎆 Metropolis (1927)

 

Metropolis

 

As a film student at The University of Michigan, I was exposed to the masters of cinema – Chaplin, Murnau, Kubrick, Lang, etc. There, we were challenged to critique and look beyond the surface to the underlying themes. “Metropolis” is supreme in incorporating intriguing layers of sub-texture and sub-plots.

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Moloch Machine

Austrian director Fritz Lang’s German Expressionistic masterpiece helped to develop the science-fiction genre, with innovative imagery from cinematographer Karl Freund, art design by Otto Hunte, Erich Kettelhut, and Karl Vollbrecht and set design by Edgar Ulmer.(set designer for The Phantom of the Opera) It was the last of Lang’s silent films. (Filmsite Movie Review)

 

fritz lang

Friedrich Christian AntonFritzLang (December 5, 1890 – August 2, 1976)

“Metropolis” was not just some sci-fi flick from the silent era, it’s a visually-compelling allegory set in the dystopic, 21st-century city of Metropolis and represents a brilliant critique of the repercussions of man vs. machine and the brutality of the never-ending class struggle.

Establishing the tone of the film, this statement is presented following the opening credits.

THE MEDIATOR BETWEEN HEAD AND HANDS MUST BE THE HEART!

 

“Metropolis” took over 2 years to complete at ten times the budget for the usual Hollywood production of the time and influenced visuals associated with classic films such as; Chaplin’s war against the machines in Modern Times (1936), the mechanical hand of Dr. Strangelove in Stanley Kubrick’s Dr. Strangelove, (1964), or the resemblance between the Maria robot and the droid C-3PO in George Lucas’ Star Wars (1977) trilogy of films, and scenes of Los Angeles in Ridley Scott’s Blade Runner (1982) to name just a few.

This symbolic tale was written by Lang’s wife Thea Von Harbou (from her own novel). Her vision detailed a self-indulgent, futuristic, industrial world built of skyscrapers and bridges incorporating the Art Deco style of the 20s for the 2026 city of Metropolis.

An ultra elite, 1% privileged class of powerful industrialists is juxtaposed with a subterranean environment of the nameless, oppressed and exploited drone-like slave labor class.

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City of Metropolis

Made in Germany during the Weimar Period, Metropolis is set in a futuristic urban dystopia and follows the attempts of Freder (Gustav Fröhlich), the wealthy son of the city’s ruler, and Maria (Brigitte Helm), a poor worker, to overcome the vast gulf separating the classes of their city.

Filming took place in 1925 at a cost of approximately five million Reichsmarks. The art direction draws influence from Bauhaus, Cubist, and Futurist design. (Wikipedia)

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Fritz Lang directing the workers

As with all great films, “Metropolis” was influenced by the historical events occurring during its time. Centered around the developing Industrial Revolution and depressed economic times, the film also incorporates the rise of fascism in a pre-Hitler Weimar Republic Germany following World War I.

Another influence of the movie’s themes was the rise of the American labor movement and unions during the 1920s due to oppressive working conditions. “Metropolis”, like the Progressive, investigative journalists of the day, took on corrupt politicians and the establishment in an effort to make people aware of the contrast of poverty with the upper-crust classes of the opulent Roaring 20s.

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I’m a steadfast believer that understanding history is empowering. “Metropolis” tackles the rise of immigration into the US and exploitation of workers at the beginning of the 20th century along with Capitalists exploiting labor. It deals with the conversation of doing what’s right versus greed and the power of modern science.

The creation of the evil android Maria (Bridgitte Helm) was an abuse of science but that same knowledge powered the city in the sky and could have been used to enrich the lives of the subterranean slaves.

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Describing these themes and comparisons in “Metropolis” is like writing a piece for The Nation magazine today. The similarities are frightening like George Orwell’s “1984” or H.G. Well’s “The Time Machine”. It’s dismaying to revisit a film I critiqued back in the ’70s, that was made in the ’20s continues to unfold in the year 2019; only 7 years away from the time of the 2026 Art Deco Metropolis city in the sky.

 

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Does art imitate life or life imitate art? I’m not sure, but in our “reality” tv driven news programming, a low information population, and the “I don’t believe in science” facts, kinda feels like we’re living in the dystopian world of “Metropolis”.

Lest we forget.

THE MEDIATOR BETWEEN HEAD AND HANDS MUST BE THE HEART!

◊

This is a restored version of “Metropolis”

If you’ve never seen it, I highly recommend this viewing experience. But, lasting 2 1/2 hours, prepare to settle in with an extra large bag of popcorn.

 

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Forrest Gump Gratitude đŸƒ

Forrest_Gump_poster

“Forrest Gump” (1994)

“Run Forrest, Run!”

Every time I think of the movie “Forrest Gump”, that’s the first quote I hear. Then, “Life’s like a box of chocolates, you never know what you’re gonna get.”

 

forrestgumpchocolate

 

Quotes galore plus Lieutenant Dan (Gary Sinise) and Bubba (Mykelti Williamson). Love this movie!

Forrest Gump’s (Tom Hanks) life is a testimony to gratitude. He understands his challenges but is not hesitant to live his life to the fullest, including telling his childhood love, Jenny (Robin Wright) how he feels about her.

He gets it. Life gives you what you get, so don’t whine, go for it and make the most of your journey. Thank God for his mother, (Sally Field), she didn’t listen to what the”experts” had to say. She did whatever she had to do to provide Forrest with the foundation that he could do anything. With his braces, he had “magic” legs. Turn every so-called obstacle into an advantage. Once again, attitude is everything!

 

 

Forrest is a true inspiration and proof that with support and love we can overcome adversity. Love and compassion make the difference.

Mama, Jenny, Bubba, and Lieutenant Dan. Forrest loved and was deeply loved by those whose lives he touched.

forrestgumpallihavetosay

Die Hard 30th Anniversary

 

Die Hard

IN THEATERS NOV 11th, NOV 14th

New York City Detective John McClane becomes the only hope for a small group of hostages, trapped in a Los Angeles high-rise office building when it is seized by terrorists on Christmas Eve. This 30th Anniversary event includes exclusive insight from Turner Classic Movies.

I have fond memories of the energy and excitement in the theater upon Die Hard’s release and it has remained one of my favorite movies of all time. Although premiering on July 12th,1988, it’s the perfect Christmas themed movie which our family always ends up watching during the Holidays.

The plot of the story takes place on Christmas Eve with NYPD detective John McClane (Bruce Willis) arriving in Los Angeles, intending to reconcile with his estranged wife, Holly (Bonnie Bedelia), at the Christmas party of her employer, the Nakatomi Corporation.

While McClane changes clothes at the festivities, the party is disrupted by the arrival of a German terrorist, Hans Gruber (Alan Rickman), and his heavily armed team: Karl, Tony, Franco, Theo, Alexander, Marco, Kristoff, Eddie, Uli, Heinrich, Fritz, and James. The group seizes the tower and secures those inside as hostages except for McClane, who slips away, and Argyle, (his limo driver) who gets trapped in the garage. (Wikipedia)

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Let the games begin because McClane is a tough New York cop to his very core and is bound and determined to foil the terrorist takeover as captioned on the movie poster.

“Twelve terrorists. One cop. The odds are against John McClane…That’s just the way he likes it.”

This highly successful American action thriller was directed by John McTiernan and written by Steven E. de Souza and Jeb Stuart. It was produced by the Gordon Company and Silver Pictures and distributed by 20th Century Fox.

Made for $28 million, Die Hard grossed over $140 million theatrically worldwide, with the film turning Willis into an action star, and became a metonym for an action film in which a lone hero fights overwhelming odds. The film’s success created the Die Hard franchise, which includes four sequels, a number of video games, and a comic book, and later in 2017 was selected for preservation in the United States National Film Registry. Die Hard has been named one of the best action and Christmas-themed films ever made. The film also ranks No. 20 on Empires 2017 list of the 100 greatest movies of all time. (Wikipedia)

I didn’t really care for the sequels, but I highly recommend checking out the original on the big screen at this 30th Anniversary screening. Find out where it’s showing in your area here.

iheart Halloween!đŸ‘»

Halloween is my favorite holiday! It’s a day for self-expression. A day for fun and fantasy. A day for taking control of phobias and fears and turning your back on Freddy Krueger from A Nightmare on Elm Street (1984). Where’s your power now Fred? Way to shut that mess down.

It’s also a day to indulge in all your favorite classic, creepy, monster, sci-fi horror films.

Therefore, in the spirit of Halloween, let’s pay homage to the original man of horror. The “Man of a Thousand Faces”- Lon Chaney.

 Man of a Thousand Faces – Lon Chaney

lon chaney man of a

Lon Chaney (April 1, 1883 – August 26, 1930), born Leonidas Frank Chaney

Born to deaf parents, Lon learned to express himself and communicate visually. He took his desire to become an actor and created an art form and space for himself that was revolutionary to the motion picture industry. His makeup artistry allowed him to transform and become grotesque characters in films like The Hunchback of Notre Dame (1923) and The Phantom of the Opera (1925). He’s regarded as one of the most important character actors of the silent film era.

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The original “monster maker”, he would scout out the daily call sheets for a studio finding out what types of extras were needed for that day’s shoot. He created a make-up toolbox of possibilities for him to achieve the look and characterizations needed to be chosen for a role. This talent was the impetus for his unparalleled reputation in the burgeoning film industry.

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This flick is by far my favorite Lon Chaney! 

Chaney’s alliance with Director Tod Browning was inspired! Browning was into the macabre and best known for his films Dracula (1931) and the cult classic Freaks (1932) and Lon Chaney had the acting and makeup skills to realize any twisted character the director could come up with.

My favorite movie line is from their 1927 silent film The Unknown – “crack of your ass”. (okay, I can’t swear that’s what he said) But, seriously, as Alonzo the Armless, he threatened his co-star Joan Crawford with bodily harm if she did not bend to his will. Remember Grandma Klump from Eddie Murphy’s The Nutty Professor(1996)? “You might walk over, but you limpin’ back! “Chaney totally went there. Check it out:

Let’s talk about the level of twisted in this movie:

A word of advice, if you’ve got a thing about someone that’s all consuming and you’d do anything to get with that person, forget about it!

Plot: This crazy man, Alonzo the Armless (Lon Chaney) has a knife throwing act using only his feet and is in love with Nanon (Joan Crawford) who”can’t bear to be touched.” He has arms but pretends not to for his act and so Nanon will talk to him. When it’s discovered that he indeed has arms, he blackmails a low-rent surgeon to amputate them. Sick!

Nanon and Alonzo

lon and nanon

After his surgery, Alonzo returns to the circus and his knife throwing act. Hoping to rekindle his relationship, he strolls over to Nanon’s circus wagon to see his rival Malabar, the circus strongman, (Norman Kerry) with his hands all over his love. Holy crap, it’s on! Alonzo schemes to get his girl back by rigging the speed of Malabar’s horses in his act which will dislocate and sever his arms during the live circus performance.

Alonzo

lon feet

Alonzo’s sick plan is working until Nanon realizes what is happening and tries to stop the performance. And then boom! The”crack of your ass” line. As you saw in the clip, things didn’t really work out the way he saw it play out in his mind.

Malabar

lon malabar stretch

This documentary, Lon Chaney: A Thousand Faces is a great biography for more in-depth background information and presents a great opportunity to discover your own Lon Chaney gem.

Here it is, Lon Chaney: A Thousand Faces

Lon Chaney is also the father of Lon Chaney, Jr best known for his role in Universal’s The Wolfman (1941).

A Century of Black Filmmakers🎞

PIONEERS OF AFRICAN-AMERICAN CINEMA

Directed by Richard Norman, Richard Maurice, Spencer Williams and Oscar Micheaux

This collection of the works of America’s legendary first African-American filmmakers is the only one of its kind. Funded in part by a highly successful Kickstarter campaign, the packaged set includes no fewer than a dozen feature-length films and nearly twice as many shorts and rare fragments. Subject matter includes race issues that went unaddressed by Hollywood for decades.

Spencer Williams Films

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Spencer Williams

Spencer Williams (July 14, 1893 – December 13, 1969) was an American actor and filmmaker. He was best known for playing Andy in the Amos ‘n Andy television show and for directing the 1941 race film “The Blood of Jesus”. Williams was a pioneer African-American film producer and director. (Wikipedia)

The Pioneers of African-American Cinema collection includes new digital restorations of over a dozen feature films, plus shorts, fragments, trailers, documentary footage, archival interviews, and audio recordings.

This clip is a scene from Richard Maurice’s ELEVEN P.M. (circa 1928). It is regarded by historian Henry T. Sampson as one of the most outstanding black films of the silent era and is Maurice’s second and only surviving film.

Eleven P. M is one of more than a dozen feature films showcased in Kino Lorber’s five-disc collection PIONEERS OF AFRICAN-AMERICAN CINEMA, now available at KinoLorber.com and Amazon.com. Music is by Rob Gal. Mastered from 35mm film elements preserved by the Library of Congress.

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Oscar Micheaux

Oscar Devereaux Micheaux (January 2, 1884 – March 25, 1951) was an African American author, film director and independent producer of more than 44 films. Although the short-lived Micheaux Book & Film Company produced some films, he is regarded as the first major African-American feature filmmaker, the most successful African-American filmmaker of the first half of the 20th century and the most prominent producer of race films. He produced both silent films and sound films when the industry changed to incorporate speaking actors. (Wikipedia)

These films and filmmakers deserve to be remembered, honored and explored. Their contributions play a significant role in the development of the American cinema.

For more on the history of African-American Cinema:

 

“May the Schwartz Be With You” – Off-the-Wall Movies

 

Spaceballs

 

Like Galaxy Quest was an homage to Star Trek, Mel Brooks off-the-wall comedy Spaceballs (1987) was a send-off of Star Wars. Its setting and characters parody the original Star Wars trilogy, as well as other sci-fi franchises including Star Trek, Alien, and the Planet of the Apes films.

The plot is set in a distant galaxy, planet Spaceball which has depleted its air supply, leaving its citizens reliant on a product called “Perri-Air.” (See, I told you off-the-wall)

Mel Brooks

Mel Brooks

In desperation, Spaceball’s leader President Skroob (Mel Brooks) orders the evil Dark Helmet (Rick Moranis) to kidnap Princess Vespa (Daphne Zuniga) of oxygen-rich Druidia and hold her hostage in exchange for air.

Rick Moranis (Dark Helmet)

Rick Moranis (Dark Helmet)

But help arrives for the Princess in the form of renegade space pilot Lone Starr (Bill Pullman) and his half-man, half-dog partner, Barf (John Candy). (IMDb)

 

Spaceballs is a 1987 American science fiction parody film co-written, produced and directed by Mel Brooks. Starring Brooks, Bill Pullman, John Candy, and Rick Moranis, the film also features Daphne Zuniga, Dick Van Patten, and the voice of Joan Rivers as Dot Matrix. (Wikipedia)

 

The film was met with a mixed reception but I think it can be classified as a cult classic, definitely an off the-wall-classic.

Going back and researching this film I almost forgot the funniest scene that had me on the floor. When I first saw this I literally screamed! Which I’m sure had the cleaning lady a the Residence Inn, where I was staying, shaking her head. (This chick is nuts!)

 

OMG, that was hilarious!! Who would have thought you could turn that incredibly terrifying moment in Alien into this “spit your milk out” moment.

Once again, Rick Moranis is absolutely brilliant! Just looking at him in that ginormous helmet, you can’t help but crack-up. Portraying the embodiment of the “Napoleon complex” his action playing with his dolls is too precious.

Trivia:

  • IT WASN’T THE FIRST STAR WARS PARODY FILM.

Amateur filmmaker, Ernie Fosselius was so enamored with Star Wars in 1977 that he cobbled together a 12-minute short, Hardware Wars, which he shot for just $8,000 in an abandoned laundromat. It was even declared a “cute little film” by George Lucas.

  • LUCAS GAVE HIS (CONDITIONAL) BLESSING.

Based on Brooks not doing any merchandising. The Lucas people were just upset about one aspect of Spaceballs,” Brooks told Starlog in 1987. “They didn’t think it was fair for us to do a take-off and then merchandise the characters.”

  • BILL PULLMAN WAS BROOKS’ THIRD CHOICE.

According to Pullman, the actor—who had not yet had a starring role—was approached by Brooks only after Tom Cruise and Tom Hanks turned down the role of Lone Starr, the Han Solo-esque lead of the film. Pullman said that hiring Rick Moranis and John Candy freed Brooks up to cast a relative unknown.

  • BARF’S EARS UPSTAGED THE ACTORS.

John Candy, who played half-dog/half-man Barf, was usually trailed on-set by Effects artist Rick Lazzarini and the effects crew, who had to control both his tail and his ears. At one point, Lazzarini was told by Brooks that he didn’t “have to move the ears so much!” They were too active in scenes focused on other characters. (Candy, incidentally, performed with a 40-pound battery backpack strapped to him to control the animatronics.)

(Jake Rossen-(mental_floss)

 

John Candy - Barf

John Candy – Barf

So, if you’re looking for a good laugh and a total mind distraction, I recommend “Spaceballs” as the perfect gag-filled tonic.

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If It’s Saturday It Must Be The Blob!đŸ“ș

Maybe I’m just a wee bit set in my ways, but the day of the week dictates the genre that I watch. Monday thru Friday are pretty wide open, however, Saturday and Sunday must stick to my criteria. Saturday afternoon is definitely B-horror/Sci-fi flicks and Sunday is reserved for Melodrama film classics.

If you’ve read my About Page you know that as a kid the Saturday Matinee had a big influence on my love of B-horror/Sci-fi movies and William Castle.

The Blob, The Incredible Shrinking Man and The Tingler. Now that’s good stuff!

 

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 The Blob (1958)

The Blob, directed by Irvin Yeaworth, was Steve McQueen’s first leading role before he got his own TV series – Wanted: Dead or Alive (1959). McQueen was called “The King of Cool” and starred in such popular films as The Magnificent Seven and The Thomas Crown Affair. He received an Academy Award nomination for his role as Jake Holman in The Sand Pebbles.

The Blob plot revolves around what happens when an old man pokes a stick at a piece of a meteor and it cracks open releasing an oozy substance that starts to crawl up the stick. He tries to shake it off but ends up with “the blob” all over his hand. (This is why you don’t poke at things that drop from the sky. Yeesh!)

Steve (also his character name) and his girl Jane, after almost hitting the old man who has run onto the road, take him to the local doctor. Cutting to the chase: while Steve and Jane ( Aneta Corsaut, who eventually plays Andy Griffith’s TV girlfriend Helen) leave the doc’s office to look for clues to what’s on the old man’s hand, The Blob absorbs the old man, the doc and his nurse. Next thing you know it’s at the midnight horror movie. Cue the fleeing and screaming and holy crap how do we stop it. Phew, that was exhausting.

 

 

The theme song, written by Burt Bacharach and Mack David (who wrote some of the top hits of the sixties) is a catchy little gem. “It creeps and leaps and glides and slides across the floor…beware of the blob.” Catchy😊

 

The Incredible Shrinking Man (1957) 

The Incredible Shrinking Man

Directed by Jack Arnold

I’ve watched this movie a hundred times and the ending always makes me cry. This thought-provoking Science Fiction classic taps into an anxiety of our purpose and what exactly is the meaning of life. Scott Carey (Grant Williams) is dusted by a radioactive mist while on a boating vacation with his wife Louise (Randy Stuart). A few weeks later he starts to notice his clothes are fitting looser and he also appears to be losing height. After visiting a specialist, it is confirmed that he is indeed shrinking.

Reduced to living in a dollhouse and eventually fighting for his life against the family cat and then battling it out with a big, hairy tarantula living in the basement, Scott finally shrinks to an infinitesimal size, entering the realm of the unknown.

For me, this movie is so much more than just another Saturday afternoon B-Movie flick. The closing monologue makes the point by concluding that no matter how small, we still matter in the universe because, to God, “there is no zero.”

 

 

The film won the first Hugo Award for Best Dramatic Presentation in 1958 by the World Science Fiction Convention. In 2009 it was named to the National Film Registry by the Library of Congress for being “culturally, historically or aesthetically” significant and will be preserved for all time.

The Tingler

Producer/Director William Castle delivers his finest in The Tingler (1959), his third collaboration with writer Robb White. The film stars the incomparable Vincent Price as Pathologist, Dr. Warren Chapin who researches and discovers the existence of The Tingler.

Percepto is my favorite William Castle gimmick. There comes a time in the movie when the Tingler (a parasite that feeds on fear) is loose in the theater and to save your life you need to scream! For grins, in select seats in the theaters, Castle placed the Percepto system which made the seat vibrate to simulate the feeling of fear you feel in your body when The Tingler strikes.

Man do I wish I could have been there in 1959 when The Tingler attacks the projectionist, the film strip breaks and The Tingler appears on the screen. If that’s not enough, the lights go out and you hear the voice of Vincent Price declaring that The Tingler is loose in the theater so scream, scream for your life! Awesome!!

Just think of it, being in the movie theater watching The Tingler scene and ending up participating in the experience in your Percepto seat, with lights out and the sound of Price’s voice. I love it!!!

 

Break out the popcorn and let me know your faves in the comments! 🍿🍿🍿🍿🍿