There are very few premieres for us this week, but the BBC has extensive coverage of the snooker, so we will have to be patient for a little while. The 93rd Academy Awards ceremony takes place in the early hours of Monday morning (UK time) – and it will be a big surprise if Nomadland does not win for best film, actress and director.
JULIA (1977) Saturday 24 April 6.50-9.10pm Talking Pictures (Channel 81)
Julia is a film that isn’t shown very often which is a great pity (I doubt that I have seen it more than once since making one of many visits to the Commodore cinema in 1978). It recounts the 1930s friendship between writer Lillian Hellman (Jane Fonda) and her friend Julia (Vanessa Redgrave), who is organising resistance to the Nazis. Nominated for 11 Oscars, it won three (including one for Ms Redgrave) and it marked the feature film debut of Meryl Streep.
THE EXCEPTION (2016) Saturday 24 April 9.00-11.15pm Channel 33
By a coincidence, we have a second drama this evening that has an interesting, Jewish story to tell. A soldier who is ordered to watch over the exiled Kaiser Wilhelm falls in love with a young housemaid. The upcoming British actor Lily James and the late Christopher Plummer register strongly; it isn’t as good as Julia, but has enough to commend it.
THE HISTORY OF MR POLLY (1948) Sunday 25 April 11.45am-1.45pm TP (Channel 81)
This adaptation of the HG Wells novel still amuses 70 years after it was made. John Mills is very good indeed as the draper in an unhappy marriage, who finds himself in various scrapes. At times, it is reminiscent of Henry Fielding but transposed to a Victorian setting.
THE GIRL CAN’T HELP IT (1956) Sunday 25 April 3.30-5.30pm Talking Pictures (Channel 81)
I think it is fair to say that this is a film that would not be made in 2021, owing to Jayne Mansfield’s outrageous parody of her own physical self, as press agent Tom Ewell tries to make her a singing star at the behest of her gangster boyfriend. Director Frank Tashlin was renowned for his sight gags and he makes this a winning combination of a major studio satirical comedy and the new threat to teenage America, namely rock ‘n’ roll. Nearly all the 1956-59 films that featured the new craze were short, b/w and cashing in. Tashlin helped to bring the music into the mainstream by giving free rein (in colour and widescreen) to Little Richard, Eddie Cochran, Fats Domino and others.
STURDAY NIGHT OUT (1963) Monday 26 April 9.00-10.55pm TP (Channel 81)
All credit to TP for bringing us another rare, largely forgotten, film. The plot is a slender one – five merchant seamen on a day out in London – but it has a good mix of actors (Bernard Lee, Nigel Green, Heather Sears and Francesca Annis) and a good feeling for time and place. It is director Robert Hart-Davis’ most accessible film; for sure, Gonks Go Beat (on DVD) would not qualify! Virtually unknown then and now, his films often had imaginative camera placement and movement, but were mostly exploitation. Two of his horror films, Corruption (1968) and The Fiend (1971) are quite bonkers, but have their admirers.
THE BALLAD OF LEFTY BROWN (2017) Monday 26 April 11.10pm-1.20am Channel 32
It was never more than a long shot for a LRFS booking and it does not have the kudos of the Coen brothers’ The Ballad of Buster Scruggs (2018). However, they both contain insightful variations on western themes; in this case, it is the sidekick (Bill Pullman) who takes centre stage when his partner (Peter Fonda) is murdered. Thus, at one fell swoop, the director (Jared Moshe) upended several hundred B-westerns.
THE EMBEZZLER (1954) Tuesday 27 April 6.30-8.00pm Talking Pictures (Channel 81)
The Embezzler is a very modest production in which a bank clerk facing retirement contemplates a change in lifestyle. Between 1938 and 1958, Charles Frank appeared in over a hundred British films as a supporting actor; he must have been thrilled to have had a leading role at long last!
THE KID (2019) Tuesday 27 April 9.00-11.05pm Film Four P
Please don’t expect a great deal from yet another take on the Billy the Kid story, but at least it is a new film and has Ethan Hawke (Maudie) in the cast. My heart does sink, though, whenever I see the word ‘reimagining’ and I suspect that, dramatically, it is on a par with Buster Crabbe’s ‘inhabiting’ of the character in the 1940s.
DON’T TALK TO STRANGE MEN (1962) Wednesday 28 April 9.05-10.25pm TP (Channel 81)
Although it did not receive the same critical attention, or cause quite the same fuss, as Hammer’s Never Take Sweets from a Stranger (1960), it carries the same social message and builds up a fair measure of tension. The comfort settings (village pubs, red telephone boxes and nice, sensible parents) are used well and the film is worth a look.
THE CRYING GAME (1992) Wednesday 28 April 11.10pm-1.25am Film Four
Eventually, The Crying Game was recognised as one of the best, most original, films of the early 1990s – but it was American audiences who discovered it first. Neil Jordan won an Oscar for the screenplay and its astute blend of romance, politics of the day and domestic terrorism made it a welcome addition to the film society and art house circuit.
THE BLUE DAHLIA (1946) Thursday 29 April 1.15-3.20pm Film Four
There were several splendid thrillers in the mid-forties from novels by Raymond Chandler (or James M. Cain) and starring the likes of Bogart and Dick Powell. Here, Alan Ladd dons the raincoat (it was his final teaming with Veronica Lake) as Johnny Morrison, fresh from military service, who discovers that his unfaithful wife has been murdered. If it is a notch below the likes of The Big Sleep, it is probably because director George Marshall worked almost exclusively with lighter material.
SAVAGE (2018) Thursday 29 April 11.15pm-1.30am Film Four P
We are short on premières this week, so you might consider recording this Chinese action film about a cop who is after a gang of bullion thieves. Please note, though, it is a film that is light on philosophical asides and heavy on heart-stopping thrills and moments of violence.
WARN THAT MAN (1943) Friday 30 April 3.20-5.00pm Talking Pictures (Channel 81)
To all extent and purposes this was an early prototype for The Eagle Has Landed (1976) in that the plot is built around an attempt to kidnap Winston Churchill. It makes you wonder how the wartime audience reacted! At the time he made this, Gordon Harker was known best for his Inspector Hornsleigh characterisation.
RONNIE’S (2020) Friday 30 April 10.00-11.45pm BBC 4
If you lived in London fifty years ago and/or are a jazz fan, then this documentary is for you. The film has some revealing interviews and some great archive footage.
RANDOM WORDS AND RANDOM MEMORIES
DISCOVERING THE WESTERN
A couple of weeks ago I mentioned the fact that Sky Arts was showing a documentary/discussion called Discovering Westerns on Film. It was enjoyable and, if you have an interest in the genre or just film in general, and want to have an idea as to which ones are held in high regard, I would recommend catching a repeat transmission. We have highlighted about 65% of them in our weekly listings, so there are not too many surprises and most of the titles would be familiar to you. Did I agree entirely with their choices and order of merit? No, of course not . . .
As much as I have always admired Gary Cooper as an actor, it is appropriate that only one of his films (High Noon) should make a Top 25, although his ‘Quaker western’ Friendly Persuasion is excellent and better than some of those selected. However, not a single film with either Randolph Scott or Joel McCrea was a genuine surprise - particularly since they appeared together in Guns in the Afternoon (aka Ride the High Country) and it would make my Top Five. Nor would I have chosen Winchester ’73 as the best of the James Stewart/Anthony Mann partnership. It is interesting, too, that they also chose not to include a comedy western or a modern western such as Lonely Are the Brave or (a personal favourite) the superb Bad Day at Black Rock. What should not come as a surprise to anyone, are the three chosen as representative of Clint Eastwood’s contribution to the genre or the fact that one third of the titles feature John Wayne.
Allowing for some substitutions with films that one might feel are of equal merit (or marginally better), their list is, overall, a decent one and uncontroversial. There were just three occasions when I found myself shouting ‘surely not’:
1.JOHNNY GUITAR (1954). To be fair, it was adored by French critics 60 years ago, made the ‘best of’ lists of both Christopher Frayling and Phil Hardy and in the context of doing something different with the conventions of the genre . . . no, I can’t, not a Republic western starring Joan Crawford and made all the more garish by their Trucolor process. Mind you, it does contain one of the best lines in any western, courtesy of Sterling Hayden: “I never shake hands with a left-handed draw”.
2.GUNFIGHT AT THE OK CORRAL (1957). It is entertaining, but overblown from the moment Frankie Laine starts singing the title song. It isn’t even the best film about Wyatt Earp (the one that is, makes the list as well – thankfully); I would go as far as to say that Tombstone (1993) is also better.
3.THE SONS OF KATIE ELDER (1965). Don’t get me wrong, I like the film and I must have seen it twenty times since its TV debut clashed with The War Wagon Saturday, 23 December 1972. (There was a lot of agonising that day – no VCR recorders, of course.) It just isn’t Top Twenty – and if it is, where are The Comancheros and North to Alaska?
The Baftas ceremony was enjoyable and, as predicted, the awards were made across a broader spectrum. The Oscars will be next! Confession time – I have thrown caution to the wind and added to my DVD collection this week. All happen to be westerns – two rare John Ford silent films (Straight Shooting, his first feature from 1917, and Hell Bent from 1918); three 1940s B-westerns with James Warren ( who had a very short career!) and The Hangman (1959); the latter is one of only two Robert Taylor westerns I have not seen and I decided it was time!
HOUSE OF BAMBOO (1955) Saturday 17 April 3.55-6.00pm Talking Pictures (Channel 81)
And here we are again with another cult director! Samuel Fuller’s forte was gritty, b/w war films (he had received the Bronze Star, Silver Star and a Purple Heart during the Second World War); however, House of Bamboo sees him working in colour and CinemaScope (and note the clever use of the latter in the robbery sequence). Robert Stack is in Tokyo looking for the men who robbed a munitions train; Robert Ryan and Cameron Mitchell are also on top form.
HEAVEN CAN WAIT (1943) Saturday 17 April 6.45-9.00pm TP (Channel 81)
In contrast, Ernst Lubitsch was an A-list director, famed for his delicate ‘golden touch’ and who, for about a dozen years, could do little wrong. This was his last great film from those years – a witty satire with playboy Don Ameche negotiating with the Devil (Laird Cregar) prior to his entry into Hades. It was one of only two films that Lubitsch shot in colour and it looks superb.
FIRST MAN (2018) Saturday 17 April 9.00-11.45pm Channel 4 P
Damien Chazelle followed his successes Whiplash and La La Land with a different kind of project – a serious nuts-and-bolts look at the first Moon landing. Ryan Gosling is excellent as Neil Armstrong and The Crown’s Claire Foy received a lot of plaudits for her performance as his wife Janet.
WESTWORLD (1973) Sunday 18 April 12.01-1.25am BBC 1
If you enjoyed the updated series on satellite TV, you might like to take in the original. It is very good – Yul Brynner is perfect casting as the robot gunslinger whose safety protocols malfunction, leading to a worrying time for those indulging in their fantasies.
AGAINST THE WIND (1947) Sunday 18 April 7.00-9.00pm TP (Channel 81)
Ealing made the occasional decent drama to complement its famous comedies, but they couldn’t quite get them to the same level. This tale of Allied saboteurs on a mission in Belgium has the required authentic atmosphere and the cast (Robert Beatty, Simone Signoret and Jack Warner) to make it work and worth your time; it just doesn’t outshine more recent treatments for the cinema and for television.
THE BLACK SHIELD OF FALWORTH (1954) Monday 19 April 11.00am-1.05pm Film Four
This is a jolly romp, set in medieval England, in which Tony Curtis is training to be a knight in (plastic) armour and his then wife Janet Leigh starts – reluctantly - to admire him from afar. Our hero’s delivery of the line “yonder lies the castle of my fodda” has kept wags in employment down the years, but is it really any sillier than Russell Crowe’s accent in the mega-budget – and ‘seriously authentic’ – Robin Hood?
HEAVEN CAN WAIT (1943) Monday 19 April 3.00-5.25pm TP (Channel 81)
If you did not have time to watch it on Saturday, here is another opportunity.
GRAN TORINO (2008) Monday 19 April 9.00-11.25pm Channel 25
Clint Eastwood directs and also dons his acting shoes again as Walt Kowalski, a curmudgeonly, ‘white and proud’ ex-soldier and retired auto worker who befriends an Asian refugee. Clint just about keeps the right side of the line in making Walt a sympathetic character and his views understandable but not acceptable.
WHO KILLED THE CAT? (1966) Tuesday 20 April 2.10-3.55pm TP (Channel 81)
I am surprised that this extremely modest ‘whodunnit’ from B-director Montgomery Tully is still around! My personal archive lists it as no. 174 which means I saw it probably in early 1976. Three elderly ladies are under threat because they stand in the way of the inheritance of a boarding house. Interestingly, Who Killed Teddy Bear (1965) occupies slot no. 184; this is American and so the sleaze quotient is higher. There must have been something about late-night programming back then!
LORD JIM (1965) Tuesday 20 April 4.10-7.15pm Channel 41
In 1965, Peter O’Toole was a big star and this adaptation of Joseph Conrad’s novel was a major release. He plays a sailor accused of cowardice who, as a consequence, wanders through South East Asia looking for a way in which to redeem himself. The film may be 20 minutes too long, but the photography and supporting cast (including James Mason, Curt Jurgens and Eli Wallach) are outstanding.
IN THE LINE OF FIRE (1993) Wednesday 21 April 9.00-11.40pm Channel 33
Clint Eastwood forsook the director’s chores, on this occasion, and Wolfgang Petersen did a great job – it is one of Eastwood’s best star vehicles. He plays a Secret Service agent still troubled by his inability to save JFK, who finds that history might be about to repeat itself. John Malkovich is superb as the would-be assassin and Ennio Morricone contributes an effective score.
THE PRIDE AND THE PASSION (1957) Thursday 22 April 4.20-7.05pm Channel 41
This historical epic has not been on a Freeview channel for several years. Based on CS Forester’s The Gun, it is the story of an English officer (Cary Grant) moving an enormous cannon to attack a French fortress during the Peninsular War. Frank Sinatra and Sophia Loren also star. On balance, most students of film would say that Stanley Kramer was a better producer than director – and yet, his best ones (as a director) made bold social statements and made for superior entertainment.
THE MAN WITH THE IRON HEART (2017) Thursday 22 April 10.00-11.55pm BBC 4
Whereas Operation Daybreak (1975) centred on the Czech resistance’s assassination of Nazi ‘golden boy’ Reinhard Heydrich, tonight’s drama employs a dual focus and begins with the domestic life of perhaps the most notorious of Hitler’s henchmen. These scenes are very effective. Apparently, the original title (and the one used in some European countries) was HHhH - an acronym for Himmlers Hirn heißt Heydrich ("Himmler's brain is called Heydrich").
YOUNG AND INNOCENT (1937) Friday 23 April 1.20-3.00pm Talking Pictures (Channel 81)
Whilst it is not quite in the same class as the Fritz Lang masterpiece You Only Live Once (also a 1937 release), with which it shares some themes, this is still classic Hitchcock, albeit one of his lesser ones. Derrick de Marney is accused of murder and is on the run; the delightful Nova Pilbeam believes he is innocent and helps him. It contains one of Hitchcock’s most celebrated technical achievements: a crane/dolly shot that ends in a close-up of the murderer’s eye.
NOTE: the director’s Notorious follows immediately (and contains a reworking of the technical shot described above).
PHILOMENA (2013) Friday 23 April 11.35pm-1.10am BBC 1
Philomena was hugely popular in Lyme and deservedly so. Judi Dench is, of course, excellent as the elderly Irish woman searching for the child who was taken from her many years before. Steve Coogan is also very good as the journalist who helps her in her quest and it came as no surprise that he was so brilliant in Stan & Ollie.
RANDOM WORDS AND RANDOM MEMORIES
SOME RANDOM HOBOES
I had forgotten that the on-screen foreword to Emperor of the North included a dedication to the hoboes who were crisscrossing the United States during the Great Depression. Earlier the same evening (11 April), Nomadland was winning three major awards at the Baftas. It brought to mind some other notable films that deal with the same themes.
The pre-Covid season at the Marine included Sullivan’s Travels (1941), a brilliant and ageless satire from Preston Sturges. Joel McCrea plays a film director who, with 10 cents in his pocket, sets out to experience the “real world” that is out there, beyond the confines of Hollywood. David Carradine delivered his best performance in Bound for Glory (1976), the biopic of dustbowl balladeer Woody Guthrie. Songs such as Hard Travelin’ and I Ain’t Got No Home became (pun not intended) a moving chronicle of those times. The marvellous Beggars of Life (1928), which I saw at the Bridport Palace – with live music – in September 2018, was one of the last great silent movies. Louise Brooks is on the run and dressed as a boy and Wallace Beery plays Oklahoma Red, the tough hobo with a streak of kindness.
This does not mean to say, of course, that all the stories were in deadly earnest, as they could just as easily lend themselves to comedy. At the beginning of the short Night Owls (1930), Stan and Ollie are sleeping on a park bench and in One Good Turn (1931) they are desperate enough to ask widow Mary Carr for a handout. (Ollie: “I wonder if we could trouble you for a slice of buttered toast?” Stan: “And while you’re at it, could you slap a piece of ham on it?”) The French classic Boudu, Saved From Drowning (1932) is still very funny and better than the American remake Down and Out in Beverly Hills (1986), although Nick Nolte, Richard Dreyfuss and Bette Midler are certainly game enough. We could, of course, write a book on ‘the tramp on film’ – and, specifically with reference to Charlie Chaplin, that has been done many times. I am sure it would strike you as ridiculous to suggest that Chaplin is undervalued (after all, his image is the most famous, and recognised, in the history of cinema), but the pendulum swung some time ago towards the technical virtuosity of Buster Keaton and Harold Lloyd and even, for a brief dalliance, Harry Langdon. Charlie, though, was equally adept at humour and pathos – consider, for a moment, the opening to City Lights and the ending. I have watched a lot of films over the years and I would be hard pressed to name another scene from anywhere that captures pure emotion so perfectly, as that final sequence.
As for the hobo on television . . . I must end by reminding you all of The Littlest Hobo. It was a Canadian TV series that ran for 48 episodes between 1963 and 1965 and the central character was a German shepherd dog. The actor/dog was called London and it was a shame they did not do canine Oscars. There had been a low-budget film in 1958 and the TV series was revived during the 1980s. London starred in them all, so I think it is fair to say there must have been some sons or grandsons in there somewhere!
The award season proper is almost upon us with the Baftas this weekend and the Oscars to follow. It will be interesting to see if they embrace diversity – the early signs are encouraging, as Noel Clarke is to be presented with an “outstanding contribution” award on Saturday evening. This week also sees the release (in the US) of a new film Virus Shark. Yes, you guessed it – a deadly virus is transmitted by the bite of a shark! It is highly unlikely that LRFS will book it for a future season.
THE BLUE LAMP (1950) Saturday 10 April 1.50-3.35pm Talking Pictures (Channel 81)
This rather good British crime thriller was notable for two things (three if you include its gritty realism for the street scenes): for providing a breakthrough role for Dirk Bogarde as the young killer and for introducing us to PC George Dixon (Jack Warner) star of the later BBC TV series. And – a modest bonus – we have a brief appearance from “Two Ton” Tessie O’Shea.
THE HOUSE ON TELEGRAPH HILL (1951) Saturday 10 April 6.35-8.30pm TP (Channel 81)
Robert Wise seems to direct every other film at the moment! The twist on the usual shadowy film noir is that the central (female) character is a refugee who has entered the US on stolen papers. Richard Baseheart is suitably ambiguous as the guardian; I saw it in a late-night slot a few years ago and was pleased to have added it to my list.
NOTE. Immediately following (8.30-9.00pm) is a Scales of Justice featurette called Payment in Kind (1967), which was co-written and directed by Peter Duffell.
THE MAGNIFICENT SEVEN RIDE! (1972) Sunday 11 April 6.50-9.00pm Channel 25
Such was the success of the 1960 classic that three sequels followed; this was the last – and best – of them. Lee Van Cleef is very good as Chris (the leader), the set-piece climax is quite imaginative and those he recruits contain some interesting names building their careers (Luke Askew, Ralph Waite and James Sikking).
EMPEROR OF THE NORTH (1973) Sunday 11 April 10.00pm-12.30am TP (Channel 81)
Not many directors of the period were as effective as Robert Aldrich in combining hard-edged action with meaningful characters (excluding his The Grissom Gang, one of the few films from any source that I actively dislike). This is mostly a two-hander in which Lee Marvin is a hobo riding trains during the Depression and Ernest Borgnine is the conductor with an impeccable record of stopping them. And Mr Borgnine had few equals in doing ‘nasty’ with such gusto! Writer Christopher Knopf has an interesting CV – not prolific, and mostly in television, but series like The Restless Gun and Cimarron Strip rather than Gunsmoke or Bonanza. If the opportunity ever presents itself, you might also check out his TVM A Cold Night’s Death.
RIDE IN THE WHIRLWIND (1965) Monday 12 April 12.30-2.15pm Channel 32
On occasion, I have highlighted cult directors and, between 1965 and 1975, Monte Hellman is probably the one who attracted most critical attention, largely on the strength of Two-Lane Blacktop (1971). Earlier, he had shot two westerns back-to-back (The Shooting was the other); both starred Jack Nicholson (here opposite Cameron Mitchell) and some critics refused to separate the two when submitting them in ‘Top Ten’ lists. This is the more straightforward one (three cowboys are mistaken for outlaws); its interest lies in how Hellman uses his material.
MASTER AND COMMANDER: THE FAR SIDE OF THE WORLD (2003) 12 April 9.00-11.45pm Film Four
This was a very solid seafaring saga: a good director (Peter Weir), a cast headed by Russell Crowe, fine art direction and Patrick O’Brian’s Napoleonic novels as source material. It looked impressive on the Regent’s big screen, so it was a surprise that more did not follow – perhaps it just did not have the daftness of the Caribbean franchise.
BEHEMOUTH, THE SEA MONSTER (1959) Tuesday 13 April 8.00-9.30am TP (Channel 81)
Eugène Lourié was an excellent art director (he worked with Jean Renoir and Chaplin amongst others) who also had an interest in special effects. Occasionally, he turned to directing creature features – in this instance, teaming up with Willis O’Brien (King Kong) and co-director Douglas Hickox. It is decent, low-budget fun and its message about radioactive waste still resonates.
THE HOUSE ON 92ND STREET (1945) Tuesday 13 April 4.00-6.00pm TP (Channel 81)
This was one of the key American films of the 1940s, in that it ushered in a new era of documentary-style realism that, by 1950, even MGM had started to use. The story of a Nazi spy ring in New York is still robust, first-rate drama; it dispenses with major stars and actors Lloyd Nolan and Signe Hasso seize their moment.
THE HEIST (2009) Wednesday 14 April 7.05-9.00pm Channel 33
Today is the quietest day for a while, so we are reduced to one film – and the plot (the theft of some art paintings) is very familiar. However, the security guards/thieves are played by three very distinguished actors (Morgan Freeman, Christopher Walken and William H. Macy) and the lightness of touch that is brought to the enterprise is pleasing.
CAPTAIN BOYCOTT (1947) Thursday 15 April 10.30am-12.30pm Talking Pictures (Channel 81)
The historical events that explain how the word boycott came into general use are interesting, although the film is let down by an uneven tone. The strong cast is a very welcome one: Cecil Parker in the title role, Stewart Granger, Alastair Sim and Robert Donat in a cameo as Charles Stuart Parnell.
TOPKAPI (1964) Thursday 15 April 9.00-10.55pm BBC 4
Peter Ustinov would have been 100 years-old tomorrow and the BBC marks the occasion by showing Topkapi, the film that earned him an Oscar for Best Supporting Actor. It is a very good heist drama (another one, sorry); director Jules Dassin had earlier helped star Melina Mercouri win Best Actress for Never on Sunday at Cannes in 1960. They married in 1966 and were together until her death in 1994.
REBECCA (1940) Friday 16 April 2.25-5.00pm Talking Pictures (Channel 81)
Hitchcock never won an Oscar for best director, but Rebecca, his first film in Hollywood, did win Best Picture. Laurence Olivier and Joan Fontaine make an immaculate Maxim and Mrs de Winter and Judith Anderson was never better than here, as Mrs Danvers. It is a timeless classic, of course, and had a score of 81% in our second season (1989-1990).
THE INNOCENTS (1961) Friday 16 April 9.00-11.00pm Talking Pictures (Channel 81)
The Innocents is also a great film. Whilst it has always had strong approval from some critics, it has never received quite the same approbation as, say, The Third Man or Saturday Night and Sunday Morning – yet it deserves to. There are many things to admire – performances, the aura that seems to emanate from what unfolds on screen and the evocative cinematography of Freddie Francis – but the most remarkable thing, perhaps, is that it is still unsettling and scary after 60 years.
RANDOM WORDS AND RANDOM MEMORIES
SOME BOOKS AT RANDOM
I am sure that you will not be surprised to discover that I have amassed a considerable number of books on cinema (and related topics) over the years.
The earliest ones I can remember acquiring would be three editions (1955, 1956 and 1959) of F. Maurice Speed’s Western Film Annual. A cousin gave these to me, when I was a child, and so began a lifelong interest in the genre. (And, yes, I still have them somewhere.) The first two specialist books I recall ordering, with my precious pocket money, would be A Pictorial History of Westerns (1972, Michael Parkinson and Clyde Jeavons) and The Films of John Wayne (1973 edition, Mark Ricci, Boris and Steve Zmijewsky). Then it was on to reference books (Leslie Halliwell’s set the standard to beat, of course), biographies from Julie Andrews to Lana Turner and Fred Zinnemann, and whatever else took my fancy.
In 2021, when there are several databases the click of a mouse away, are books still a useful tool? I believe so, and here are some I use regularly plus a few favourites . . .
It was a sad day when, about five years ago, it was announced that the internet had effectively put printed film guides out of business. The best two are the Radio Times Guide to Films and Leonard Maltin’s Movie Guide and I still use them every week. Michael J. Weldon’s Psychotronic Video Guide is brilliant for ‘bad’ and obscure titles. Ephraim Katz’s The Film Encyclopedia covers a lot of ground and I have always valued David Quinlan’s books on actors and directors. The best two reference guides on the western, I find, are Phil Hardy’s mighty tome in The Aurum Film Encyclopedia series and Edward Buscombe’s BFI Companion to the Western. The latter also has valuable entries on the historical west.
Halliwell’s Teleguide is still useful and The ITV Encyclopedia of Adventure is very thorough, as is a later ITV publication on TV science-fiction. Richard West’s Television Westerns 1946-1978 was, for me, an exciting (and expensive) import. It is good, but a tad disappointing in that most of the entries are relatively superficial.
The passing of the actor Henry Darrow in March had me flicking through Lightning in a Bottle once again and Maureen O’Hara’s ‘Tis Herself is an entertaining read. I am also the proud owner of a signed copy of Peter Duffell’s memoirs Playing Piano in a Brothel.
A FEW FAVOURITES
The Hammer Vault is not only informative, it has some superb stills and Patricia Warren’s British Film Studios is a very through A to Z. Forgotten Horrors (with an introduction by Mel Brooks) is a splendid book on the B-films of the 1930s (mostly) that were churned out by minor American studios such as Tiffany and Chesterfield. I must own up to a fondness for topics that are a little different. Usually, the author is very knowledgeable and clearly loves his subject. Two particular favourites are Bart Plantenga’s book Yodel-Ay-Ee-Oooo and Simon Sheridan’s Keeping the British End Up. The latter author has a very witty style and it is a treasure trove of information on the ‘naughty’ British films that were so prevalent in the 1960s and 1970s.
Finally, and coming full circle, my absolute favourite of the last couple of years was an unexpected gift from friends – Kathryn Kalinak’s book How the West Was Sung. Subtitled Music in the Westerns of John Ford, it examines his work from that perspective – a brilliant idea and quite an eye-opener.
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