Spellbound (1945)
directed by Alfred Hitchcock
cinematography by George Barnes
12/10/11
most snowiest time of the year day 10
In The Cut (2003)
directed by Jane Campion
cinematography by Dion Beebe
12/9/11
most snowiest time of the year day 9
The Man Who Knew Too Much (1934)
directed by Alfred Hitchcock
cinematography by Curt Courant
12/8/11
most snowiest time of the year day 8
Yet another Stanwyck snow-ladened spectacle - in a sanitorium no less! She will make her appearance later this month, so keep checking back.
For right now, just follow the rolling snow ball....
The Other Love (1947)
directed by Andre de Toth
cinematography by Victor Milner
12/7/11
most snowiest time of the year day 7
Snow Creature (1954)
directed by W. Lee Wilder (Billy's big brother)
cinematography by Floyd Crosby
art direction by Frank Sylos
It's really hard to make blowing snow look like more than just a smeary lens, but I like how this one seems sparkly and magical.
If you like, you can watch this bizarre, less than sparkly and magical film here.
12/6/11
most snowiest time of the year day 6
Dr Zhivago (1965)
directed by David Lean
cinematography by Freddie Young
art direction by Terence Marsh
Aural Adjunct: On a Good Old Time Sleigh Ride by the Peerless Quartet, another of my all-time year-round favorites.
If you enjoy this song, don't bother searching out other recordings by the same group. Unfortunately, they really embraced the racist attitudes of their time and made many recordings accordingly. Disappointing, because there is so much energy and joy in this recording and the vocal parts are so complex and unusual that it makes me long for more of the same.
12/5/11
most snowiest time of the year day 5
Holy cats, is that the time? Then let's get on with the snowy movies....
It's hardly surprising to see Barbara Stanwyck in another wintertime setting. Christmas in Connecticut would be enough to ensure her a Queen of the Studio Snow crown but it's always a treat to find another.
No Man of Her Own (1950)
directed by Mitchell Leisen
cinematography by Daniel L Fapp
art direction Hans Drier
and Henry Bumstead
12/4/11
most snowiest time of the year day 4
More stunt work by our intrepid actors. Claudette on skis...
and Robert Young allowing a troupe of professionals to swoop over his head - repeatedly:
If that isn't really Robert on the slopes, then the special effects are just as impressive.
I Met Him in Paris (1937)
I Met Him in Paris (1937)
12/3/11
most snowiest time of the year day 3
Understandably too rarely found in classical Hollywood cinema - bobsled gags.
I Met Him in Paris (1937)
12/2/11
most snowiest time of the year day 2
That isn't studio snow, though there is plenty of that this year, and not just stock footage either. This was filmed in Sun Valley, movie stars and all; my attention was consistently drawn to the breath-fog streaming from the actors' mouths. Sun Valley was such a beautiful location. I wonder if it still is. Anyone know?
12/1/11
most snowiest time of the year
Hooray, it's that time of year again! Hunker down against the blizzard, grab that mug of hot cider and throw another log on the fire. Bring on the snow and ice!
Because I'm sure you're tired of the same old songs every year, I'll provide links over the next few weeks to highlight some lost classics to heighten the mood.
Today's Aural Adjunct: Winter by Billy Murray, one of my favorite songs of all time. I swear, if the man would go on tour now, I'd be at the front of the stage screaming with glee.
The Zamboni driver has already been at work, smoothing the surface for our stars Claudette Colbert and Melvyn Douglas:
No stunt doubles here; those are the actors skating outdoors for a very long, unbroken shot with icy dialog and business both. There is some impressive camerawork too (backwards and on skates):
It is a shame that the writing stinks to high heaven, otherwise this would be a good film to revisit this time each year. At least it is gorgeous to watch. This film is so heavy with winter sports that I'm going to carry it on over the next few days. It's enough to want to take a spin around the rink. Whee!
I Met Him in Paris (1937)
directed by Wesley Ruggles
cinematography by Leo Tover
9/18/11
words vs image
"The cinema must seek to become, gradually and in the end uniquely, cinematic; to employ, in other words, only photogenic elements."
Jean Epstein, On Certain Characteristics of Photogenie, 1924.
"The cinema is true; a story is false."
Jean Epstein, The Senses I (b), 1921
"Visual impact is ephemeral, it's an impression you receive and which suggests a thousand thoughts....
"The seventh art, that of the screen, is depth rendered perceptible, the depth that lies beneath that surface; it is the musical ungraspable....
"The more we get rid of the plot to go in the direction of visual cinema, the more we will work for the seventh art."
Germaine Dulac, Visual and Anti-visual Films, 1928.
Now, isn't looking at an image in this context just as interesting as contemplating what John Ford was supposed to do with a Shirley Temple picture? (which I enjoyed very much, by the way.)
Wee Willie Winkie (1937)
directed by John Ford
cinematography by Arthur C. Miller
Wee Willie Winkie (1937)
directed by John Ford
cinematography by Arthur C. Miller
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