Archives for January 2012

‘Naked Kiss’ crowns queen of beautiful bald leading ladies

January 16, 2012 by

The Naked Kiss/1964/F & F Productions/90 min.

What better way to celebrate hump day than with a Sam Fuller double feature?

As part of the UCLA Wednesdays Classic Film Series, the Million Dollar Theater in downtown Los Angeles will show “Shock Corridor” (1963) and “The Naked Kiss” (1964) at 7:30 p.m. this Wednesday, Jan. 18. The Million Dollar Theater is at 307 S. Broadway Ave., Los Angeles, 90013; tickets are $10.

By Michael Wilmington

This Sam Fuller movie begins with one of the great shocker low-budget opening scenes: Kelly, a beautiful bald prostitute (played by Constance Towers) beating the crap out of her procurer, losing her wig, pulling out the cash he owes her, and dumping the rest on his whimpering chest. Fuller, freed of any strictures of big studio propriety, has Kelly aiming her purse at the camera and battering us movie voyeurs right along with her ex-pimp.

But “The Naked Kiss” is also a romance (of sorts) and a woman’s picture (of a particularly dark kind). And soon we see Kelly in a typical ’50s-early ’60s American small town, called Grantville, trying to escape her violent past by becoming a nurse’s aide: a care-giver specializing in adorable children, who sing sentimental songs. Kelly also happens to love Beethoven, especially “Moonlight Sonata.” Can she escape the past? Maybe not. The only movie playing in Grantville’s cinema is Fuller’s own previous Constance Towers picture, 1963’s “Shock Corridor.”

Kelly’s nemesis seems to be a salty cop named Griff (played growlingly by Anthony Eisley, of TV’s “Hawaiian Eye”). He beds her right off the incoming bus, pays $20, and then directs her to the nearest brothel (a bordello run by film-noir regular Virginia Grey).

Her salvation seems to be the strangely gentle playboy/philanthropist/Lothario (and Griff’s Korean War buddy) Grant (Michael Dante). Like Kelly, he loves Beethoven and Lord Byron. And something else. In the end, the appearances of her apparent nemesis and salvation prove to be deceiving. As it turns out, the naked kiss is the kiss of a pervert.

Like Fuller’s “Shock Corridor” the year before, “The Naked Kiss” was cheaply but strikingly art-directed by Eugène Lourié (Renoir’s “The Rules of the Game”) and gorgeously shot in black and white by Stanley Cortez (“The Night of the Hunter”).

“The Naked Kiss” is a fine showcase for Constance Towers.

Full of sock and sensation, “The Naked Kiss” has qualities we don’t see as much in “Shock Corridor” – a bizarre tenderness, a tough romanticism, and something part way between schmaltz and weltschmerz. “The Naked Kiss” is also Fuller’s most stylishly soap-operatic work in the Douglas Sirk tradition, just as 1949’s “Shockproof” (co-written by Fuller) was Sirk’s most Fullerian movie.

“The Naked Kiss” is also a fine showcase for Constance Towers, an underrated leading lady who worked for John Ford (in “The Horse Soldiers” and “Sergeant Rutledge”), but whom Alfred Hitchcock unfortunately missed. She’ll never be forgotten for that opening scene, though. Among bald prostitute pimp-battering leading ladies, Constance Towers is the queen.

The movie is also available from Criterion and includes these extras: New interview with Constance Towers; 1967 and 1987 French television interviews with Sam Fuller; trailer. Booklet with Robert Polito essay, excerpt on “The Naked Kiss” from Fuller’s autobiography “A Third Face,” and illustrations by the great cartoonist and comic artist Daniel Clowes.

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Gearing up to watch the Golden Globes

January 15, 2012 by

The Golden Globes red carpet in Beverly Hills

For me, a cozy spot on the sofa is the best place to watch the Golden Globes. Join me on Twitter as I scour the red carpet for nods to noir and retro charm.

The Hollywood Foreign Press Association presents the awards; the first ceremony was held in January 1944 at Twentieth Century Fox in LA.

Entertainment Weekly photo

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Remembering the Black Dahlia 65 years after her death

January 15, 2012 by

Beth Short was 22 when she died.

Today is the 65th anniversary of one of Hollywood’s most famous unsolved murders: the brutal slaying and mutilation of Elizabeth Short, also known as the Black Dahlia.

Her body, which had been cut in half at the waist, was found in a vacant lot at 39th Street and Norton Avenue in Los Angeles on Jan. 15, 1947. She was 22 years old.

Born in a Boston suburb on July 29, 1924, Elizabeth was the third of five daughters. Her father abandoned the family and her mother struggled to make ends meet. In 1944, Elizabeth came to California, hoping to live with her father; after a brief stay, he told her to leave.

It’s possible that she hoped to find work as an actress in Los Angeles but, with little education or means to support herself, she was frequently on the move, looking for new opportunities and cheap places to live. A few weeks prior to her death, Elizabeth stayed with a family in San Diego. She rode back to Los Angeles with a man named Red Manley and was seen downtown at the Biltmore Hotel on Jan. 9, 1947.

The Black Dahlia case remains unsolved.

Because the case was gruesome and sensational, and so little is known for certain about her life, theories and speculation, suspects and confessions abound. Police corruption and unethical journalistic practice severely impeded efforts to find justice. Her story spurred a plethora of media coverage as well as non-fiction and fiction books, including James Ellroy’s 1987 novel, “The Black Dahlia,” which was the basis for Brian DePalma’s film of the same name, made in 2006.

While her murder remains unsolved and many details are sketchy, it seems likely that Elizabeth ran out of friends and favors, that in those bleak days of January 1947, now such a long time ago, she had very few places to turn. With that in mind and to remember Elizabeth Short, I hope you’ll join me in making a donation to a women’s charity, such as the Downtown Women’s Center in Los Angeles, or a similar organization in your area.

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Los Angeles photo expo is worth a visit

January 14, 2012 by

Woman by the Pool (Beverly Hills Hotel, 1975) by Anthony Friedkin; copyright Anthony Friedkin

The 21st annual international Los Angeles photographic art expo continues through Monday at the Santa Monica Civic Auditorium. The show features about 40 exhibitors as well as speakers and discussions.

To take his iconic Woman by the Pool (Beverly Hills Hotel, 1975), photographer Anthony Friedkin says he dressed up like a tennis pro so that he would blend into the “Hollywood thing – which is all about costume.”

Clad in white and carrying a racket, he saw his opportunity as soon as he got to the pool. “I believe photographers have a fate, a destiny, like all artists do. And much of this has to do with being in the right place at the right time. Regardless of the fact we work our whole lives to be there, at that precise moment in time, to get that extraordinary photograph, to visualize it and frame it artistically, there’s a certain amount of existential luck that has to come into play. And I felt it the day that I made that photograph.”

The Santa Monica Civic Center is at 1855 Main St., 90401. The show runs from 11 a.m. to 7 p.m. Saturday and Sunday, and Monday from 11 a.m. to 6 p.m. General admission is $20, with discounts available.

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Visually stunning ‘Pina’ immerses you in singular style, but lacks context

January 13, 2012 by

Pina/2011/Neue Road Movies, et al/106 min.

Wim Wenders

Having long admired Wim Wenders as a neo-noir director (“The American Friend,” “Hammett,” “The End of Violence,”) and documentarian (“Lightning Over Water,” Buena Vista Social Club,” “The Soul of a Man”), I always look forward to seeing his work. His latest film, “Pina” is a documentary about Pina Bausch, a German dancer, choreographer and teacher, who died in 2009 at the age of 68. It is the German entry for the Best Foreign Film Oscar.

Shot in 3-D and visually stunning, the film fully immerses you in Bausch’s singular aesthetic, vision and teaching style. From the first frame, you sense her intensity. And if you like German expressionistic dance, you might find the film illuminating, even moving. There are moments of humor as well.

If, like me, that style of dance is not your cup of tea, but you’re curious as to who this woman was, how she got started, how she made her mark and what critics thought, you’d best Google Pina Bausch beforehand. It’s definitely not in the film.

Oh all right, I’ll admit it, I’m a lazy American who doesn’t follow trends in Tanztheater, but I was hoping for maybe half a chapter of Bausch’s backstory and at least a glimpse of what made this woman tick. Interviews with people other than Bausch’s former students, perhaps?

Once you’ve done your Googling, be sure to follow critic Debra Levine’s brilliant suggestion for preparing to see this film and watch Mike Myers in “Sprockets.”

“Pina” opens today in LA and New York.

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Perfect winter viewing: ‘Blonde Criminal. Ice in her veins. Icicles in her heart.’

January 12, 2012 by

Blonde Ice/1948/Martin Mooney Productions/73 min.

Leslie Brooks stars as newspaper woman and gold digger Claire Cummings in "Blonde Ice."

If you asked angelic-looking Claire Cummings (Leslie Brooks) of “Blonde Ice” the secret to a happy marriage, her answer would be “Money, duh!” And if you happen to be a reasonably successful dude or perhaps just own a wallet, she’d probably hand you a cigarette case reading “All my love, Claire.”

This cookie-cutter approach has served her well with ex-boyfriends obnoxious Al Herrick (James Griffith) and regular-guy Les Burns (Robert Paige), both of whom were colleagues at the San Francisco Tribune, where she covered (what else?) society news. She’s still friendly with Al and Les, and they attend her wedding to wealthy businessman Carl Hanneman (John Holland).

But Claire doesn’t let little things like marriage vows get in the way of having it all. At her wedding, she’d much rather kiss Les than Carl. So, she does. Then it’s off to married life and a bit of a bumpy road with Carl when he objects to her blowing his money at a racetrack. Being a stick in the mud does not go over well with Claire, especially since she’d rather be with Les.

Nothing if not efficient, Claire comes up with a clever alibi before shooting Carl and making it look like suicide. The police find this hard to swallow, but there’s no evidence to contradict her story. Now she’s got wads of cash, a nice house and a new wardrobe for her dates with Les.

It’s while they’re awaiting their chicken-salad dinners at a posh restaurant that she gets a look at attorney and aspiring politician Stanley Mason (Michael Whalen). Les is a sweetheart, of course, but this Congressman-to-be could offer her so much more. Besides wads of cash, a nice house and a new wardrobe, she really needs status, influence and power. Naturally, Mason is smitten within minutes of meeting her, and she easily juggles him and Les.

Unfortunately for Claire, Mason’s network of supporters includes psychiatrist Dr. Geoffrey Kippinger (David Leonard) who’s apparently the first man on Earth to suss her out and resist her charm. Even so, he’s not much of a match for her ever-devious mind and, by the end, three more people are dead at her hands. She’s exposed as the treacherous, conniving killer and, just for good measure, receives this wounding assessment, “She wasn’t even a good newspaper woman.” Hilarious!

David Leonard plays a psychiatrist named Dr. Kippinger, one man who sees through Claire and doesn't fall for her.

“Blonde Ice” is a great B movie that makes the most of its limited budget. Veteran lensman George Robinson lends visual flourish (strong composition, lots of ominous, claustrophobic shadow) and Kenneth Gamet’s screenplay crackles along with lines like: “Darling, let’s not quarrel. We can do that after we’re married.” And “I hated you because you were the first man who ever saw inside my mind. And I’m going to kill you.” Gamet wrote the screenplay from Whitman Chambers’ novel “Once Too Often.”

Brooks offers wide-eyed looks, innocent smiles and arched eyebrows aplenty. But it’s easy to overlook her restraint, considering that she’s playing a preposterous role. Griffith as Al exudes the right amount of sleaze; Paige as Les is human and likeable; Holland and Whalen as Claire’s husband and husband-to-be are, fittingly, a bit stiff. Emory Parnell does a nice turn as Police Capt. Bill Murdock and Russ Vincent is convincingly slimy as blackmailer Blackie Talon. Great name, no?

Unlike the shrink, Al (James Griffith) and Les (Robert Paige) are putty in Claire's pretty hands.

The most noirish element of “Blonde Ice” is the mystery of its director Jack Bernhard, also a writer and producer. Once on-staff at Universal, he worked steadily through the 1940s and made 12 B-movies (including “Decoy,” 1946; “Appointment for Murder” and “Search for Danger,” both from 1948; and 1949’s “Alaska Patrol”) before dropping out of sight.

Though perhaps not an accomplished stylist, Bernhard’s movies nonetheless have a distinctive stamp, particularly in “Decoy” and “Blonde Ice,” that reveals Bernhard’s uncommon ability to wrap outlandish material around a sordid core and keep a completely straight face. He draws solid performances and he’s a deft, never draggy, storyteller. “Blonde Ice” and “Decoy” are marvelously entertaining and make an excellent double bill.

Bernhard was briefly married to England’s Jean Gillie, who starred in “Decoy” as the hard-as-nails (one of the hardest in all film noir) femme fatale. Maybe without a bad girl at his side, Bernhard felt he wasn’t a bad enough boy, noirwise.

Note: You can watch the full movie at imdb.

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‘Blonde Ice’ quick hit

January 12, 2012 by

Blonde Ice/1948/Martin Mooney Productions/73 min.

Claire Cummings (Leslie Brooks) in “Blonde Ice” would like to rethink that whole “marriage means saying goodbye to ex-boyfriends” thing. Or at least give it a new spin – how about saying bye-for-now with a passionate kiss, securing a nest egg, then staging hubs’ murder so it looks like suicide?

True, it’s a more complicated spin but nothing that any competent multi-tasker couldn’t master. The fact that Claire is nuts doesn’t hinder – in fact it enhances – her ability to juggle men and plan murders. Batty, outrageous B-movie fun from director Jack Bernhard.

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Frank DeCaro dishes up heaping helpings of camp in ‘The Dead Celebrity Cookbook’

January 10, 2012 by

“Highly offensive and exceedingly faggy.” It's all good for retro cookbook author Frank DeCaro.

“There’s a name for someone who says, ‘I can’t watch a movie in black and white.’ Stupid!”

So said Frank DeCaro, author of “The Dead Celebrity Cookbook,” last night at a book signing in West Hollywood. A writer, critic and performer, DeCaro hosts a morning call-in program on Sirius XM satellite radio and writes the Icons column for CBS’ Watch! magazine.

He also likes to cook and throw parties. When the celebs were kind enough to die, as he puts it, the book seemed a natural. Highlights from noiristas include: Otto Preminger’s Deviled Eggs, Joan Crawford’s Poached Salmon, Bette Davis’ Red Flannel Hash, Lucille Ball’s Sunday Night Goulash, Fred MacMurray’s Flemish Pot Roast, Truman Capote’s Fettuccine, Anthony Perkins’ Tuna Salad, Alfred Hitchcock’s Quiche Lorraine, Janet Leigh’s Gâteau Doré, Agnes Moorehead’s Lobster Mousse, William Holden’s Hamburgers à la Hong Kong and Gregory Peck’s Ratatouille.

DeCaro’s favorite: Liberace’s Sticky Buns. “If Liberace didn’t know how funny that was, then the whole world crumbles,” said DeCaro. He is up front that he did not test every recipe, particularly Don Ho’s pigs’ feet soup. DeCaro suggests not picking Crawford’s salmon as a first effort. “Don’t start with Joan Crawford; that’s always good advice.”

And be warned: because many of the recipes are retro, they might call for fat-gram disasters like canned cream of mushroom soup. “You have to remember that frozen and canned food was not considered tacky,” he said. “It was considered modern, instant, groovy!”

Frank DeCaro and FNB at Book Soup in West Hollywood

Having spent 15 years collecting recipes, DeCaro also has plenty of noshing trivia. Did you know that per capita Hawaii eats the most SPAM and Utah eats the most JELL-O?

Granted, the book might cause some to wince or groan (he includes a pie recipe from Karen Carpenter). One detractor told DeCaro she thought his book was “highly offensive and exceedingly faggy,” which pleases DeCaro to no end. He is now working on a Christmas edition.

Speaking of maximizing opportunity, DeCaro’s domestic advice was not limited to the kitchen. He’s fond of telling his husband Jim Colucci: “You cannot sleep with anyone but me. Unless it’s good for your career.”

“The Dead Celebrity Cookbook: A Resurrection of Recipes from More Than 145 Stars of Stage and Screen” (HCI Books, $19.95)

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Free stuff from FNB: Win ‘We Need to Talk About Kevin’

January 6, 2012 by
In need of winter reading? Enter to win our January giveaway: A paperback copy of “We Need to Talk About Kevin,” by Lionel Shriver, a gripping tale of horrifying family dysfunction. Director Lynne Ramsay’s neo-noir movie version of “Kevin” started release in December and returns this month. Check your local listings for details. “We Need to Talk About Kevin” stars Tilda Swinton, John C. Reilly and Ezra Miller.

(Matthew is the winner of the December reader giveaway, the Bogie-Bacall DVD set. Congrats to Matthew and thanks to all who entered!)

To enter the January giveaway, just leave a comment on any FNB post from Jan. 1-31. We welcome comments, but please remember that, for the purposes of the giveaway, there is one entry per person, not per comment.

The winner will be randomly selected at the end of the month and announced in early February. Include your email address in your comment so that I can notify you if you win. Your email will not be shared. Good luck!

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More Marilyn at the Cinematheque in Hollywood

January 5, 2012 by

Marilyn Monroe and Sir Laurence Olivier

The American Cinematheque will show a Marilyn Monroe double feature at 7:30 p.m. Sunday, Jan. 8, at the Egyptian Theatre in Hollywood. The movies are: 1957’s “The Prince and the Showgirl” (co-starring and directed by Sir Laurence Olivier) and Billy Wilder’s “Some Like It Hot” from 1959.

At 6:30 p.m., in the lobby, Susan Bernard will sign copies of her book, “Marilyn: Intimate Exposures.” The book consists of 125 photos by her father Bruno Bernard. The photos, ranging from 1946 to 1954, include 40 previously unpublished images. There will be a discussion between films with Susan Bernard.

Michelle Williams and Kenneth Branagh will appear at the Egyptian’s screening of “My Week with Marilyn,” directed by Simon Curtis, 7 p.m. Wednesday, Jan. 11.

General admission is $11; members pay $7. The Egyptian is at 6712 Hollywood Blvd.

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