Here’s a nifty little doc about Alfred Hitchcock’s 1941 semi-masterwork ‘Suspicion’ starring Cary Grant and Joan Fontaine who won an Oscar for her role as the deeply suspicious wife who suspects her husband of planning on murdering her. Much has been made over the years about the ending of this
Here’s 50 seconds of black and white footage of the ‘Cleopatra’ set, specifically the moment where Liz Taylor is carried down from the Sphinx thingy. It looks awfully scary and shaky but Liz seems sanguine, posed regally and most likely heavily sedated. I have no clue as to how this
I knew that the beginnings of the 1963 Burton and Taylor ‘Cleopatra’ were a bit more murky than the famously catastrophic shoot itself (the making of the ill-fated behemoth has been well documented over the years in any of a number of books about Burton/Taylor/Mankiewicz/Zanuck/Fox etc.) It’s common knowledge (in
Behold a four minute clip of the restored Technicolor ‘Rhapsody In Blue’ sequence from 1930s ‘King Of Jazz’, a gigantic musical revue (they were all the rage in Hollywood at the time) featuring Paul Whiteman and his orchestra. This immaculate restoration shows us for the first time what audiences saw
Here’s a truly precious piece of footage. It’s a Technicolor screen test featuring Katherine Hepburn playing Joan of Arc. We know from the slate that it was photographed on May 22nd, 1934 on Stage 5 at RKO. The cameraman was Ray Rennahan. No director is listed–did Hepburn self-direct? Evern more
After yesterday’s post on the 3-Strip Technicolor process as demonstrated in the ‘before and after’ reel of scenes from ‘Becky Sharp’, I’ve begun a slow and pleasant dive into a rabbit hole of Technicolor history. Above is a series of ‘color tests’ from 1933-1936 made for Pioneer Pictures, a subsidiary
This past weekend we watched the restored version of Rouben Mamoulian’s 1935 ‘Becky Sharp’ which was the first feature shot and released in the beautiful and sadly long-gone Three-Strip Technicolor process. Old Three-Strip Technicolor films without restoration tend to look like bowls of multi-flavored bowl melted sherbet. If one didn’t
What the hell are Bette Davis, Dick Powell, Warren William, Joan Blondell, Ruth Donnely and Preston Foster doing in an informercial for General Electric products shot in 1933? The answer is: I haven’t the foggiest idea. I never heard of this little weirdie until stumbling upon it this afternoon, deep
Behold Grand National Pictures logo, as fancy and fine an Art Deco logo as you’ll ever see. All this for a low-rent studio that lasted only three years (1936-1939) and went into receivership only to have its assets taken over by the only studio at that time lower on the
The generically named ‘Producers Releasing Corporation’–or, familiarly, PRC–was an ultra low-budget, poverty-row movie studio that existed from 1939 to 1947 and is now primarily known as the studio behind Edgar G. Ulmer’s immortal noir ‘Detour’ (1946). Ulmer made a number of PRC movies–others include ‘Strange Illusion’ with Hedy Lamarr and