I always enjoy discovering period industrial films explaining then cutting-edge technologies–how to process Technicolor film, how to record and press 78 RPM records etc. Above I’ve posted a 1937 mini-doc explaining the process by which a radio show transmits from the studio to homes across the country. It’s quite niftily
During John Huston’s ‘Lord Of The Manor’ Ireland years (mid-1950s to mid-1970s roughly) he was known locally as John Huston, MFH. Those letters stood for ‘Master of the Fox Hunt’, a loathsome tradition that he was happy to help perpetrate. Above is a short (five minute) doc showing the great
https://www.youtube.com/watch?v=WxYSVO78Edchttps://www.youtube.com/watch?v=WAFLS-jyti4 Yesterday I posted about pre-code portrayals of gay men in the movies and cartoons of the era. The usual characterization was of what was commonly known as a ‘sissy’ or ‘pansy’. Which brings us to the once popular and now utterly obscure bandleader Dick Rich. Above I’ve posted two
Before the Production Code came along in 1933 and imposed strict moral policing on all matters, homosexuality was often to be found in movies. The Pre-Code era generally preferred to offer up the ‘pansy’ or ‘sissy’ in a playful, caricature-ish way. Somehow this doesn’t seem now to be patronizing–at least
‘Alibi’, directed by Roland West and starring Chester Morris, was released on April 8th, 1929 and instantly was recognized as an unusually sophisticated piece of work. I’ve posted the whole film above but unless you’re a serious 20s/Talkies geek you’re likely not to watch more than the first few minutes.
If you grew up watching (and loving) SCTV as I did, you’ll know what I mean when I say that no matter how much I enjoy Martin Short or John Candy in other movie or TV shows, I find myself wishing that I were watching them in an SCTV skit
The only thing better than docs about old airplanes are old docs about old airplanes…or in this case ‘airships’, the fancy word for ‘Dirigibles’ which was the longer word for ‘blimps’. I haven’t watched this yet so can make no great claims for it, but I can’t imagine it isn’t
Good lord! What was John Huston thinking (or drinking?) when he let loose with this rambling, discursive and largely meaningless five minute diatribe on a late-1970s Oscar broadcast? He certainly sounds magnificent and is, as always, beyond charismatic. I met him in 1981 when I was sixteen years old and
Here’s a quirky little interview with John Huston shot on (or near?) the Irish location of ‘Casino Royal’, the sort-of James Bond movie which he co-directed with twenty other directors. This is ‘portrait of the artist as bullshit-salesman’ deluxe. Huston is charming, evasive, clearly perplexed by what he’s doing involved
Humphrey Bogart called him ‘the monster’ (with great affection, of course). Women found him wildly attractive (even though he treated them rather dreadfully, being proudly ‘multi-amorous’ long before the New York Times wrote admiring articles about threesomes buying and renovation multi-amorous brownstones in Brooklyn). But I digress. John Huston was