The clocks have gone back, the nights are getting darker earlier, and Autumn has officially arrived. In a few days time it will officially be Halloween. The time to switch the lights off and watch many horror films has arrived. Here are five classic era British horror films that I highly recommend for your Halloween viewing.
Night Of The Demon (1957)
This chilling British horror takes a look at demons and a Satanic cult which lurk in the English countryside. It is directed by the great Jacques Tourneur, and is based upon the novel Casting The Runes by horror maestro, M.R. James. For the most part this one plays out as a psychological and supernatural horror flick, but you could also class it as a monster movie because of the demon.
Dana Andrews, Peggy Cummins and Niall MacGinnis all deliver superb performances. The atmosphere is so creepy and eerie. This makes for perfect viewing on a dark night or stormy afternoon.
The Innocents (1961)
In my opinion this is the greatest ghost/haunted house film ever made. Based on Henry James’s novel The Turn Of The Screw, the film focuses on a governess who may or may not be seeing ghosts in the new home in which she has been employed.
This one works equally well as a ghost story, and also as a chilling descent into madness. Deborah Kerr delivers what may well be her best performance as the tormented and terrified governess. You can read my full review here.
The Blood On Satan’s Claw (1971)
This disturbing and creepy British folk horror looks at the mass outbreak of hysteria and murder which occurs in a quiet 18th century village. Is it the work of the Devil?
There is a realism to this film which ensures this one packs quite an punch and really freaks the viewer out. It’s a very disturbing film. I like how it cleverly mixes psychological and spooky horror with more explicit gory horror too.
Dead Of Night (1945)
Dead Of Night is one of the most influential, creepy and memorable horror films ever made. It is an anthology film focusing on a group of people who are invited to a country house. There they all share frightening incidents that have happened to them. We see these incidents play out as mini horror films.
Featuring Michael Redgrave delivering one of his best film performances as the deranged ventriloquist. You can read my full review here.
The Devil Rides Out (1968)
Christopher Lee plays the kickass hero in this Hammer classic. The film is set in 1920’s England. A Satanic cult are planning on calling up the Devil and they must be stopped at all costs. Enter the badass, and very dashing, Du De Richleau(Christopher Lee),an expert on all things Satanic and possessing knowledge/power that can hopefully be used against them.
Who can forget the protective circle sequence where all manner of horrible things try and attack the Duc and his friends? Or the eerie scene where the Devil is called up in the woods? Great performances and some real scares ensure this one makes for perfect Halloween viewing. You can read my full review of this one here.
This is my second post for Gabriela’s Gothic Horror Blogathon. Be sure to stop by her site to read all of the entries, I can’t wait to read them all myself.
The more I’ve watched it, the more I have fallen in love with director Guillermo Del Toro’s film Crimson Peak. What I love most about this film is how it plays out like a meticulously crafted love letter to the gothic genre and to classic era horror cinema. There are not only homages to TheInnocents(the scene where Edith explores the house with her candlestick holder), The Changeling(the wheelchair and the ball scene) and Jane Eyre(Edith and Thomas’s relationship and the scene where Thomas says their hearts are linked) to be found in the film, but the film also features all of the established Gothic tropes but presents them to us in new and interesting ways. There’s also homages to Hitchcock’s Notorious to spot too(the poisoning, the importance of keys etc).
Although primarily described by many as being a horror film, you will find that there is so much more going on in Crimson Peak than jump scares, gore and ghosts.Perhaps this explains why the film unfortunately did so poorly at the box office upon release. It was marketed as a traditional horror film, when in actuality it really isn’t a horror film at all. In fact I view this as more of a Gothic mystery/romance with moments of horror, rather than an outright horror flick.
I also like how the horror elements in the film are a mix of supernatural scares, slasher horror and Giallo horror. When violent and shocking moments occur in this film they don’t half impact the viewer, much more so than such scenes might if similar scenes were occurring throughout the film every few minutes.
I’ve seen people describe this film as being boring, too talky, or just not scary enough. Their loss I say. This is a very rewarding and deep film if you give yourself over to it and it is even more so if you are a lover of all things Gothic. Crimson Peak is a beautifully crafted, dark, and eerie Gothic masterpiece. Aside from the darker aspects of the plot, this is also a film about the strength and determination of women, and of the past passing into a more technological future. It is also a film which cautions us about making assumptions about someone based on their appearance(someone seemingly delicate and fragile may not be so for example), or of underestimating someone because of their background or gender. It also shows us the dark and light sides of humanity.
The two strongest and most intriguing characters in this film are women. Edith and Lucille are polar opposites of one another, and yet they are perhaps more alike than either one of them would care to acknowledge. Each woman serves to show the different paths a woman’s life can take. Both women are strong willed and determined, and neither one conforms fully to societies rules and expectations. Both prefer to live on their own terms and do what makes them happy. Edith for example would much prefer to attempt to get the stories she writes published, rather than getting married or being praised for wearing the latest fashionable gown. Both women have known pain and sorrow in their lives. Neither one is weak or helpless. Where they part ways is that Lucille is a child of the dark, whereas Edith is a child of the light. Edith enjoyed a warm and loving home/upbringing, whereas Lucille’s childhood was one of cruelty and horror.
Butterflies and moths feature heavily in the film and both serve as a symbolic link to Edith and Lucille, especially in the park scene where Lucille and Edith discuss butterflies, moths and the cruelty of nature. Lucille describes moths as being “formidable creatures to be sure, but they lack beauty. They thrive on the cold and the dark”. Edith asks her “what do they feed on?”and Lucille replies “Butterflies, I’m afraid”. In that exchange it is clear Lucille is describing herself as being like a moth and that Edith is like a butterfly who is her prey. Symbolism for these two is everywhere throughout the film.
Even the costumes of both women are symbolic, with Edith’s gowns being brightly coloured with floral designs showing her to be a giver of life, someone who is blooming like a flower.Lucille’s dresses on the other hand are black or darkly coloured and have a similar design to the walls and ceilings of her Gothic style home, these costumes show Lucille to be cold and gloomy. It’s also worth noting that Edith’s bright clothes make her look out of place in Thomas and Lucille’s world, while Thomas and Lucille’s darker clothes make them the odd ones out in Edith’s world.
I also love how for most of the film Lucille’s clothes give us the impression that she is closed up and restrained like a chrysalis, but at the end of the film, as all the secrets are slowly revealed to us, her clothing becomes looser and more revealing as the real Lucille is at last set free and the secrets within her home are brought out into the open.
The film opens in Buffalo, New York, during the 1800’s. A young girl is visited by the ghost of her mother, who warns her to beware of something called Crimson Peak. Skipping forward to the 1880’s, we find Mia Wasikowska playing the now grown up girl, the aspiring novelist Edith Cushing(surely a nod to novelist Edith Wharton and actor Peter Cushing). Edith falls in love with the mysterious engineer/inventor Thomas Sharpe(Tom Hiddleston), but her father Carter(Jim Beaver) suspects something is not quite right with Thomas and his sister Lady Lucille(Jessica Chastain), and he tasks a private detective to investigate Thomas. The detective uncovers information about Thomas(which we don’t see)which confirms he is not to be trusted. Mr. Cushing pays Thomas to break off his relationship with Edith and to leave Buffalo.
Before Thomas can leave town, Mr. Cushing is brutally murdered, and in her grief, Edith turns to Thomas for comfort. The pair eventually get married and she travels to England to live with him at the Sharpe family home of Allerdale Hall. The hall is falling apart and the red clay on which it is built seeps out of the ground like blood.
Major spoilers ahead about plot and characters!!!!
Edith soon falls ill at the hall. On top of her mysterious illness, she also has to deal with the dominating and stern Lucille. Edith is also plagued by visitations from several deformed ghosts(played by Del Toro’s regular collaborator Doug Jones, with some CGI added). Edith soon stumbles upon the same truth her late father did, but she learns the full horror of that truth(something that he did not). Edith’s only chance of rescue from the hell she finds herself in, lies in the form of Dr. McMichael(Charlie Hunnam), an old friend of her and her father. I like that Edith rescues herself to a great extent, rather than relying entirely on McMichael’s aid.
Edith discovers that Thomas has been married to three women before her and that all three of them were murdered. The ghosts are these murdered ladies and they are trying to warn Edith that she too is in danger. Thomas married all of these women to get their fortunes signed over to him. Thomas and Lucille’s father squandered the Sharpe fortune and he and Lucille are nearly penniless.
Thomas and Lucille have been in an incestuous relationship since their early teens and Lucille murdered all the other wives, and Edith’s father, after he learnt of the other marriages, and she now has the same plans for Edith. We also learn that Lucille killed her own mother. Thomas knew of the fate of his previous wives, but he did not kill them and what happened did not sit well with him at all. He didn’t love the other women, but he has now developed genuine feelings for Edith and is torn between his sister and his wife.
Thomas may well be weak in comparison to his sister, but we soon learn that unlike her he is also quite childlike and innocent. Thomas Sharpe has only been consumed by so much of the darkness, he has not become a part of it entirely. We do admire him for later eventually finding the courage to confront Lucille and try and put a stop to what they are doing. Edith has opened his eyes to a new kind of love, and she has also shown him that he can be a different person if he wants to be. I love the relationship between Thomas and Edith, because they are so tender and gentle with one another, and each finds great delight in just being near the other. Their love allows them to blot out their pain and worries for a time.
In many ways Edith is like the traditional male white knight figure who rescues the Princess in peril in fairytales. Edith becomes Thomas’s saviour. She is the pure and fresh woman who Thomas can love both emotionally and physically, without constantly being reminded of a terrible and dark past. Edith’s actions end up putting a stop to the terrible existence he has come to loathe, all be it not in the traditional happy ending some may expect when they watch the film.
I also love how Edith has her eyes opened wide to the realities of life for those who aren’t surrounded by love and lovely things, and in the process she becomes wise to the darker sides of life. She wasn’t completely naive of such things to begin with, but she could never have imagined people could endure and be a part of such awful things until she marries Thomas. At the end of the film she has a become a more worldly woman, one whom now also knows her limits of endurance and how emotionally/psychologically strong she can be. Symbolism also kicks in again at the end of the film, with Edith vanquishing darkness and the possibility of becoming twisted and evil herself. Edith’s survival reminds us that not everyone who has suffered at the hands of others will turn out to be cruel and evil themselves.
We also learn that the Sharpe children suffered a terrible childhood of abuse and pain. Their father left the family and his reckless behaviour destroyed their wealth. Their mother was cruel and abused both her children. Lucille as the eldest child tried to protect Thomas from the worst of their mother’s attacks. As they grew older they found that their only source of love and joy was to be found in each other. Their bond grew so strong that it turned into incest. Now when we learn this, it is of course sickening and disturbing, but you can understand why it happened given their situation and relationship.
I find the character of Lucille to be the most fascinating and complex of the whole film. She is very clever, dominant, strong and powerful. It is she, rather than her brother, who does the planning and the killing. She has taken the pain of her past and grown strong and untouchable because of it, she cannot be cowed or frightened any longer. She is fiercely protective of Thomas, almost to the point of being perceived as a lioness protecting her cub. She is clearly insane and dangerous too, all of which makes her quite a memorable and formidable villain.
Yet for all her darkness, and for all the pain and destruction she is responsible for, Lucille is also a victim too. She was turned into a figure of cruelty and darkness by what was done to her as a child. She also does what she does out of love for her brother. Her love and the terrible past she endure makes her more human, and I think it’s very easy to sympathise with her to some extent and to feel pity for her. Lucille also makes a very human mistake when she underestimates Edith’s abilities, seeing her as nothing more than a fragile and weak creature, rather than as her equal in strength and determination.
Crimson Peak may well be a dark film, but it is also a stunning and gorgeous feast for the eyes and ears too – from the cinematography and lighting, to the beautiful costumes, impressive set design and gorgeous and atmospheric score. I also like how the symbolism for Edith and Lucille carries over into the homes they live in. Edith’s home has plush, cosy, warm and bright interiors, with soft and expensive furnishings. Lucille and Thomas meanwhile live in a dark and crumbling mansion, a home which is a shadow of its former self. I also like how Allerdale Hall brings to mind the enchanted and mysterious castles in fairytales, with the snow and leaves falling in, the clay seeping into the house like blood, and the moths fluttering around. The attention to detail in this film is remarkable and you can see the love, time and effort all involved put into this one.
The performances are superb from the whole cast. It was nice to see the great Jonathan Hyde appear in a cameo as an arrogant book publisher. I think that Mia, Jessica, Tom and Jim Beaver deliver the best performances in the film. Mia’s performance in particular is incredible, she has to convey so much with her eyes alone and she really makes you feel what Edith is experiencing.
In my opinion this is Del Toro’s masterpiece. The film can also be seen as not only a Gothic homage, but also a homage to his own work and the themes of death, grief, fantasy, courage and horror found within his other films. This is easily one of the greatest Gothic films out there. Highly recommended to all my fellow Gothic fans.
This is my first entry for my friend Gabriela’s latest blogathon, which is dedicated to all things Gothic Horror. Be sure to visit her site later this month to read all of the entries, I can’t wait to read them all myself.
The history of Gothic Horror and Gothic Romance stretches all the way back to 1764, the year in which author Horace Walpole had his novel The Castle Of Otranto published, this novel is generally considered to be the first Gothic novel ever written. Many authors including Ann Radcliffe, Edgar Allen Poe, Matthew Lewis, Daphne Du Maurier, Mary Shelley, Clara Reeve, Emily and Charlotte Bronte all followed in Warpole’s footsteps penning dark and chilling Gothic tales over the coming centuries.
The main tropes usually present in Gothic literature and films are mansions or castles which have dark secrets and mysteries waiting to be uncovered within their walls; a Byronic male love interest who is not what he seems, or who harbours dark or tragic secrets; and a curious and strong willed heroine who seeks to uncover the secrets and to help her troubled man. Many of the greatest Gothic stories seem to work best when their setting is the 1700’s or 1800’s, but there are later stories and films, such as Daphne Du Maurier’s Rebecca, which work just as well with a more modern setting.
The Tomb Of Ligeia is one of my favourite Gothic Horror films. While it is certainly a creepy horror film, it is at heart a beautiful and tragic love story. I especially love how this film manages to capture the eerie atmosphere, darkness, tragedy and beauty of Edgar Allen Poe’s work, while also being a very touching love story. This has become my favourite film from the Poe cycle of films directed by Roger Corman.
In 1964, the American horror director Roger Corman was here in the UK to begin work on what would be his eighth and final screen adaptation of a story by Edgar Allen Poe. The film was The Tomb Of Ligeia, which was based upon Poe’s 1838 short story Ligeia. This story may well have been written and published before Poe’s far more famous other literary works came along, but it remains one of his darkest and most tragic tales.
It’s hard to imagine anyone other than Vincent as Verden Fell. Screenshot by me.
Roger would once again be reunited with Vincent Price on this film. Vincent had become Roger’s regular leading man in the previous Poe films he had made. Although much older than the character in Poe’s story, Vincent never the less suits the role of Verden Fell perfectly, and it is very difficult to imagine anyone else other than him in the role. It was very nearly the case though that Vincent wasn’t cast in the lead role.
Both Roger Corman and screenwriter Robert Towne(later to find fame as the writer of Chinatown)were actually against Vincent taking the role due to his age. Roger Corman wanted Richard Chamberlain to take the role instead. Vincent’s casting ended up becoming a condition of the films production company AIP(American-International Pictures) in investing in the film, and so he was cast as the lead. Vincent was of course such a big name at the time, and he had become so linked to the horror genre and to these Poe films, that he was massive draw for audiences when these films were released. He also fit this material perfectly and had done so ever since he was cast in the 1946 Gothic drama Dragonwyck. He brings an emotional depth to the role of Verden Fell that I don’t think would have been there if another actor had been cast.
British actress Elizabeth Shepherd was cast alongside Vincent, in the duel role of the bright and passionate Rowena, and the sinister and dark Ligeia. Elizabeth absolutely steals the film with her brilliant performance. The film was made on location in Britain, with a large portion of it being shot at the Castle Acre Priory in Norfolk. This film feels and looks quite different from so many of the other Corman/Poe adaptations and the location work is a big reason why in my opinion. So many of the other films in the Poe cycle were very studio bound, whereas this one gains a realism due to the location work. The film also looks different due to a great many scenes taking place outside in daylight and sunshine, but its content is no less dark and strange because of it.
“She will not rest, because she is not dead….to me. And she will not die because she willed not to die.” Verden Fell
The film tells the tragic love story of the vivacious and fearless Lady Rowena(Elizabeth Shepherd)and the brooding and mysterious Verden Fell(Vincent Price). The pair meet after Rowena breaks away from a local hunt and rides into the ruins of the abbey where Verden lives. She comes across a graveyard in the ruins, and there she finds the grave of the Lady Ligeia(also played by Elizabeth), who was Verden’s wife.
Rowena and Verden first set eyes on each other. Screenshot by me.
Ligeia’s grave is guarded by her pet black cat, who lashes out at Elizabeth startling her horse and causing her to fall off and hurt herself. Verden(clad all in black and rocking a pair of sunglasses which look like the ones from the 1933 Invisible Man film) then suddenly appears and tends to the injured Rowena. We can see that as soon as they meet one another they are each drawn to the other. Rowena bears a uncanny resemblance to Ligeia, which is an added attraction for Verden.
Verden seems absolutely grief stricken by the death of his wife. At first he reminds me somewhat of Heathcliff from Wuthering Heights with how he cannot let his wife leave his side to go to the land of the dead. Verden is constantly at Ligeia’s graveside and is convinced that she will come back to life and be with him again. As the film progresses we learn that there is a dark and terrible reason why he is acting like that, and it isn’t because of grief and love either. Sometimes Verden seems to hate Rowena and becomes afraid of her presence one minute, and then becomes deeply remorseful for his behaviour and becomes gentle and kind to her the next.
That time Vincent Price borrowed The Invisible Man’s shades. Screenshot by me.
As the film goes on, Verden and Rowena fall in love and get married. Rowena soon discovers that in Verden’s home the dead do not stay dead, and that due to some strange supernatural power, the Lady Ligeia is exerting her will on Verden from beyond the grave. Rowena must find the strength to save her husband and herself, while also trying to fight against forces which are beyond both her understanding and her control.
Rowena is one of the strongest Gothic heroines in my opinion. Interestingly the film version of Rowena is very different to the character in Poe’s story, in which she really has no personality and is merely there as a plot device. In the film however, Rowena is brave, strong, self-sufficient, and she has a very strong will indeed. When describing Rowena to Christopher(John Westbrook), a young man of her own class who wants to marry her, Rowena’s father(Derek Francis) says this of her: “Wilful little b***h, ain’t she? Hell to be married to I should think. Her mother certainly was… God rest her soul”.
Rowena doesn’t conform to the docile female persona that men of the time felt their women should have. Rowena knows what she wants and goes after it. She likes to make her own decisions and she isn’t afraid of darkness and danger. She also has no interest in marrying for money or in marrying the safe and approved type of men she is so often thrown together with. Rowena sees that Verden is brooding, broken and even a little dangerous and frightening, and yet she wants to be with him because she loves him. He in turn genuinely falls in love with her too, and even though he cannot get Ligeia out of his mind, he does try his best with his new wife.
Vincent is excellent as Verden. The character is at first glance the typical Byronic leading man of a Gothic tale, a man of mystery. I love how Vincent draws us in with his performance and makes us at first think he is a heartbroken and damaged man, somewhat akin to Mr. Rochester from Jane Eyre, a man longing to meet a fresher, purer woman to be his great love. While some of that description is true, the more we see of Verden, the more that Vincent alters how he plays the character. Vincent’s performance gets much darker and stranger, and he lets us see that there is something more going on here than the typical Gothic character trope we first imagine and assume. Verden also interestingly turns out to be the real victim of the piece rather than Rowena. He is also a victim twice over; once due to what we learn has been happening to him, and secondly because of what happens to him at the end of the film. I really like Verden and Rowena and I’m always sad that they don’t get the happiness they deserve, but then it wouldn’t really be a Gothic Horror if that were to happen. 😁
In addition to its intriguing and eerie story, excellent lead and supporting performances, and beautiful costume design, I also want to praise the lovely and suitably atmospheric score by Kenneth V. Jones. The gorgeous cinematography by Hammer regular Arthur Grant is also terrific.
I’m of the opinion that The Tomb Of Ligeia is one of the best Gothic Horror/Gothic Romances ever put on screen. It’s also a great deal of spooky fun and a real character piece. You could do much worse than spend an hour and a half with Vincent, Elizabeth and company.
The Classic Movie Blog Association turns ten years old this year. In celebration of this anniversary, our groups latest blogathon is one which celebrates films, or particular years in film history, which are also celebrating a significant anniversary in 2019. Be sure to drop by the CMBA site to read all of the entries, I can’t wait to read them all myself.
I’ve decided to celebrate the eightieth anniversary of the year 1939. Why the focus on this year and not another you may well ask? I picked this year because it is such a remarkable and impressive year for film. 1939 is a year considered by many film fans and film critics to be “Hollywood’s greatest year”, this is due to the large amount of magnificent films released in America that year, many of which have become some of the most beloved, impressive and acclaimed classics of all time.
Left to right: The Wizard Of Oz, Gone With The Wind and Only Angels Have Wings. Screenshots by me.
I don’t know about other film fans, but I know that I return again and again to so many of the films which were made in 1939. There’s just something about these films which makes them special, plus they are all such high quality films. Think also of all the beloved film characters this year’s films provided us with – Dorothy Gale, Tin Man, Scarecrow, Cowardly Lion, The Wicked Witch Of The West, Rhett Butler, Scarlett O’Hara, Mamie, Melanie Wilkes,Cathy and Heathcliff,Judith Traherne etc. While it’s certainly true that every year and decade in film history contains some real gems and classics, 1939 in particular saw the release of such a staggering amount of high quality films which have ended up becoming classics.
To have had these films appear throughout one or two decades would have been incredible enough, but the fact that all of these films came out in one year is truly mind blowing! If 1939 had only been the year of say Gone With The Wind(one of the all time great epics), The Wizard Of Oz, Stagecoach, or Only Angels Have Wings, then I have no doubt that it would have most certainly have gone down as a great film year, but this year had all of those films and so many more besides.
Just a few of the remarkable films released during this year include: Mr. Smith Goes To Washington( a film which remains incredibly relevant and affecting, given how many governments/politicians around the world are self serving or corrupt, and who don’t seem to be on the side of the ordinary people at all), WutheringHeights(moody and moving in equal measure), Goodbye Mr. Chips(possibly the saddest and most poignant film ever made), The Hunchback Of Notre Dame, The Story Of Vernon And Irene Castle, Golden Boy, The Women(this hilarious film sees some of the best actresses of the day fight it out on screen),Dark Victory, Ninotchka, Of Mice And Men, The Saint Strikes Back(the first time that George Sanders played the role of Simon Templar)Dodge City, The Hound Of The Baskervilles.
Outside of Hollywood, 1939 also saw the release of many excellent films from around the world as well. The brilliant French Noir Le Jour Se Leve, the powerful Japanese drama The Story Of The Last Chrysanthemums, the French satire The Rules Of The Game, and the early Powell and Pressburger spy drama The Spy In Black, were just four classics made outside of America during this very significant year.
1939 also saw Technicolor used to its most stunning and impressive effect in many films, including The Wizard Of Oz, Dodge City, Gone With The Wind, Drums Along The Mohawk. There had been some nice looking colour films around since the Silent film era, but nothing that compared to the beautiful use of colour seen in many of the films released in 1939. I think that films featuring Technicolor, outside of the Powell and Pressburger 1940’s films, have never before or since looked as stunning and striking as these 1939 Technicolor films do.
1939 was also a very good year for actors. Many of the films in this year featured very strong roles for women and had very female centric stories. Many of the 1939 films also provided actresses with some of the best screen roles they would ever have.
Some fellow British ladies would find that this year would end up changing their fortunes for the better. Vivien Leigh moved from being an up and coming British stage and screen actress, to become an acclaimed international star following her work in Gone With The Wind.Greer Garson enchanted audiences in her screen debut in Goodbye Mr. Chips, and she quickly went on to become one of the most popular actresses of the entire classic film era.
The American actress Jean Arthur would star in Only Angels Have Wings and Mr. Smith Goes To Washington,two films which would help cement her screen persona of tough, sassy and fiercely loyal female sidekick.
It wasn’t just the ladies who were enjoying great acting success in this year either. James Stewart proved he could do much more than comedy and sweet romantic roles, thanks to his excellent dramatic performance in Mr. Smith Goes To Washington. Clark Gable, Charles Laughton, Jean Gabin and Robert Donat all delivered some of the best performances of their entire careers in this year. Cary Grant would also prove that he could do more than comedy, with his great performance as the cynical, tough and complicated pilot, Geoff Carter, in Howard Hawk’s Only Angels Have Wings. A young lad called John Wayne would find that his performance in Stagecoach would end up becoming his breakthrough role, and over the next few years he would go on to become one of the most famous and iconic actors in the world.
1939 was also a glorious year for film composers and their scores. A few of my favourites from this year are Max Steiner’s sweeping score for Gone With The Wind; Eric Korngold’s rousing theme to Elizabeth And Essex; Alfred Newman’s beautiful and moving score for Wuthering Heights; Alfred Newman’s score for The Hunchback Of Notre Dame. The music and songs in The Wizard Of Oz also have a very special place in my heart.
It seems to me that every aspect of filmmaking was the very best that it possibly could be during this year. From acting and cinematography, to costumes, music, scripts and direction. This year highlights the quality and magic of the classic film era for me.
We are sadly living in an era now where Western film audiences seem to be being bombarded by nothing but an endless stream of remakes, reboots, sequels and prequels. We’ve got an overwhelming amount of CGI filled superhero films and computer animated films out there too. It seems that if you want originality, quality, good human drama and characterisation, then you need to be checking out Foreign Language films, Indie films, or turning to television.
Watching classic era films reminds us that there once was a time when there were seemingly endless amounts of fresh and original film ideas, and that there was a strong focus on the characters and the actors to tell the story, rather than letting special effects dominate proceedings and overwhelming every other aspect of the film. These classic films, especially many of those from 1939, serve to show the current generation the quality that filmmakers can achieve if they put their minds to it. There’s a reason these classic era films have stood the test of time and stand head and shoulders above so many other films.
I hope that you will all join me in raising a glass in honour of this very special year in film history. The greatest year in film history? While I find it hard to narrow so much great cinema down to one single year and call that year the best ever,I would however have to say that I think 1939 has more claim than most to hold that particular title. It truly was a golden year for film.
I’d also like to raise a glass to the CMBA in honour of its own special anniversary. I’m still so touched to have been accepted as a member of this group and to have found myself amongst some truly great classic film bloggers. This group is so supportive and encouraging, and I think my fellow CMBA bloggers are all doing a wonderful job of spreading the word about classic films far and wide. Happy 10th Anniversary to this wonderful group. Special thanks to Rick at Classic Film And TV Cafe who founded our group.
I’d love to hear what you think of 1939. Share your thoughts on this great year below.
Last year I hosted a blogathon dedicated to the lovely Deborah Kerr. The blogathon went really well, and there were so many wonderful articles received about this great actress and her work. At the request of Gill from Realweegiemidgetreviews, I have decided to bring the blogathon back for a second year.
For this blogathon you can write about any of Deborah’s films or TV appearances. You can write tributes to her. You can write about her career and life. You can write about her screen partnership with Robert Mitchum. You can focus on specific performances. I will accept two duplicates per screen title and a maximum of 3 posts per person.
The Blogathon will be held on the 10th of January, 2020. Please have your posts ready on or before that date. Check the list below to see who is writing about what. Take one of the banners from below and put it on your site somewhere to help promote the event. Have fun writing about Deborah and watching her work!
Maddy Loves Her Classic Films: The End Of The Affair
Pale Writer: The Innocents & Dream Wife
Poppity Talks Classic Film: Young Bess
Cinematic Scribblings: Black Narcissus
Pure Entertainment Preservation Society: Deborah Kerr and Fashion
Critica Retro: The Life And Death Of Colonel Blimp
Dubsism: The Sundowners
The Classic Movie Muse: The King And I
18 Cinema Lane: Marriage On The Rocks
Diary Of A Movie Maniac: Edward My Son
I’d also love for some more of you to join myAnna Neagle Blogathon being held on the 1st and 2nd of January, 2020 too.
As we start to approach the end of 2019, I would like to invite you all to join my next blogathon.
This one will be held in the New Year and it is going to be dedicated to the great British actress, Dame Anna Neagle. Anna was one of the most talented British actresses working during the classic film era. She is best remembered today for the many films in which she portrayed well known historical figures, including Edith Cavell and Queen Victoria. She married director and producer Herbert Wilcox, and the pair made many films together. Anna was also a producer herself.
For this blogathon you can write about any of Anna’s films. You can write tributes to Anna. You can write about her partnership with her husband. You can write about her entire career. If you’re not familiar with Anna and her work, why not take this as the perfect opportunity to rectify that and seek out her films? I will allow 2 duplicates per screen title, and a maximum of 3 posts per person.
The blogathon will be held on the 1st and 2nd of January, 2020. Please have your entries ready on or before those dates. Check the entry list below to see who is writing about what. Take one of the banners below and put them on your site to help promote the event. Have fun writing about Anna and her work!
Maddy Loves Her Classic Films: A Comparison Of Victoria The Great & Sixty Glorious Years
From cinematic classics, to goofy guilty pleasures, and everything in between, join me as I review the best and worst of Hollywood. Grab a slice of pizza, pour some wine, and meet me in the living room: We have movies to discuss.