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Western films have been a staple of American cinema for practically as long as movies have been made.

Movies in the Western genre are set in the American West, typically between the 1850s to the end of the 19th century. While it has been a stable genre — no pun intended! — it has also been the starting ground for several hybrid genres like Western comedies, Western musicals and horror Westerns.

No other genre’s history goes back quite as far as that of Westerns. According to documentarian David Gregory, “It has been estimated that up to 40 percent of all films made before 1960 were Westerns.”

Although the category reached its greatest popularity in the early and middle decades of the 20th century, with several becoming cult classics, films continued to be made even through droughts for Westerns in the late ‘70s, ‘80s and ‘90s. Actors have also made their name starring in Western films,...

This ‘dawn of sound’ classic from Josef Sternberg is an important early entry in the gangster genre, a romanticized tale of urban crime with little violence but a full measure of romantic revenge. Star George Bancroft is the title underworld kingpin, who risks everything to hold his girlfriend Fay Wray the way he holds onto power — with his fists and with his gun. The highly sentimental story has some odd ideas about prison rules on Death Row; although packed with ‘Sternbergian’ touches the visuals aren’t as overtly poetic as is his norm. It’s an interesting study from the first year of ‘all talkie’ pictures: the audio is highly creative but the dialogue delivery is slow — perfect for anyone learning English!

Thunderbolt

Blu-ray

Kl Studio Classics

1929 / B&w / 1:20 Movietone (?) / 85 min. / Street Date July 20, 2021 / available through Kino Lorber / 24.95

Starring: George Bancroft, Fay Wray, Richard Arlen, Tully Marshall, Eugenie Besserer, James Spottswood,...

The experts were right when they said that silent filmmaking was developing something unique and beautiful, before talkies came along and spoiled the party with all that noise. This ‘handy three-pack’ of once-obscure Josef von Sternberg classics proves the theory 100% — his intense dramas excite audiences with something that’s gone missing from the movies, or the cinema or whatever you want to call it: the magic of visual stylization in the service of basic human emotions. Before Marlene there was Evelyn Brent and Betty Compson: Sternberg presents them as shimmering visions.

3 Silent Classics by Josef von Sternberg

Blu-ray

The Criterion Collection 529, 530, 531

1927-28 / B&w / 1:33 Silent Ap / 81, 88, 75 min. / available through The Criterion Collection / Street Date October 8, 2019 / 79.96

Starring: George Bancroft, Evelyn Brent, Clive Brook; Emil Jannings, Evelyn Brent, William Powell; George Bancroft, Betty Compson, Olga Baclanova.

Cinematography: Bert Glennon; Bert Glennon; Harold Rosson

Original Music: multiple scores by Robert Israel,...

Is this the filmic birth of both the wartime Oss and the SuperSpy genre? State department diplomat trainee Joel McCrea weds refugee Brenda Marshall, not realizing that she has gained her freedom by volunteering to become a Nazi spy. Released just as WW2 broke out but filmed and produced earlier, Warners’ production faced stiff political pressure from an isolationist Washington. Ever heard the phrase ‘premature anti-Nazi?’ Here there be patriots.

Espionage Agent

DVD

The Warner Archive Collection

1939 / B&W / 1:37 flat Academy / 83 min. / Street Date May 1, 2018 / available through the WBshop / 21.99

Starring: Joel McCrea, Brenda Marshall, Jeffrey Lynn, George Bancroft, Stanley Ridges, James Stephenson, Martin Kosleck, Rudolph Anders, Hans Heinrich von Twardowski, Egon Brecher, Nana Bryant, William Hopper, Glenn Langan, Chris-Pin Martin, George Reeves.

Cinematography: Charles Rosher

Film Editor: Ralph Dawson

Original Music: Adolph Deutsch

Written by Warren Duff, Michael Fessier, Frank Donoghue, James Hilton, story by Robert Henry Buckner

Produced by Louis B.

After two straight years of all-white acting nominees in 2015 and 2016, the Academy of Motion Picture Arts and Sciences responded to the #OscarsSoWhite issue by inviting a far more diverse and younger field of talent both behind and in front of the camera to join. And though there are miles to go until there is true diversity, the academy’s nominees and winners are beginning to reflect our culture.

Last year, “Moonlight” became the first Best Picture winner with an all-black cast. Its director Barry Jenkins shared the Best Adapted Screenplay Oscar with Tarell Alvin McCraney, while Mahershala Ali won Best Supporting Actor. Viola Davis also took home Best Supporting Actress for “Fences.”

This year’s black nominees include Jordan Peele, a triple nominee for producing, directing and writing Best Picture contender “Get Out,” which also scored a Best Actor nomination for Daniel Kaluuya. Two-time winner Denzel Washington is nominated for “Roman J.

'Ben-Hur' 1959 with Stephen Boyd and Charlton Heston: TCM's '31 Days of Oscar.' '31 Days of Oscar': 'Lawrence of Arabia' and 'Ben-Hur' are in, Paramount stars are out Today, Feb. 1, '16, Turner Classic Movies is kicking off the 21st edition of its “31 Days of Oscar.” While the Academy of Motion Picture Arts and Sciences is being vociferously reviled for its “lack of diversity” – more on that appallingly myopic, self-serving, and double-standard-embracing furore in an upcoming post – TCM is celebrating nearly nine decades of the Academy Awards. That's the good news. The disappointing news is that if you're expecting to find rare Paramount, Universal, or Fox/20th Century Fox entries in the mix, you're out of luck. So, missing from the TCM schedule are, among others: Best Actress nominees Ruth Chatterton in Sarah and Son, Nancy Carroll in The Devil's Holiday, Claudette Colbert in Private Worlds. Unofficial Best Actor...

Constance Cummings in 'Night After Night.' Constance Cummings: Working with Frank Capra and Mae West (See previous post: “Constance Cummings: Actress Went from Harold Lloyd to Eugene O'Neill.”) Back at Columbia, Harry Cohn didn't do a very good job at making Constance Cummings feel important. By the end of 1932, Columbia and its sweet ingenue found themselves in court, fighting bitterly over stipulations in her contract. According to the actress and lawyer's daughter, Columbia had failed to notify her that they were picking up her option. Therefore, she was a free agent, able to offer her services wherever she pleased. Harry Cohn felt otherwise, claiming that his contract player had waived such a notice. The battle would spill over into 1933. On the positive side, in addition to Movie Crazy 1932 provided Cummings with three other notable Hollywood movies: Washington Merry-Go-Round, American Madness, and Night After Night. 'Washington Merry-Go-Round...

Gary Cooper movies on TCM: Cooper at his best and at his weakest Gary Cooper is Turner Classic Movies' “Summer Under the Stars” star today, Aug. 30, '15. Unfortunately, TCM isn't showing any Cooper movie premiere – despite the fact that most of his Paramount movies of the '20s and '30s remain unavailable. This evening's features are Mr. Deeds Goes to Town (1936), Sergeant York (1941), and Love in the Afternoon (1957). Mr. Deeds Goes to Town solidified Gary Cooper's stardom and helped to make Jean Arthur Columbia's top female star. The film is a tad overlong and, like every Frank Capra movie, it's also highly sentimental. What saves it from the Hell of Good Intentions is the acting of the two leads – Cooper and Arthur are both excellent – and of several supporting players. Directed by Howard Hawks, the jingoistic, pro-war Sergeant York was a huge box office hit, eventually earning Academy Award nominations in several categories,...

'Pirates of the Caribbean: The Curse of the Black Pearl': Johnny Depp as Capt. Jack Sparrow. 'Pirates of the Caribbean: The Curse of the Black Pearl' review: Mostly an enjoyable romp (Oscar Movie Series) Pirate movies were a Hollywood staple for about three decades, from the mid-'20s (The Sea Hawk, The Black Pirate) to the mid-to-late '50s (Moonfleet, The Buccaneer), when the genre, by then mostly relegated to B films, began to die down. Sporadic resurrections in the '80s and '90s turned out to be critical and commercial bombs (Pirates, Cutthroat Island), something that didn't bode well for the Walt Disney Company's $140 million-budgeted film "adaptation" of one of their theme-park rides. But Neptune's mood has apparently improved with the arrival of the new century. He smiled – grinned would be a more appropriate word – on the Gore Verbinski-directed Pirates of the Caribbean: The Curse of the Black Pearl,...

Jean Arthur films on TCM include three Frank Capra classics Five Jean Arthur films will be shown this evening, Monday, January 5, 2015, on Turner Classic Movies, including three directed by Frank Capra, the man who helped to turn Arthur into a major Hollywood star. They are the following: Capra's Mr. Deeds Goes to Town, You Can't Take It with You, and Mr. Smith Goes to Washington; George Stevens' The More the Merrier; and Frank Borzage's History Is Made at Night. One the most effective performers of the studio era, Jean Arthur -- whose film career began inauspiciously in 1923 -- was Columbia Pictures' biggest female star from the mid-'30s to the mid-'40s, when Rita Hayworth came to prominence and, coincidentally, Arthur's Columbia contract expired. Today, she's best known for her trio of films directed by Frank Capra, Columbia's top director of the 1930s. Jean Arthur-Frank Capra...

The Wolf of Wall Street isn’t a remake. Well, not exactly. It definitely isn’t a remake of the other movie titled The Wolf of Wall Street, from 1929, which stars George Bancroft as a man who gets rich in the copper trade and then loses it all through a misunderstanding with his partner, whom he believes is having an affair with his wife. That sounds like something Martin Scorsese would make, or something we’d want to watch after seeing the latest work by him. Unfortunately, the old film is almost entirely lost. Just a little bit of surviving montage material can be exclusively found on a DVD called Unseen Cinema. WoWS is also not a remake of Scorsese’s early short film It’s Not Just You, Murray!, which I posted yesterday and called a template for this new feature. The true story that WoWS is based on has been made into a movie before...

Son of a bitch! George Brent and other Warner Bros. stars forget their lines (photo: George Brent ca. 1940) The Warner Bros. outtakes from the studio’s 1939 and 1940 productions (see below) feature a whole array of movie stars and supporting players not getting things quite right while the cameras were rolling. Perhaps the biggest "star" — i.e., the one featured the most — in the montage is George Brent, who curses right and left after not getting his lines right in several scenes. But not to worry; "son of a bitch" is the strongest exclamation we get to hear. (I’m assuming stronger fare is to be found in the outtakes’ outtakes.) Besides George Brent, the Warner Bros. bloopers montage has Paul Muni joking around while forgetting his lines during the making of We Are Not Alone; Miriam Hopkins having her dramatic moment in The Old Maid ruined by a young maid...

With the arrival of the auteur theory, filmmakers like Michael Curtiz no longer get as much sway among the current generation of directors. Curtiz (born Kertész Kaminer Manó in Hungary in 1886), was a journeyman, a man who flourished in the studio system after being picked out by Jack Warner for his Austrian Biblical epic "Moon of Israel" in 1924. He stayed at the studio for nearly 20 years, taking on whatever he was assigned at a terrifyingly prolific rate -- he made over 100 Hollywood movies up to "The Comancheros" in 1961. And some of them are terrible, as you might expect.

But Curtiz was also responsible for some of the greatest films of the era, and those who diminish his abilities (including the director himself, who once said "Who cares about character? I make it go so fast nobody notices") are ignoring his enormous skill behind the camera, and his undeniable capacity for...

Joel McCrea, Jean Arthur, The More the Merrier The delightful actress Jean Arthur is Turner Classic Movies' star of the evening tonight. Beginning at 5 p.m. Pt, TCM will show five Jean Arthur movies: The Talk of the Town (1942), History Is Made at Night (1937), The Public Menace (1935), The More the Merrier (1943), and Mr. Deeds Goes to Town (1936). Directed by George Stevens, The Talk of the Town received seven Academy Award nominations, including Best Picture and two for its story and screenplay. (Back in those days there were three Best Writing categories.) Arthur is outstanding as a schoolteacher — this is perhaps my favorite among her performances — torn between a law professor (an equally outstanding Ronald Colman) and an escaped convict (Cary Grant). As a plus, former Warner Bros. contract player Glenda Farrell is excellent in a supporting role. The Talk of the Town is not to be missed. Though much less...

Underworld

Directed by Josef von Sternberg

United States, 1927

Josef von Sternberg’s pre-code gangster picture – the one that started it all – plays akin to the director’s vision throughout his career: hazy deep focus shots, sensuality that anticipates his collaborations with Marlene Dietrich, tough guy theatrics, and an eye for poetic framing. Though its more name-famous companion piece, Howard Hawks’ Scarface, was produced five years later and during the Production Code, von Sternberg’s film is surprisingly less violent than Hawks’.

Underworld finds von Sternberg staple George Bancroft in the role of “Bull” Weed – gangster extraordinaire. When Bull happens upon a learned alcoholic itinerant after one of his infamous heists he takes the man under his wing, cleans him up, and nicknames him Rolls Royce (Clive Brook). Rolls Royce’s suave, quiet manner immediately endears him to “Feathers” McCoy (Evelyn Brent), Bull’s girlfriend. While a precarious love triangle develops,...

Each year New York residents can look forward to two essential series programmed at the Film Forum, noirs and pre-Coders (that is, films made before the strict enforcing of the Motion Picture Production Code). These near-annual retrospective traditions are refreshed and re-varied and re-repeated for neophytes and cinephiles alike, giving all the chance to see and see again great film on film. Many titles in this year's Essential Pre-Code series, running an epic July 15 - August 11, are old favorites and some ache to be new discoveries; all in all there are far too many racy, slipshod, patter-filled celluloid splendors to be covered by one critic alone. Faced with such a bounty, I've enlisted the kind help of some friends and colleagues, asking them to sent in short pieces on their favorites in an incomplete but also in-progress survey and guide to one of the summer's most sought-after series. In this entry: what's playing Friday,...

Mr. Deeds Goes To Town (1936) Direction: Frank Capra Cast: Gary Cooper, Jean Arthur, George Bancroft, Douglass Dumbrille, Lionel Stander, H. B. Warner, Ruth Donnelly, Raymond Walburn, Margaret Seddon, Margaret McWade Screenplay: Robert Riskin; from Clarence Budington Kelland "Opera Hat" Oscar Movies Gary Cooper, Jean Arthur, Frank Capra By Dan Schneider of Cosmoetica: There is a tendency among some to think that all the art produced by a great artist is great. This is false, but it gives cover for bad critics who just recycle old blurbs about said artist. Think of the fawning that goes on in discussions of Shakespeare. Although he could be a great writer, all but a dozen or so of his sonnets were mediocre tongue-twisters, and two-thirds of his thirty-seven known plays range from mediocre to terrible. In other words, by being uncritical one actually diminishes the great art that has been produced, for an uncritical...

Evelyn Brent is one of those actresses deserving greater recognition. To say she is “neglected” would not quite be true – but not quite inaccurate either.Brent had an interesting career, and in the 1920s and 1930s appeared in a number of notable films. She worked alongside other actors still well remembered today (Emil Jannings, William Powell, George Bancroft), as well as under the direction of some of the leading filmmakers of her time (Tod Browning, Frank Tuttle). Just recently, two silent film masterpieces starring Brent and directed by Josef von Sternberg, Underworld...

Above: Betty Compson and George Bancroft in Josef von Sternberg's The Docks of New York (1928). Courtesy of the Criterion Collection.

George Bancroft, that clay lump of an actor, is not Marlene Dietrich; it seems obvious but it's true. Neither is Emil Jannings, another majestically bulky silent star. Yet after the new set of silent films directed by Josef von Sternberg are released by The Criterion Collection, the fickle tides of film history and cinephilia may shift again, away from Sternberg's famed evocations of female glamour and towards heavyset giants lit like Caravaggios under Klieg lights.

No other auteur is so associated in his auteurship with an actor than Sternberg with Dietrich (I often seem to refer to them as Dietrich-Sternberg, like Straub-Huillet); yet these three films—Underworld (1927), The Last Command (1928), and The Docks of New York (1928), with the immovable Bancroft leading the first and the last, sandwiching an Academy...

As if the recent November titles weren’t enough, we now have some other films to add to our upcoming Criterion Collection wishlists.

The Criterion Collection will once again be curating the upcoming All Tomorrow’s Parties Film Screenings, in Monticello New York, this September. The event overall, will be curated by Criterion alum, Jim Jarmusch (Down by Law, Night on Earth, Stranger Than Paradise, Mystery Train). Earlier today, Atp & Criterion announced their line-up of films, and hidden among the list of epic titles that we already knew were going to be released, or are already available, were a few little verifications of rumors going around.

The line-up looks to be pretty amazing, and if I could afford the flight, I would surely head out for that weekend. Several of the new Bbs box set will be screening, as well as some other films that we’ve discussed on the...

Crime has not just been good to the criminals; it's been awfully good to Hollywood as well. It so happens I just finished watching Josef Von Sternberg's "Underworld" (1927), the first in a compilation of three silent classics from famed director Josef Von Sternberg, now out via the esteemed Criterion Collection. For those unfamiliar with Von Sternberg, he would become best known later as the director who launched Marlene Dietrich's career in "The Blue Angel" (1930) and "Morocco" (1930). Basically a love triangle involving a crime boss (George Bancroft), the alcoholic former lawyer he saves from the gutter (Clive Brook), and the girl torn between the two men (Evelyn Brent), the movie also features lots of rat-tat-tat action as the mobster rids himself of a key criminal rival. When the film debuted in 1927, at a moment when gangsters were still riding...

Josef von Sternberg's Thunderbolt (1929), his first talkie, is perhaps not so much forgotten as simply hard to see, which means it lives on in the minds of film lovers but in abstracted form, since so few Sternberg fans have managed to get hold of a copy or attend a screening. It's prime Sternberg and deserves to be seen.

On one level a near-remake of Underworld, the so-called "first gangster film", Thunderbolt, like its predecessor (and like altogether lost filmThe Dragnet) it stars George Bancroft as a tougher-than-nails gangster and bank robber who winds up in jail but plots to avenge himself upon his girlfriend's nice-guy lover. Key differences are that Thunderbolt is written by Jules Furthman and his brother Charles—Jules would go on to script several of the Dietrich movies that cemented Sternberg's immortality—rather than by Ben Hecht, so the wisecracking is more philosophical, peculiar and perverse...

Rich Man’s Folly (1931) Direction: John Cromwell Screenplay: Grover Jones and Edward E. Paramore Jr.; from Charles Dickens’ novel Dombey and Son Cast: George Bancroft, Frances Dee, Robert Ames, David Durand, Juliette Compton, Dorothy Peterson Directed by the respected John Cromwell and based on Charles Dickens‘ Dombey and Son, Rich Man’s Folly features George Bancroft as a ruthless, egotistical shipping tycoon whose only concern is his work, all the while grooming his young son so he’ll one day take over the family business. In the meantime, the rest of family is completely ignored. That is the kind of role Bancroft did best: Larger-than life, driven, and arrogant men who usually meet a towering, humbling defeat in the final reel. Also in the [...]...

The Pony Express (1925) Direction: James Cruze Screenplay: Walter Woods; from Woods and Henry James Forman’s story Cast: Betty Compson, Ricardo Cortez, George Bancroft, Ernest Torrence, Wallace Beery, Al Hart The Pony Express is a rousing James Cruze Western depicting the founding of the Pony Express with a backdrop of political ambitions concerning a senator’s plans to get California to secede from the United States so he can build his own empire. A great cast and Cruze’s direction keep this one interesting — even though Ricardo Cortez in a period film seems woefully out of place and pretty Betty Compson’s role is more or less that of an ingenue, merely requiring her to look good while reacting to the things going [...]...