Team Experience is revisiting a dozen Judy Garland movies for her Centennial. Here’s Brent Calderwood to kick us off...
The Wizard of Oz is more than an insanely watchable film—it’s a gateway to a lifelong appreciation of Judy Garland.
“It was a place. And you and you and you and you were there.” Judy Garland as Dorothy Gale took us along with her to Oz, and we believed. It was more than the glorious art direction—head-high hibiscus, an acre of artificial poppies, and real birds in the forest including cranes and a peacock. It was Judy Garland’s performance. No, not her performance—it was Garland inhabiting Dorothy. The then sixteen-year-old became a nine-year-old girl. This woman-child made us feel her vulnerability, and revealed a heart as big as a farmhouse. ...
The Wizard of Oz is more than an insanely watchable film—it’s a gateway to a lifelong appreciation of Judy Garland.
“It was a place. And you and you and you and you were there.” Judy Garland as Dorothy Gale took us along with her to Oz, and we believed. It was more than the glorious art direction—head-high hibiscus, an acre of artificial poppies, and real birds in the forest including cranes and a peacock. It was Judy Garland’s performance. No, not her performance—it was Garland inhabiting Dorothy. The then sixteen-year-old became a nine-year-old girl. This woman-child made us feel her vulnerability, and revealed a heart as big as a farmhouse. ...
- 5/31/2022
- by Brent Calderwood
- FilmExperience
by Brent Calderwood
A century after its March 4th, 1922, premiere in Berlin, F.W. Murnau’s Nosferatu remains a truly chilling classic. It’s widely acknowledged that Nosferatu and other German Expressionist masterpieces were influential not only to the development of Hollywood horror, but also to film noir and other genres. Nothing demonstrates the shadowy reach of Expressionism quite so strikingly, though, as its prevalence in the first wave of Walt Disney’s full-length features, which quoted heavily from Murnau and his contemporaries...
A century after its March 4th, 1922, premiere in Berlin, F.W. Murnau’s Nosferatu remains a truly chilling classic. It’s widely acknowledged that Nosferatu and other German Expressionist masterpieces were influential not only to the development of Hollywood horror, but also to film noir and other genres. Nothing demonstrates the shadowy reach of Expressionism quite so strikingly, though, as its prevalence in the first wave of Walt Disney’s full-length features, which quoted heavily from Murnau and his contemporaries...
- 3/5/2022
- by Brent Calderwood
- FilmExperience
by Brent Calderwood
It might be time to stop calling Harold and Maude a cult film. Yes, it’s true that when it came out fifty years ago, many critics and audiences greeted it with a mix of bewilderment, indifference, and even hostility—Variety, for example, claimed it had “all the fun and gaiety of a burning orphanage.” And yes, it's also true that Harold and Maude has been a staple of midnight art-house screenings almost since its release and has topped “best cult films” lists for as long as “cult film” has been a recognizable term.
But 50 years on, Harold and Maude is so widely beloved by critics and new generations of film lovers that what was faintly hailed as an exquisite but slightly rarefied document of post-’60s counterculture is now firmly a part of our culture...
It might be time to stop calling Harold and Maude a cult film. Yes, it’s true that when it came out fifty years ago, many critics and audiences greeted it with a mix of bewilderment, indifference, and even hostility—Variety, for example, claimed it had “all the fun and gaiety of a burning orphanage.” And yes, it's also true that Harold and Maude has been a staple of midnight art-house screenings almost since its release and has topped “best cult films” lists for as long as “cult film” has been a recognizable term.
But 50 years on, Harold and Maude is so widely beloved by critics and new generations of film lovers that what was faintly hailed as an exquisite but slightly rarefied document of post-’60s counterculture is now firmly a part of our culture...
- 12/24/2021
- by Brent Calderwood
- FilmExperience
by Brent Calderwood
I’m just going to say it. I’m glad Judy Holliday won the Best Actress Oscar for the 1950 comedy Born Yesterday. I’m not saying she should have won—I’m not even saying I would have voted for her if I’d been a member of the Academy. But if I could have been there when the winner was announced on March 29, 1951, I would have been cheering the loudest.
Today—100 years after Holliday’s birth and 56 years and two weeks after her untimely death—Holliday’s Sea Biscuit victory over frontrunners Bette Davis for All About Eve and Gloria Swanson for Sunset Boulevard is still a topic of discussion and debate...
I’m just going to say it. I’m glad Judy Holliday won the Best Actress Oscar for the 1950 comedy Born Yesterday. I’m not saying she should have won—I’m not even saying I would have voted for her if I’d been a member of the Academy. But if I could have been there when the winner was announced on March 29, 1951, I would have been cheering the loudest.
Today—100 years after Holliday’s birth and 56 years and two weeks after her untimely death—Holliday’s Sea Biscuit victory over frontrunners Bette Davis for All About Eve and Gloria Swanson for Sunset Boulevard is still a topic of discussion and debate...
- 6/21/2021
- by Brent Calderwood
- FilmExperience
by Brent Calderwood
The Kids Are All Right (2010)
“Songs are like tattoos.” That’s according to “Blue,” the title track on Joni Mitchell’s fourth album, which turns 50 this month. A half century after Mitchell wrote and recorded those words, it’s clear that Blue has made an indelible mark on the culture. Songwriters from Bob Dylan (“Tangled Up in Blue”) to Prince (“So Blue”) to Taylor Swift (Red) have acknowledged the influence of Blue’s achingly autobiographical lyrics on their own work. Just last year, Rolling Stone declared Blue the third greatest album of all time. And thanks to scores of cover versions over five decades, two of Blue’s torchiest tracks—“A Case of You” and “River”—have become American Songbook standards.
No wonder, then, that filmmakers have frequently tapped into Blue, especially for their characters’ most vulnerable moments. While plenty of ink has been spilled over who...
The Kids Are All Right (2010)
“Songs are like tattoos.” That’s according to “Blue,” the title track on Joni Mitchell’s fourth album, which turns 50 this month. A half century after Mitchell wrote and recorded those words, it’s clear that Blue has made an indelible mark on the culture. Songwriters from Bob Dylan (“Tangled Up in Blue”) to Prince (“So Blue”) to Taylor Swift (Red) have acknowledged the influence of Blue’s achingly autobiographical lyrics on their own work. Just last year, Rolling Stone declared Blue the third greatest album of all time. And thanks to scores of cover versions over five decades, two of Blue’s torchiest tracks—“A Case of You” and “River”—have become American Songbook standards.
No wonder, then, that filmmakers have frequently tapped into Blue, especially for their characters’ most vulnerable moments. While plenty of ink has been spilled over who...
- 6/18/2021
- by Brent Calderwood
- FilmExperience
by Brent Calderwood
Alida Valli, who was born 100 years ago today in Pola, Italy (now part of Croatia), became a legend of Italian cinema in classics ranging in style from Luchino Visconti’s operatic epic Senso to Dario Argento’s supernatural slasher Suspiria. In a career that spanned 68 years, international directors were repeatedly drawn to her dark, inscrutable beauty and haunted green eyes. She's still admired by film lovers worldwide for three noir-tinged movies she made while abroad: The Third Man opposite Orson Welles (where she gets one of the most famous screen exits in history), Alfred Hitchcock’s The Paradine Case, and the French horror film Eyes Without a Face.
In 1947, producer David O. Selznick invited Valli to Hollywood, hoping to repeat the success he’d had with two of his other European “discoveries,” Ingrid Bergman and Vivien Leigh. He gave her the full star treatment, even briefly abbreviating...
Alida Valli, who was born 100 years ago today in Pola, Italy (now part of Croatia), became a legend of Italian cinema in classics ranging in style from Luchino Visconti’s operatic epic Senso to Dario Argento’s supernatural slasher Suspiria. In a career that spanned 68 years, international directors were repeatedly drawn to her dark, inscrutable beauty and haunted green eyes. She's still admired by film lovers worldwide for three noir-tinged movies she made while abroad: The Third Man opposite Orson Welles (where she gets one of the most famous screen exits in history), Alfred Hitchcock’s The Paradine Case, and the French horror film Eyes Without a Face.
In 1947, producer David O. Selznick invited Valli to Hollywood, hoping to repeat the success he’d had with two of his other European “discoveries,” Ingrid Bergman and Vivien Leigh. He gave her the full star treatment, even briefly abbreviating...
- 5/31/2021
- by Brent Calderwood
- FilmExperience
by Brent Calderwood
Juanita Moore lived to be 99 but she's immortal via her Oscar-nominated classic
In case you were wondering, today marks the 2021 due date to submit nominations for the Hollywood Walk of Fame. More importantly, it also marks the third year in a row that Juanita Moore has been nominated. Each year the selection committee chooses about 20 winners from among 200 or so nominees, and for the past two years, Moore has been passed over, despite her Oscar-nominated performance in 1959’s Imitation of Life, and despite the annual efforts of her nephew Arnett Moore. Here’s hoping that this will finally be Juanita Moore’s year.
In 1959, Juanita Moore earned nearly unanimous praise for her star turn in Imitation of Life. Moore plays Annie Johnson, the Black mother of a light-skinned daughter, Sarah Jane, who is assumed by her classmates to be white...
Juanita Moore lived to be 99 but she's immortal via her Oscar-nominated classic
In case you were wondering, today marks the 2021 due date to submit nominations for the Hollywood Walk of Fame. More importantly, it also marks the third year in a row that Juanita Moore has been nominated. Each year the selection committee chooses about 20 winners from among 200 or so nominees, and for the past two years, Moore has been passed over, despite her Oscar-nominated performance in 1959’s Imitation of Life, and despite the annual efforts of her nephew Arnett Moore. Here’s hoping that this will finally be Juanita Moore’s year.
In 1959, Juanita Moore earned nearly unanimous praise for her star turn in Imitation of Life. Moore plays Annie Johnson, the Black mother of a light-skinned daughter, Sarah Jane, who is assumed by her classmates to be white...
- 5/29/2021
- by Brent Calderwood
- FilmExperience
by Brent Calderwood
The Lana Turner / John Garfield classic The Postman Always Rings Twice opened 75 years ago in US theaters. Based on James M. Cain’s bestselling 1934 novel about a wife who colludes with her lover in an attempt to pull off the perfect murder, Postman had to gloss over the grime to get past the censors, but it remains one of the best-loved film noirs of all time, and its huge box office success has been credited with cementing Turner’s status as a top-billed star.
While The Film Experience isn't set to celebrate the movies of 1946 until June, Postman belongs to multiple years. Here's a rundown of the four most famous screen adaptations of Cain’s crime novel, listed more or less in order of their critical reputation today...
The Lana Turner / John Garfield classic The Postman Always Rings Twice opened 75 years ago in US theaters. Based on James M. Cain’s bestselling 1934 novel about a wife who colludes with her lover in an attempt to pull off the perfect murder, Postman had to gloss over the grime to get past the censors, but it remains one of the best-loved film noirs of all time, and its huge box office success has been credited with cementing Turner’s status as a top-billed star.
While The Film Experience isn't set to celebrate the movies of 1946 until June, Postman belongs to multiple years. Here's a rundown of the four most famous screen adaptations of Cain’s crime novel, listed more or less in order of their critical reputation today...
- 5/10/2021
- by Brent Calderwood
- FilmExperience
Please welcome guest contributor Brent Calderwood...
by Brent Calderwood
I first saw Bound in 2000 at a special screening at the Castro Theatre in San Francisco, four years after its initial release. The audience was rapt, cowering in their seats or nervously laughing in all the right places. Back then, my college friends and I were so desperate for LGBTQ content that we’d hold house parties to watch pirated VHS tapes of the original ten-episode British series Queer As Folk, converted from imported Pal-format tapes by a friend of a friend in our school’s Av department. Given the dearth of queer representation, we convinced ourselves that we loved everything we saw no matter what, down to the neutered gay characters serving up puns on Will & Grace. Fast forward to 2021—would Bound live up to my memory and expectations?
I was nervous about how Lana and Lilly Wachowski’s...
by Brent Calderwood
I first saw Bound in 2000 at a special screening at the Castro Theatre in San Francisco, four years after its initial release. The audience was rapt, cowering in their seats or nervously laughing in all the right places. Back then, my college friends and I were so desperate for LGBTQ content that we’d hold house parties to watch pirated VHS tapes of the original ten-episode British series Queer As Folk, converted from imported Pal-format tapes by a friend of a friend in our school’s Av department. Given the dearth of queer representation, we convinced ourselves that we loved everything we saw no matter what, down to the neutered gay characters serving up puns on Will & Grace. Fast forward to 2021—would Bound live up to my memory and expectations?
I was nervous about how Lana and Lilly Wachowski’s...
- 5/1/2021
- by Brent Calderwood
- FilmExperience
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