Category Archives: 1968

1933, 1935, 1937, 1938, 1940, 1942, 1948, 1949, 1951, 1955, 1957, 1967, 1968, 1975, Forgotten Films, Success

Top 15 Katharine Hepburn Movies

December 16, 2016 Donovan Montierth Leave a comment

Finding just 15 movies to highlight from someone with a career like Katharine Hepburns is just literally insane…as she has well over 15 movies worth highlighting. She’s amazing, and quite possibly my favorite actress. So I’ve narrowed the list down the only which way I could…I simply list my favorites. All of her films are worth watching, but if you’ve never seen any of them yet, here’s a good start:

15 – Summertime (1955)

David Lean is famous for his grand epics, but it’s fun to highlight an intimate film like this for both Katharine Hepburn and David Lean. Katharine Hepburn was more than impressed with her experience working with David Lean. She even asked to sit in on the editing sessions with him to watch him at work. In her autobiography, she wrote, “[Summertime] was told with great simplicity in the streets, in the Piazza San Marco. We would shoot in tiny streets only a few feet wide. The sun would come and go in a matter of minutes. It was a very emotional part, and I tell you I had to be on my toes to give David enough of what he wanted practically on call. But it was thrilling… He seemed to me to simply absorb Venice. It was his. He had a real photographic gift. He thought in a descriptive way. His shots tell the story. He was capable of a sort of super concentration. It made a very deep and definite impression on me, and he was one of the most interesting directors I ever worked with. Wasn’t I lucky to work with him?”

This material is well within Hepburn’s wheelhouse but is very different for Lean. What I find to be of great interest with the material is that Hepburn had a great eye for stage plays and especially ones that would make fine transitions over to the big screen. Many of her success came from turning great plays into marvelous movies. The writer is Arthur Laurents who wrote the plays Home of the Brave, Gypsy and West Side Story.

14 – Stage Door (1937)

Another play (you’ll find that most of this list started out as plays), but this one is even more interesting, as it’s about the behind-the-scenes drama of actresses trying to make it big on Broadway. Originally, the writer of the stage play, George S. Kaufman, upset and bemused by the way the screenwriters had substantially changed the play, suggested that the title also be changed, to “Screen Door”. The screenplay was considerably altered from the hit stage play. Director Gregory La Cava was particularly gifted working with actresses. For two weeks prior to filming, he had his cast improvise in the boarding house set as if they were actually rooming together, and had a script girl take down all their interchanges. Most of the dialog you hear in the boarding house is extemporaneous ad-libs by the actresses during rehearsals. Just as an example of how much the play had been rewritten, Adolphe Menjou’s character was not in the original stage play at all.

Katharine Hepburn was in discussions to star in the original Broadway stage production of “Stage Door”, but Broadway producer Leland Hayward, reportedly jealous of her deepening friendship with noted film director John Ford, cast his then-girlfriend Margaret Sullavan in the leading role. Hayward and Sullavan married one month after the stage play opened. Margaret Sullavan was considered for the film version but became pregnant with their first child, and the part went to Katharine Hepburn.

13 – Guess Who’s Coming To Dinner (1967)

Worth mentioning in this film is one of three of the finest speeches I’ve ever seen written for Spencer Tracy at the end of a film. The others being in State of the Union and Judgment at Nuremberg. Now particularly, in this film during this scene, Katharine Hepburn doesn’t have a single line and yet she speaks VOLUMES. The brilliant decision to have Tracy stand up and then move back to where Hepburn is sitting so that the camera has her in view as he gives the speech about their love, is simply a work of genius. I get choked up every time I see it, as the emotion erupting from both of them is palpable. It’s also important to note that this is their last film together and Tracy’s final film before he died. He would die a few weeks later, and I can’t help but think he was expressing how he really felt about her for all of us to see.

Hepburn would win one of her four Academy Awards from her performance in this movie and it’s not hard to see why, from a single scene where she doesn’t even speak. She’s that good. Ironically, Tracy and Hepburn would do a total of nine movies together but this film was the only one where they were both nominated for Academy Awards, but Tracy would lose out to Rod Steiger, for Heat of the Night, a film also starring Sydney Poitier. Both Tracy and Poitier had won Oscars previously, for other films.

12 – The African Queen (1951)

There are two movies on this list where Hepburn is stuck on a raft or a boat going downstream with a gruff character, this one with Humphrey Bogart and Rooster Cogburn with John Wayne. The movie was directed by Bogart favorite, Walter Huston. In both movies, she plays a christian, a missionary in one and the minister’s daughter in the other. She took her part quite seriously in African Queen, according to Katharine Hepburn’s autobiography, John Huston initially found her performance to be too serious-minded. One day, he visited her hut and suggested that she model her performance on Eleanor Roosevelt; putting on her “society smile” in the face of all adversity. After Huston left, Hepburn sat for a moment before deciding, “That is the best piece of direction I have ever heard.” Lauren Bacall famously ventured along for the filming in Africa to be with husband Humphrey Bogart. She played den mother during the trip, making camp and cooking. This also marked the beginning of her life-long friendship with Katharine Hepburn.

11 – State of the Union (1948)

What I love about Katharine Hepburn’s performances most is that she plays some incredibly strong women characters but in vulnerable ways. She lets little cracks come through, we see her characters doubt at times, even as she tries to keep her chin up and fight through. This one is directed by my favorite director, Frank Capra. This was a political film, and pride runs strong with Capra and most of it’s cast, but the country was going through some turmoil over what would be known as the Hollywood Blacklist. There was tension on the set between the strongly conservative Adolphe Menjou and liberal thinking Katharine Hepburn, who had recently made a public speech against America’s anticommunist hysteria and was facing a backlash as a result. Adolphe Menjou was a hard-line political conservative who had willingly co-operated with the House Un-American Activities Committee (HUAC) and named names. Katharine Hepburn was decidedly more liberal and had been an outspoken critic of the blacklist. When Hepburn learned Menjou had worked with HUAC, she refused to speak to or have anything to do with him unless they were filming a scene. Once the cameras were off, she kept her distance. They had previously worked together in two other films (Stage Door and Morning Glory) and had no problems those times. Perhaps the familiarity between the two had caused some deep disappointment in each other’s hard stand.

10 – Holiday (1938)

This is the first of three films on this list with her other frequent collaborator, Cary Grant. They are magic together. I love all the movies she does with Tracy, they seem like the perfect pair, but quite possibly what I love about Hepburn matched up with Grant is that they seemed like the perfect foes. They’re completely at odds with each other but Grant is not quite her equal, she’s a queen he keeps trying to knock off of her pedestal, whereas with Tracy they seem to be equals. This one was written by one of Katharine Hepburn’s favorite writers, Donald Ogden Stewart, who also wrote her other films, The Philadelphia Story, Keeper of the Flame, and uncredited work on Summertime. He was uncredited in many of his later screenplays as he was one of the writers that were eventually blacklisted by the (HUAC) House Un-American Activities Committee.

9 – Rooster Cogburn (1975)

This is the latest movie on the list, and even though I liked her work in On Golden Pond in 1981, it didn’t quite make the list. This one was a follow-up to John Wayne’s Academy Award winning turn as Rooster Cogburn in True Grit. She enjoyed working with the Duke very much because they were both spitfires! Katharine Hepburn was bemused by co-star John Wayne’s tendency to argue with everybody, especially the director, during filming. At the party to celebrate the last day of filming she told him, “I’m glad I didn’t know you when you had two lungs, you must have been a real bastard. Losing a hip has mellowed me, but you!” The film received terrible reviews on release. Many critics felt that it was too obviously derived from The African Queen, and that both John Wayne and Katharine Hepburn were too old for their parts, but I really love seeing these two veteran actors going head-to-head. John Wayne and Katharine Hepburn were born a mere two weeks apart (Wayne being the eldest), and their careers paralleled each other, yet this film marked the only time the Hollywood veterans appeared together onscreen.

8 – Bringing Up Baby (1938)

Holiday, Bringing Up Baby and The Philadelphia Story all make my list as well for the Top 15 Cary Grant Movies, you can see the blog post here to see where they wind up on that list. I also talk about this movie in a blog post about What’s Up, Doc?, you can read that one here if you’re interested. Katharine Hepburn and Cary Grant frequently socialized off the set, double-dating with their respective steadies at the time, Howard Hughes and Phyllis Brooks. They loved working on the film so much that they frequently arrived early. Since Howard Hawks was usually late, they spent their time working out new bits of comic business. Hawks and Hepburn started out a little rough at the beginning of shooting. After the bad start, Hawks grew to respect Hepburn tremendously for her comic timing, ad-libbing skills and physical control. He would tell the press, “She has an amazing body – like a boxer. It’s hard for her to make a wrong turn. She’s always in perfect balance. She has that beautiful coordination that allows you to stop and make a turn and never fall off balance. This gives her an amazing sense of timing. I’ve never seen a girl that had that odd rhythm and control.” I talk a little more about this film in a blog post about the Top 15 Films Directed By Howard Hawks.

7 – Desk Set (1957)

This one was written by Phoebe Ephron and Henry Ephron, the mother and father of Nora Ephron! Great writing runs in the family! I love this movie as an older couple meet and fall in love. It’s also got some very interesting research details and a fun computer bit. The computer dates the film however because it’s so big and blinky.

6 – Alice Adams (1935)

George Stevens directed Hepburn in Alice Adams and Woman of the Year. Both films make my list but her character is so starkly different! The first one is about a young woman trying to break through certain social circles, very unsure of herself and naive and the second is a very strong reporter trying to make it in a man’s world, very secure and confident. She enjoyed working with him but he really pushed her to be a better version of herself. She was having problems with her public persona, which was of a cold woman. She credits Stevens for her change in the public’s perception, by helping her, in “Alice Adams”, portray more warmth and vulnerability than she had ever shown previously. For example, there was a disagreement among Hepburn and Stevens about the post-party scene. The script called for Hepburn to fall onto the bed and break into sobs, but Stevens wanted her to walk to the window and cry, with the rain falling outside. Hepburn could not produce the tears required, so she asked Stevens if she could do the scene as scripted. Stevens yelled furiously at Hepburn, which did the trick and the scene was filmed Stevens’ way, and Hepburn’s tears are real. I think this scene is dead right the way Stevens has created and set the mood.

5 – Lion in Winter (1968)

Katharine thought very highly of Peter O’Toole. She thought he could do anything, strong but kind, funny but dramatic…she really admired him. Although Hepburn was a great admirer of his work, she had no intention of putting up with the rather bad habits he often exhibited on his productions. “You’re known to be late,” she told him on the first day of work. “I intend for you to be on time. I hear you stay out at night. You’d better be rested in the morning if you’re going to work with me!” O’Toole meekly obliged when she told him “Peter, stop towering over me. Come and sit down and try to look respectable.” O’Toole readily admitted in her presence that she reduced him “to a shadow of my former gay-dog self.” “She is terrifying. It is sheer masochism working with her. She has been sent by some dark fate to nag and torment me.” Her reply: “Don’t be so silly. We are going to get on very well. You are Irish and you make me laugh. In any case, I am on to you and you to me.” In spite of her stern warnings, she enjoyed O’Toole tremendously. She said his vigour and energy helped restore her own vitality at a time when she really needed it.

This film is also the first film for Timothy Dalton and Anthony Hopkins. Timothy Dalton was hugely impressed by Katharine Hepburn, particularly when she came in to shoot reverse shots with him on her day off from filming.

4 – Little Women (1933)

She got the coveted iconic role in this one and runs away with the film. It helped to cement a long relationship with director George Cukor, who would go on to direct her in Sylvia Scarlett, Holiday, The Philadelphia Story, Keeper of the Flame, Pat and Mike, and Adam’s Rib. Katharine Hepburn wrote in her autobiography, “This picture was heaven to do – George Cukor perfect. He really caught the atmosphere. It was to me my youth!” The third screen adaptation of the novel, following silent versions in 1917 and 1918. Little Women would be filmed a total of 8 times for film and several more times as TV shows and a couple mini-series!

3 – Woman of the Year (1942)

This is the first of nine films Hepburn and Tracy would do together. She was unaware of how they would do together onscreen for the first time and wondered if they had the right chemistry. The first scene shot was the characters’ first date, in a bar. Hepburn was so nervous she spilled her drink, but Tracy just handed her a handkerchief and kept going. Hepburn proceeded to clean up the spill as they played the scene. When the drink dripped through to the floor, she tried to throw Tracy off by going under the table, but he stayed in character, with the cameras rolling the entire time. After this she knew the two of them would be golden as they became so comfortable together, she knew it was magic. As Hepburn’s close friend and frequent director, George Cukor was a natural choice to direct, but for her first film with Tracy, Hepburn wanted Tracy to be as comfortable as possible, so as a quasi-producer, she hired George Stevens, who had directed her in Alice Adams. As Hepburn said, “I just thought he (Tracy) should have a big, manly man on his team – someone who could talk about baseball.” Cukor (who was openly gay and known for his friendships with actresses) would later become a good friend of Tracy and would direct both actors in 3 more movies.

2 – The Philadelphia Story (1940)

Grant trying to knock Queen Hepburn off her pedestal is never more evident than in this movie. He even calls her a Queen and mocks he high and mightiness, in a marvelous duel of words between exes that were never more in love than when they were fighting. To get back at him she falls off the pedestal for short time and lands in Jimmy Stewart’s arms. James Stewart never felt he deserved the Best Actor Oscar for his performance in this film, especially since he had initially felt miscast. He always maintained that Henry Fonda should have won instead for The Grapes of Wrath (1940), and that the award was probably “deferred payment for my work on Mr. Smith Goes to Washington (1939)”, but I thought he was great in this one as well.

1 – Adam’s Rib (1949)

I wrote about how gracious Hepburn was with co-star Judy Holliday in this film, in a blog post you can read here. What I didn’t talk about in that post was how great she is in the movie, on her own right. Written by husband and wife Ruth Gordon and Garson Kanin, they would become lifelong friends of Hepburn and Tracy and Kanin would also go on to write an intimate biography on Hepburn and Tracy.

Interesting bit of trivia, in the memorable Tracy-Hepburn massage scene, a radio plays Frank Sinatra singing Cole Porter’s “Farewell, Amanda,” a gift to Amanda Bonner (played by Hepburn) from her songwriter-neighbor, Kip Lurie (played by David Wayne) who, earlier in the picture, had crooned the ditty, accompanying himself on the Bonners’ piano. While Adam Bonner (played by Tracy) is massaging his wife, he abruptly shuts off the radio. Sinatra is again heard when a record is accidentally started in a later scene. This prerecording of “Farewell, Amanda” is lost.

1960, 1961, 1962, 1963, 1964, 1965, 1966, 1967, 1968, 1969, Forgotten Films

Top 15 Heist Movies of the 60’s

July 8, 2016 Donovan Montierth Leave a comment

The 1960’s seemed to break out with a whole bunch of fantastic Heist Films. Several of them from this decade have been remade into some great films in their own right. It’s always fun to watch a bunch of crooks fail or succeed at these heists and so I guess that’s why they keep making these kinds of films. I’m very thankful that they do. Here’s my favorite top 15 heist films of the 1960’s:

15. Kaleidoscope (1966)

Warren Beatty breaks into the Kaleidoscope company’s manufacturing plant to mark all of their cards set to be delivered to a whole bunch of casinos. This puts card-cheating on a whole new level. The film was released 1 year before Bonnie and Clyde (1967), which made him an International star. Technically, that film could be considered a “heist” film as well, but to me it doesn’t have the traditional sneak factor. If you go in and rob a place with a gun, it is a heist, but the good heist type films all have a con going on or intricate plot of people sneaking around. I also love it when my heist films have a bit of romance going on. This one is a bit of a romantic comedy and I definitely think it benefits from it. Jack Smight directed this. He directed a lot of tight thrillers in his time.

14. Fitzwilly (1967)

Faithful butler, Dick Van Dyke, leads an elaborate criminal enterprise to keep their beloved Miss Vicki from realizing that she is flat broke! It’s the first half of the storyline that appears later in Disney’s Candleshoe (1977)(only that one has a treasure hunt to boot!). This one has a little romance as well when Barbara Feldon is hired to help Miss Vicki write a dictionary. She slowly learns what Dick Van Dyke and crew is up to and threatens to break the whole thing apart until she falls in love with him. Delbert Mann directed this and a lot of great romantic comedies besides this one.

13. Seven Thieves (1960)

Henry Hathaway directed this great cast of Edward G. Robinson, Rod Steiger, Joan Collins, Sebastian Cabot and Eli Wallach about a planned heist on a Monte Carlo Casino. A truly classic film director, he would direct some of the finest films over a 30 year period. The most frequent actor that appears on this list, just happens to be Edward G. Robinson. This just happens to be the first of three. He is viewed as the ultimate mastermind behind these heists, so I wonder if that ever hurt his feelings that people saw him as the best crime plotter.

12. Grand Slam (1967)

Edward G. Robinson leads the heist on his second entry as well and recruits a group of men this time to break into a diamond company to steal 10 million dollars in diamonds! Directed by Italian director Giuliano Montaldo and starring Janet Leigh as the only woman in a cast full of guys…oh, wait, I see a pattern here. This is the decade where heist films got their formula and it’s a formula that is used even today when you look at the heist films of the last 10 years.

11. Topkapi (1964)

Now the grand-daddy of all heists is said to have been a very low budget french film named…Rififi (1955), directed by Jules Dassin. That movie put him on the map and gave us the decade that followed, full of heist films. He also films another heist with this entry, Topkapi, about a conman, who gets mixed up with a group of thieves who plan to rob an Istanbul museum to retrieve a jeweled dagger. Cited by Mission: Impossible (1966) TV series creator Bruce Geller as the inspiration for his own series. It’s also one of director Christopher Nolan’s favorite movies, who would go on to direct an ultimate heist movie of his own, Inception (2010). It’s also interesting to note, Jules Dassin originally planned to cast Peter Sellers as Arthur Simpson, but Sellers later dropped out, to be replaced by Peter Ustinov, whom Sellers had, in turn, replaced in The Pink Panther(1963) as Inspector Clouseau.

10. Ocean’s Eleven (1960)

I actually liked the remake, Ocean’s Eleven (2001) with George Clooney, Brad Pitt, Matt Damon and Julia Roberts a little bit more than this original, but it’s good too. Directed by Lewis Milestone and starring Frank Sinatra, Dean Martin, Sammy Davis Jr. and Angie Dickinson, it’s about Danny Ocean, who gathers a group of his World War II compatriots to pull off the ultimate Las Vegas heist. Together the eleven friends plan to rob five Las Vegas casinos in one night.

9. Thomas Crown Affair (1968)

Another one where I liked the Thomas Crown Affair (1999) remake better than the original. Pierce Brosnan and Rene Russo and that fantastic elaborate heist sequence at the end is just awesome. I still like the original which is about a debonair, adventuresome bank executive who believes he has pulled off the perfect multi-million dollar heist, only to match wits with a sexy insurance investigator who will do anything to get her man. Steve McQueen and Faye Dunaway act in this Norman Jewison film. An added bonus is that Faye Dunaway appears in both films. One of the coolest aspects of the film is its split screen opening sequence. While some claim that this is an example of style over content, the real reason the split screen was adopted was because editor Hal Ashby was tasked with reducing the running time of the opening.

8. Italian Job (1969)

Now this one I liked the original better than the Italian Job (2003), but I liked that one a lot too. It had a better cast with Donald Sutherland, Mark Wahlberg, Edward Norton, Charlize Theron, and Jason Statham. The original had Michael Caine, Noel Coward and Benny Hill! This is a Comic caper movie about a plan to steal a gold shipment from the streets of Turin by creating a traffic jam. Directed by Peter Collinson. According to Michael Caine, the film did not perform well at the US box-office due to a misleading advertising campaign. The US poster featured a scantily clad woman with a map on her back kneeling in front of a Mafioso holding a machine gun. While promoting the film in the US, Caine saw the poster and became so upset that he immediately flew home to England. In a 2003 UK movie survey, Charlie Croker’s (Michael Caine) line, “You’re only supposed to blow the bloody doors off!” was voted the most memorable line in any film.

7. Goldfinger (1964)

Yes, I would consider this a heist movie as spies all sneak around and break into places all the time and also the main bad guy, Goldfinger himself is scheming to break into Fort Knox…the ultimate heist. Directed by James Bond favorite, Guy Hamilton and starring Sean Connery, it’s a great entry for the series. Steven Spielberg cites this as his personal favorite of all the Bond movies and even owns an Aston Martin DB5 due to the impact Goldfinger had on him. Due to the popularity and success of this movie and its spy car the Aston Martin DB5, the vehicle gained the nickname, “The Most Famous Car in the World”. Sales of the Aston Martin DB5 increased by fifty per cent after the release of the movie. The Bond movie The Spy Who Loved Me (1977) featured the Lotus Esprit and sales would also increase for that car after the movie premiered.

6. Never a Dull Moment (1968)

Edward G. Robinson leads another heist! This time in this fantastic comedy starring one of my favorite actors…Dick Van Dyke. It’s directed by Dick’s next door neighbor on The Dick Van Dyke Show, Jerry Paris! My brother and I LOVE this movie. When practicing for a role, actor Jack is mistaken for the killer Ace. He doesn’t realize this until it’s too late and is carried off to gangster boss Leo Smooth, who wants Ace to do a job for him. Fearing for his life, Jack plays his role, but always searching for a way out of the well-guarded house. This one has a lot of great character actors along for the ride like Henry Silva, Jack Elam and Slim Pickens.

5. Gambit (1966)

This one also had a recent remake done, but let’s just keep to the good stuff, why don’t we. Michael Caine and Shirley MacLaine and Herbert Lom…shine in this one. Directed by Ronald Neame, this one is about an English cat burglar, who needs a Eurasian dancer’s help to pull off the perfect heist, but even the most foolproof schemes have a way of backfiring. The first draft of the screenplay was written by Bryan Forbes in 1960, when the story was designed as a vehicle for Cary Grant. He eventually dropped out of the project, which subsequently underwent many changes. It was eventually decided to make the girl the central character and Shirley Maclaine was signed for the lead. After seeing The Ipcress File, she suggested Michael Caine as her leading man, which led to still more rewriting to accommodate his working-class cockney persona.

4. Sam Whiskey (1969)

Burt Reynolds, Ossie Davis, Clint Walker and Angie Dickinson are a lot of fun in this film. It’s a comedy directed by Arnold Lavin and is about Sam Whiskey, a civil war gambler, who is offered a job from the attractive widow Laura. She wants him to salvage gold bars, which Laura’s dead husband stole recently, from a sunken ship and secretly bring them back to the mint before they are missed. But how shall he manage to get several hundred pounds of gold into the mint without anyone noticing? Now, I should mention that Angie Dickinson flashes some naughty bits in the beginning of this movie, but if you can bypass that, it’s a very clean and entertaining film.

3. The War Wagon (1967)

John Wayne and Kirk Douglas in a movie together…I’m soooo there. The story of a man who was shot, robbed and imprisoned who returns to steal a large gold shipment from the man who wronged him. The gold is transported in an armored stage coach, the War Wagon. Who wouldn’t want to see this? Directed by Burt Kennedy, who would go on to direct James Garner in Support Your Local Sheriff and Support Your Local Gunfighter, which I also love!

John Wayne, who had lost his entire left lung and several ribs in major surgery for cancer in 1964, had great difficulty breathing on an airplane while flying to the location for the start of filming and had to use an oxygen mask throughout the journey. Kirk Douglas recalled that he hadn’t realized just how fragile Wayne was until this moment. Kirk Douglas and John Wayne had previously starred together in In Harm’s Way (1965) and Cast a Giant Shadow (1966). This film was their third and final teaming. John Wayne was not very fond of the finished film, although he said he felt that Kirk Douglas was very funny as Lomax.

2. How to Steal a Million (1966)

Peter O’Toole and Audrey Hepburn with a little Eli Wallach on the side please. Waa-laa…How to Steal a Million, directed by William Wyler is a romantic comedy about a woman who must steal a statue from a Paris museum to help conceal her father’s art forgeries, and the man who helps her. They are both delightful together but the real genius here is Wyler. Wyler has directed some of the biggest films with Ben Hur, The Best Years of Our Lives, Funny Girl, Roman Holiday, The Children’s Hour and The Desperate Hours. He’s top notch.

1. Pink Panther (1963)

Blake Edwards does it right with this first Pink Panther movie and set the tone for a slew of great films to come. Peter Sellers as Inspector Clouseau is just perfect in every way. Originally intended as a vehicle for David Niven as the cat burglar The Phantom, Peter Sellers quickly started to improv his way through all his scenes and stole the movie right out from under him. The biggest heist of them all, as Peter Sellers would go on to reprise his role 5 more times after this. The character of Sir Charles Lytton does return to the Pink Panther movies in the third film The Return of the Pink Panther (1975). Peter Sellers again portrays the bumbling Clouseau but Christopher Plummer plays the role of Sir Charles in that film. The precious Pink Panther jewel is once again the focus as in the beginning of the film it is stolen. This time from a museum.

I write about the Pink Panther series in another blog post, click here to find out more about it…

1917, 1964, 1968, 1971, 2000, Comedy, Forgotten Films, Stories From Hollywood

David Tomlinson, Go Fly a Kite

June 21, 2016 Donovan Montierth Leave a comment

Now here’s an actor, I never fully thought ever got his due. He was utterly brilliant in several films, mostly Bedknobs and Broomsticks, Mary Poppins and The Love Bug for Disney, but also a few others. He played the foil in so many of these films, and was so believable and real that he was never fully embraced for his contribution for the success of these films. For these films to be as successful as they were they had to have a bad guy that was convincing and despicable. He could come off as slimy and snooty and arrogant, and so much of it was so totally opposite of his true lovable persona off-screen.

Of the more than 50 motion pictures he appeared in during his career, however, his most popular role was as the rigid and positively clueless father George Banks in Mary Poppins. As Ed Weiner wrote in TV Guide, “Of all the movie moments we hold dear from childhood and revisit most often with our children on video, Tomlinson as a changed and suddenly life-loving George Banks happily singing ‘Let’s Go Fly a Kite’ is one of the sweetest.” Tomlinson also voices several of the animated characters that Bert and Mary Poppins encounter in the chalk drawing, including a penguin waiter and the jockey who allows Mary Poppins to pass on her carousel horse. He also voices the Parrot Umbrella Handle at the end of the movie. Robert Stevenson who directed Mary Poppins, liked working with Tomlinson so much that he cast him in two more of his movies; The Love Bug (1968) and Bedknobs and Broomsticks (1971).

Tomlinson was a generous and gregarious man by nature and had some famous life-long friends, like Peter Sellers. Peter Sellers and David performed in The Fiendish Plot of Dr. Fu Manchu and David brought out the best in Sellers. He said of him, “The only person I want to see is David,” Sellers remarked in hospital shortly before his death. This was the last film for both of them as David would retire and was only seen on the stage after that. Another friend, Griff Rhys Jones said of him, “His was an act, a good one, supplemented by an outrageous baby face and upswept eyebrows. The reality was a sympathetic and understanding man. He was as funny off as he was on, which was invariably very funny indeed.”

Craig Brown also tells a great story about Tomlinson, “Many years later, I became friends with David Tomlinson, the marvellous English character actor who played Mr Banks. We were once having lunch in a crowded restaurant with David, when our little son asked him if he would sing: Let’s Go Fly A Kite. Without hesitating, David, who was then in his late 70s, launched in to a hearty rendition at the very top of his voice. The restaurant came to a standstill. When he came to an end, everyone burst into applause.”

Read more about Mary Poppins from Craig Brown: http://www.dailymail.co.uk/debate/article-2111741/When-Mary-Poppins.html#ixzz4CE52227E

1967, 1968, 1969, 1970, 1971, 1972, 1975, 1976, 1977, 1978, 1981, 1983, 1984, 1992, Comedy, Forgotten Films, Stunts

Terence Hill and Bud Spencer

May 24, 2016 Donovan Montierth Leave a comment

A successful screen pairing usually last for 3 or 4 films. Some of the really great pairings did 15 or more films together, but most of these were comedy teams, not just actors who would come together every so often and do a film together. Actors who did this that come to mind is Jack Lemmon and Walter Matthau, who did 10 movies together and Amy Poehler and Tina Fey, who’ve done 4 movies together so far. It’s unheard of that Terence Hill and Bud Spencer performed in 18 films together over their lifetimes! My brother wrote a great post on comedy teams here.

They appeared together in a movie for the first time in 1967 for God Forgives…I Don’t. The movie has many of the elements that made them a popular pairing over the years, being a spaghetti western and having them “buddy” up, but it wasn’t until they were featured in a comedy that they really became popular worldwide. This is, however, identified as a trilogy, as Terence Hill and Bud Spencer play the same characters Cat Stevens and Hutch Bessy again in Ace High (1968) and Boot Hill (1969) all directed by Guiseppi Colizzi. He would direct them one more time for the 1972 film, All The Way Boys, but it is not a western, but it’s a comedy and is considered a “Trinity” film.

You may be wondering what that means…it’s important to note that after awhile all the films they did together would be classified under one word, “Trinity”, to denote that the actors appeared together in a film, but was not necessarily a western. It could have been modern day, or in the past, but was always action, and mostly comedy. It became almost a genre of it’s own, their genre. It refers to their most popular film which came out in 1970, They Call Me Trinity, and really had all of the elements in place by then…comedy, action, fighting, buddy-buddy, some kind of clever con…it was all there. Billed as E.B. Clucher, the movie was directed by Enzo Barboni who has helmed a number of Terence Hill and Bud Spencer comedy collaborations. They are: They Call Me Trinity (1970), Trinity Is STILL My Name! (1971), Go For It! (1983), Crime Busters (1977) and Double Trouble (1984).

They did the movie Blackie the Pirate (1971) the same year they made the sequel Trinity is Still My Name!. By then the Trinity movie was a huge hit and they went back into production on the new one. While on the set they improvised a bit and started to play with the set and made up a few scenes on the spot. This would be a technique that Jackie Chan would utilize in many of his movies from the 80’s and 90’s and Hill and Spencer would continue with in their future films. You can see all of these things and how their fight scenes and comedy are used in very similar ways. In 1974 they released, Watch Out, We’re Mad and The Two Missionaries. Their next film, Crimebusters (1976) was the first movie that my brother and I saw and we loved them instantly. We went home within a short time caught up on all their movies. Little did we know back then that we would eventually work with a star from that movie, David Huddleston in our first film, Reveille and later in our movie, Locker 13. David Huddleston would also star in Go For It (1983). In 2004, when we first worked with him, he told us he was still very good friends with Terence Hill and Bud Spencer.

About this time, Hill and Spencer teamed up with a director also famous for spaghetti westerns to make a few of the modern day – non-western Trinty films. The director was Sergio Corbucci and the films were Trinity: Gambling For High Stakes (Odds and Evens) (1978) and Who Finds a Friend, Finds a Treasure (1981). To make things a little confusing, Sergio’s brother, Bruno Corbucci, also made several movies with Hill and Spencer and directed his last one Miami Cops in 1985. To make the connection between Hill-Spencer and Jackie Chan and “brothers” even closer, the film they made in 1984 Double Trouble and the film Chan made in 1992, Twin Dragons are very similar. They both feature all 3 of the actors playing a set of twins that get mixed up with another twin. One set of twins in both films are even musicians. Now over the years, Bud Spencer and Terence Hill felt a lot like brothers. In their last film together, they played brothers again in Troublemakers (The Night Before Christmas) in 1984, directed by Terence Hill himself.

1963, 1964, 1968, Comedy, Forgotten Films

Pink Panther and Inspector Clouseau

May 19, 2016 Donovan Montierth Leave a comment

The Pink Panther (1963) in the title refers to a magnificent diamond that has a small flaw if looked at under a microscope. The flaw looks like a little pink panther, if looked at the proper way. The diamond is worth millions and is stolen by the “Phantom”, a famous jewel thief played by David Niven (Sir Charles Litton) and his nephew, Robert Wagner (George Litton). A bumbling French inspector is brought in as the resident expert on the “Phantom”, Inspector Jacques Clouseau, played by the AMAZING Peter Sellers. This is how it all began. In place was some of the elements that helped with the success of a brilliant film and cartoon series.

The producers for The Mirisch Company and director Blake Edwards decided early on to include an animated intro to the movie and hired a new animation production company formed the same year by Friz Freleng and David DePatie (DFE Films) to design the title sequence. They were so pleased by the design and presentation of the Pink Panther cartoon character that they ordered a cartoon series shortly after the film was released. Their first short, The Pink Phink, would win Freleng an Academy Award the very next year. The Pink Panther character was a huge success, completely separate from the movie series, which ended up being wrapped around the very popular Peter Sellers character Inspector Jacques Clouseau. Interestingly, originally the inspector was just a supporting character as the film was supposed to be a vehicle for David Niven, but slowly over the course of the film, due to the improvisational style of Blake Edwards the director and the brilliant comedy mind of Peter Sellers, the inspector character stole the show, literally, from right in front of Niven’s eyes. This is simply a case of synergy that Edwards tapped into and took complete advantage of during the course of production. Give him credit for recognizing genius when he sees it and the flexibility of changing all plans to maximize what was to become a monumental opportunity.

Blake Edwards and Peter Sellers enjoyed working together to develop Clouseau down to every move and nuance of voice and expression. “For years I’d been getting bits of what I wanted into films, as writer or director…but I had never had an area in which to exploit my ideas to the full,” Edwards said later. “Then along came Peter, a walking storehouse of madness, a ham with an almost surrealist approach to the insanity of things, and we found an immediate affinity.” This almost didn’t happen as Peter Ustinov was originally cast as the inspector but quit before shooting began when Ava Gardner dropped the picture. Sellers was hired to replace him. Peter Sellers and Blake Edwards agreed completely on the notion that comedy should be painful. Edwards had worked with director Leo McCarey early in his career, and he said McCarey had taught him an essential truth about comedy through his ability to extend tension in his comic scenes past the point at which audiences became uncomfortable. “He called it ‘breaking the pain barrier,'” Edwards recalled.

Now, seeing the excitement build during rushes (term referring to raw footage viewed during production) lead cast, crew and especially the producers to think they had something special, and they had. Another bit of luck would shortly follow. Peter Sellers was next cast as another bumbling detective in the movie adaptation of a popular stage play at the time that would have him paired him up with another detective played by Walter Mathau, who were brought in to solve the murder at a country estate. Peter Sellers was not thinking the script for the movie was going well and he and Walter Mirsch convinced Blake Edwards to take over the writing of the script and the directing of the movie. After reading the current draft, Edwards got the brilliant idea to transform the script into a vehicle for Inspector Jacques Clouseau and Mirsch and Sellers readily agreed and they went into production on a new Inspector Clouseau movie which was released as A Shot In The Dark only 4 months after The Pink Panther was released. This really helped to solidify the character and the series moving forward. This film features 3 more elements that would become signatures in the series, namely Sellers mumbling and twisting of the original French accent, the Inspector’s Asian man servant Kato/Cato (played by Burt Kwouk) that attacks him at every opportunity and the Inspector’s boss Commissioner Charles Dreyfuss that wants him dead, played by Herbert Lom. Oddly, enough the actor who originated in the stage play, Walter Mathau (who won a Tony in 1962 for the part), dropped out when the play was completely rewritten by Blake Edwards and a young William Peter Blatty (most famous for writing The Exorcist).

The next one to arrive was 4 years later and unfortunately both Edwards and Sellers were not available so the studio moved forward with Inspector Clouseau (1968) without them. In the role of Clouseau is Alan Arkin and it’s directed by Bud Yorkin. This entry is largely forgettable but from here on out, it’s notable that Inspector Clouseau’s customary hat and trench coat is introduced. All hands on deck were available for the next outing, The Return of the Pink Panther (1975) with Sir Charles Litton and his wife recast with Christopher Plummer and Catherine Schell. The success of this film enabled them to keep making the series. The Pink Panther Strikes Again (1976) was filmed shortly thereafter. Herbert Lom is marvelous in this one, although, to his credit, he’s quite good in all of them.

Revenge of the Pink Panther (1978) is my favorite as it was the first one my twin brother and I ever saw and was our introduction to this great series. I love Diane Cannon, so there’s another reason to like this entry. This one was the highest grossing of all the Pink Panther movies starring Peter Sellers, and arguably his last. I say arguably, because he’s listed in the credits for The Trail of the Pink Panther (1982) and The Curse of the Pink Panther (1983) although neither features “new” footage of Peter Sellers, only reused or footage deleted from the other films in the series. These films are just dreadful and not really worth mention, but the last one does feature a nice little cameo by then Bond star Roger Moore as Inspector Clouseau.

There have been two attempts to reboot the series. The first time in 1993 for The Son of the Pink Panther with Roberto Benigni as the som of Inspector Clouseau. This one bombed at the box office and seemed to be a good match for Roberto and his style of comedy, but he’s not well known enough to get the spark ignited. The more successful of the reboots was in 2006 with Steve Martin in the role of Inspector Clouseau, but strangely enough held very few of the elements that I thought made the original series so successful. Although, a lot of people thought the combination was worthy and so The Pink Panther was reborn and made over $150 million dollars at the box office and was soon followed by The Pink Panther 2 (2009).

1960, 1961, 1962, 1963, 1964, 1965, 1966, 1967, 1968, 1969, Stunts

Best Movie Stunts of the Year List 1960-1969

January 8, 2016 Donovan Montierth Leave a comment

Here is the list for the Best Movie Stunts for the Decade 1960-1969 as listed in the book, 100 Years of the Best Movie Stunts!

1960 – Spartacus

I would argue that this is the best Gladiator movie ever made. The stunt team on this film was the who’s who in the stunt world at that time including, Yakima, Tap and Joe Canutt, Harvey Parry, Tom Steele, Richard Farnsworth, Buddy Van Horn, Dale Van Sickel, Polly Bursen, Carey Loftkin, Loren James, Cliff Lyons and on and on.

1961 – The Guns of Navarone

Alistair MacLane seemed to create a genre all his own that started with this picture and had the feel of a heist film but with a mixture of spies and betrayal mixed in. Some great stunts appear in this film.

1962 – Lawrence of Arabia

This film is fantastic, but was a very perilous film shoot. War films, especially with horses are extremely hard. But boy does it look great.

1963 – The Great Escape

Arguably the best motorcycle stunt ever made, but I would venture to say it’s not the best ever made, just the most famous. It is a pretty nifty stunt for a VERY heavy bike.

1964 – Circus World

This movie has two stunts that blow the mind. The first is the real sinking of a large carrier ship sinking, live, and then the second is a huge circus tent fire. Both staged by Richard Talmadge and front and center is a man with only one lung, John Wayne!

1965 – The Sons of Katie Elder

John Wayne earns the nod for Best Movie Stunts two years running due to his stunts in this movie. Remember, he’s got only one lung!

1966 – Grand Prix

James Garner found out that he’s a pretty good driver and gets to show his chops here. He would go on to race professionally after this in several races and drove the pace car several times as well.

1967 – War and Peace

Russia busts out of the gate with this long masterpiece. It’s epic in every way and beautifully done. It took them years to make this movie and was finally released in 1967.

1968 – Bullitt

This film is known for an 11 minute long car chase that appears out of the end of the movie and is very tense and breathtaking. You can never talk about movie stunts without seeing this chase mentioned.

1969 – Battle of Britain

War movies are incredibly difficult and massive undertakings. Put that in the air and it doubles all the troubles. This really is the best of these films.

Check out our new Book, 100 Years of the Best Movie Stunts!

1968, Stunts

Steve McQueen, Carey Loftkin, Bud Eikins, Loren Janes and Bill Hickman for Bullitt

January 3, 2016 Donovan Montierth Leave a comment

Carey gets the nod for designing arguably the most famous car chase scene in history. He was one of the quintessential stunt car drivers in the business when he was asked to be the stunt coordinator for the sequence and this became an instant indelible classic. I always wondered what kind of insurance they had on those cars! Couldn’t of been cheap. If you’re looking for cheap car insurance yourself check this out. Car insurance can be a tricky thing though, sometimes people just aren’t too sure about what they can get (or what they should get). There are loads of deals out there, for example, this cheap car insurance pay monthly. But you have to find the one that works best for you. But back to Carey. Not only did he design it, but he was one of the stunt drivers (doubling for Steve McQueen) as well as Bud Eikins and Loren Janes. Bill Hickman, gets the nod for driving the famous black Charger chasing McQueen. Arguably, McQueen is added to the roster, ’cause how can you do this scene without Steve McQueen?

The total time of the scene is 10 minutes and 53 seconds, beginning in the Fisherman’s Wharf area at Columbus and Chestnut, followed by Midtown shooting on Hyde and Laguna Streets, with shots of Coit Tower and locations around and on Filbert and University Streets. The scene ends outside the city at the Guadalupe Canyon Parkway in Brisbane. Filming took three weeks. Due to multiple takes spliced into a single end product, heavy damage on the passenger side of Bullitt’s car can be seen much earlier than the incident producing it and the Charger loses five wheel covers, with different ones missing in different shots.

Bullitt’s reverse burnout during the chase scene actually wasn’t in the script – Steve McQueen had mistakenly missed the turn. Initially the car chase was supposed to be scored, but composer Lalo Schifrin suggested that no music be added to that sequence, pointing out that the soundtrack was powerful enough as it was. The film’s famous chase scene wasn’t originally in the script. In the first draft of “Bullitt”, adapted from Robert L. Pike’s novel “Mute Witness”, Det. Frank Bullitt was a Boston policeman who ate a lot of ice cream and never solved a case. The book had originally been bought with Spencer Tracy in mind; but with Tracy’s death, the property fell into the hands of Steve McQueen and Producer Philip D’Antoni. D’Antoni added the chase and changed the location to San Francisco.

Bullitt was directed by Peter Yates for Warner Bros.

Things to look up (click on item to go to IMDB page ):

Glossary of stunt terms as defined by Wikipedia: CAR CHASE – In television and film, the term “car chase” refers to a scene involving one or more automobiles pursuing one another; the chase may or may not involve a police car. Car chases are a staple of the action movie genre, and feature-length films have been built entirely around car chases, often featuring high-powered, exotic vehicles. They are popular because they are fast moving scenes that generate a great deal of excitement and action, due to the speed of the vehicles involved, and the potential collisions and the debris resulting from the wreckage, while not being hugely expensive to stage.

Although car chases on film were staged as early as the motor vehicle itself, the consensus among historians and film critics is that the first modern car chase movie was 1968’s Bullitt. The revolutionary 10-minute-long chase scene in Bullitt was far longer and far faster than what had gone before, and placed cameras so that the audience felt as though they were inside the cars. Even during the most calamitous scenes, the star – Steve McQueen – could be clearly seen at the wheel of the vehicle.

The French Connection further increased the realism. While previous chases had obviously been filmed on closed roads, isolated highways, or Sunday mornings (including Bullitt), The French Connection placed the chase in the midst of busy New York traffic and pedestrians. The producer of both Bullitt and The French Connection, Philip D’Antoni, went on to direct The Seven-Ups with yet another trademark chase sequence through New York featuring Roy Scheider from The French Connection as well as Bill Hickman, one of the drivers who had previously appeared in Bullitt.

As time went on, so did the expectations of the movie car chase. Since Bullitt, car chases featured in movies have become more advanced and arguably more entertaining. Car crashes have also formed an increasingly important role, with the destruction of any vehicle often coming as a delight to the viewer. An early example of a staged but startling accident in a movie chase can be found in the 1974 movie McQ, which featured an incredible rollover, the first cannon rollover in fact, across a beach. The spectacle came at a cost, however, for stunt driver Hal Needham, who sustained multiple injuries after setting the explosives too high.

Eventually this resulted in movies which are not much more than a series of linked car chases, such as Gone in 60 Seconds (1974 film), which culminated in a 40 minute car chase scene with multiple crashes (some of them unplanned, real accidents) and a 30-foot-high, 128-feet-long airborne jump over crashed cars that block a road.

Arguably the most typical car chase is one in which a car is being pursued by police cars. In part because car chases are so common many movie makers try to introduce a new twists to them. One of the most famous variations is from The French Connection and involves a car chasing an elevated train. Chases involving buses, trucks, snowmobiles, trains, tanks, and virtually every other type of vehicle (with or without wheels) have appeared at some point.

Car chases can also be played for laughs. Films such as: The Keystone Kops; W.C. Fields comedies; The Three Stooges; It’s a Mad, Mad, Mad, Mad World; The Shaggy Dog; No Deposit, No Return; Freaky Friday; The Gnome Mobile; The Million Dollar Duck and many others have car chases that are used for comedy.

Probably the most complex type of car chase involves going the wrong way at high speed against moderately congested freeway traffic, most notably in To Live and Die in L.A. and Ronin which, by no small coincidence, were directed by William Friedkin (The French Connection) and John Frankenheimer (French Connection II), respectively.

Several films that feature complex large-scale chases involving a lot of vehicles in the pursuit include The Blues Brothers, The Transporter, Raiders of the Lost Ark and Mad Max 2. Another method of escalating a car chase scene is to have a character move from one vehicle to another and to fight in or on top of a moving vehicle as the Wachowski Brothers employed very effectively in The Matrix Reloaded.

A number of television shows have been built around the popularity of car chases, such as The Dukes of Hazzard, Knight Rider, Airwolf, and most recently, Chase.

In more modern times, the use of computer-generated imagery is becoming increasingly popular, and, although costly, eliminates any danger level. While impressive at times, it is often argued that it eliminates the realism of the chase scene, which can then in turn damage the established thrill factor. Recent examples of this computer-generated imagery can be found in the Michael Bay films Bad Boys II and The Island. An example of a lower budget film using computer-generated imagery in a car chase is RSTC: Reserve Spy Training Corps. Driven was particularly panned for its CGI car chase sequences. Such criticism has affected recent Hollywood productions; for example, films like Ronin, The Bourne Supremacy, The Kingdom, and The Dark Knight all had actual live-action chases with minimal use of CGI, if at all.

In the action comedy film Hot Fuzz, the scene in which Sergeant Angel chases the speeding car has been declared the shortest car chase in film history. The brevity of the scene, as acknowledged in interviews, was itself the joke.

For more about the world’s greatest movie stunts, check out the book, 100 Years of the Best Movie Stunts.

Brothers' Ink Productions