Here’s a most enjoyable pre-code item that I’d never heard of called ‘Air Hostess’ (1933), starring Evalyn Knapp and James Murray. Knapp was a popular actress of the day with two deficits; she couldn’t act, and she didn’t know how to spell her first name. But the real stars of
https://www.youtube.com/watch?v=EBn8cuks8s4https://www.youtube.com/watch?v=xyA__0GJqhs&t=23s Here are two different short documentaries on the making of ‘Breakfast Of Tiffany’s’ that, when taken together, add up to a larger story of what making movies is (or can be) like. In the top one, the female A.I. voice tells us in no uncertain terms that the making
The excellent cinematographer John Bailey (click here for credits too numerous to mention) was also a fine film theorist. Witness this unusually perceptive break-down of the shooting style that John Huston and his cinematographer Harold Rossen (click here for credits too numerous to mention, although I will offer-up ‘Wizard Of
Here’s a one-hour doc about the making of John Huston’s 1984 adaptation of Malcolm Lowry’s ‘Under The Volcano’. Actually it’s less a doc than it is a collection of footage gathered on the set and put it into a semblance of order, as if it were the initial assembly of
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
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
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
In the late 1940s and early 1950s it was generally accepted that Sir Carol Reed, the British filmmaker responsible for ‘The Third Man’, was Europe’s greatest filmmaker. This wasn’t just based on that beyond-classic noir. (Actually placing ‘The Third Man’ in a genre–like noir–is reductive; it’s many different types of