BMFI's Director of Education, Andrew J. Douglas, Ph.D., recently had a review of Christopher Nolan's feature film debut, Following, published in Film International. Here he takes a look at another famous director's first film, David Mamet's House of Games.
David Mamet's House of Games (1987) By Andrew J. Douglas, Ph.D., Director of Education, BMFI
If David Mamet had never taken a turn in the director’s chair, he could still lay claim to a successful career as a screenwriter and be content that he was one of the most influential and acclaimed playwrights of the last quarter of the 20th century. After all, before he made his debut as a film director with House of Games in 1987, Mamet had already written the screenplays for The Verdict (Sidney Lumet, 1982) and The Untouchables (Brian De Palma, 1987), and would go on to write (or co-write) Hoffa (Danny DeVito, 1992), Wag the Dog (Barry Levinson, 1997), and Hannibal (Ridley Scott, 2001). Oh, I almost forgot to mention that in 1984 he won the Pulitzer Prize for Drama for his play Glengarry Glen Ross, and also wrote the screenplay for the 1992 film based on it. In addition, he’s been nominated for two Tony Awards and two Oscars.
But back to House of Games, which, if you haven’t seen it, is most definitely worth checking out. (The terrific Criterion Collection DVD is a great way to do so.) It tells the story of a psychiatrist (Lindsay Crouse, married to Mamet at the time) who encounters a gambler and con man (Joe Mantegna, a longtime Mamet collaborator) and is fascinated by his world. In pursuit of her interest—partly professional, partly personal—she ends up getting far more than she bargained for. Also along for the ride are some Mamet regulars whom you’ll recognize making some early film appearances, including William H. Macy, J.T. Walsh (check IMDB.com—I bet you’ve seen him in at least five movies), and magician, card sharp, and raconteur Ricky Jay (Boogie Nights).
The key ingredient, though, is Mamet, and specifically, his direction. Originally, this screenplay was going to be a big-budget film with a name director and major stars, but when the plans changed and Mamet was able to direct it—and cast his troupe—it became something more than just another above-average thriller. For the first time on screen, Mamet is able to shape the performances of the characters he’s created, hone the articulation of the dialogue he’s carefully crafted, and guide viewers through the story’s machinations with the precise amount of help they need, and not a drop more. As a fan, I greatly enjoy hearing Mamet’s dialogue in a film like The Untouchables, but I’m transfixed when I get a window into an entire world that Mamet has created in a film he’s written and directed, like House of Games.
And I’m not alone. In his review of the film Vincent Canby, of The New York Times, agrees that “Mr. Mamet, poker player and Pulitzer Prize-winning playwright, makes a fine, completely self-assured debut directing his original screenplay.” Canby adds: “It’s clear that Mr. Mamet not only knows exactly how he wants his work to sound, but also how it should look . . . (the film) is the first true Mamet work to reach the screen, and the direction illuminates it at every turn.” Roger Ebert, in his review, wrote: “House of Games never steps wrong from beginning to end, and it is one of this year’s best films.” Please take their words for it, if not mine, and see House of Games. It is the first film directed by one of our country’s most gifted, incisive, and engaging storytellers.
Dr. Andrew J. Douglas received his Ph.D. from the Department of Radio/Television/Film at Northwestern University. He will be moderating Bryn Mawr Film Institute's Film History Discussion Series: 1945-Present, which begins on January 27.
Actors get to transform their look regularly as part of their jobs, but Halloween is one of the few times when the rest of us are encouraged to dress up in crazy costumes. Why should the actors get all of the fun? At BMFI we love it when our guests wear costumes, as fans of our sing-along screenings know. In celebration of the spooky holiday, if you wear a costume to see a movie at BMFI this Halloween, you’ll get a free small popcorn!
If you needed some inspiration getting your last-minute costumes together, here are some of our staff’s favorite movie-themed costumes:
Andrew J. Douglas, Ph.D., Director of Education
It’s always fun to see people who’ve taken the time, and have the creativity, to create a costume based on popular movie characters. Who among us men of a certain age never dressed up as Han Solo for Halloween, for example? When the “casting” is right, and the costume is spot on, it can make for a wonderful treat this time of year. However, there is one thing better: When a person uses that time and creativity to make a great costume based on a supporting, or lesser-known, character from a film (blockbuster or no). For example, it never would have occurred to me, in a million years, to base my Halloween costume on Les Grossman, the sleazy producer in Tropic Thunder, played by Tom Cruise in a stunningly hilarious barely-more-than-a-cameo, but I have all the appreciation in the world for this guy who did.
Maxwell Gessner's Les Grossman costume was so perfect, it took home a prize in the 2010 Tom Cruise Halloween Costume Contest run by TomCruise.com, Cruise's official blog.
Valerie Temple, Programming Manager
I'm not into preplanning for Halloween—I usually just whip up a costume by throwing together items that I already own. Of course, I'm the kind of person who happens to have a pair of old-school roller skates and a selection of ‘70s loungewear in her closet. Pop on a blond wig and you've got the perfect Rollergirl (Heather Graham) from Boogie Nights!
Heather Graham played Rollergirl in Boogie Nights. If you have gold lame pants and skates, this costume is an easy one to replicate.
Patricia Wesley, Director of Development and Communications
Main Line thrift shops are my favorite place to shop for Halloween costume materials. A heavily beaded dress from the ’80s plus a fake fur, all the pearls you can find, and an hour with some scissors, and you are ready to go as Daisy from The Great Gatsby. Elbow-length gloves are usually available for a few dollars (you might even find kid gloves). Add a cigarette holder and a beaded cigarette case! Best of all, as Daisy, you have a license to have a great time!
Carey Mulligan dripped in diamonds and pearls as Daisy Buchanan in Baz Luhrmann's 2013 version of The Great Gatsby.
Kerri Grogan, Staff Assistant
What I love to see in any costume, not just one for Halloween, is creativity. This costume, make-up job, and prop design was created by Rayce Bird on the reality show Face Off, for a Tim Burton-themed challenge. I think it’s breathtaking. The concept is packed with emotion: it’s all about a musician’s passion for music and for her instrument. It’s also a beautiful interpretation of Tim Burton’s signature visual style and an homage to the emotion he puts into his characters.
Artist Rayce Bird created this beautiful costume, inspired by Tim Burton's work, for the television show Face Off.
For my part, an easy and fun costume for a couple would be the young runaways from Moonrise Kingdom. For Suzy (Kara Hayward), you would need a pink above-the-knee dress, white knee socks, and a pair of binoculars. Pull your hair half-back in a clip and amp up your eye shadow. For Sam (Jared Gilman), you'd need a scout’s uniform (or a similar khaki shirt and shorts) with a yellow kerchief, glasses, and a coonskin cap. A canteen and a pop-gun would make great props. And voila!
Dressing as the young lovers in Wes Anderson's Moonrise Kingdom would make for a fun pair of costumes.
We hope to see you in costume on Thursday, and happy Halloween!
What are some of your favorite movie-related costume ideas? Tell us in the comments below.
Devin Wachs is the Communications Manager for Bryn Mawr Film Institute. She joined BMFI's staff in 2005, following her graduation from Bryn Mawr College. If you send BMFI a message on Facebook or Twitter or are interested in onscreen sponsorships, she's the one who'll be in touch!
Big changes and improvements are happening here at Bryn Mawr Film Institute. Construction is underway, and now that we’ve reopened our first renovated theater, we're excited to unveil some of the accessibility enhancements that are changing the way our viewers experience movies. Some Assisted Listening Devices, or ALDs, are available in theaters throughout the country, but BMFI is on the cutting edge in our region with what will ultimately be three different types of hearing devices: closed captioning, headphones with enhanced audio, and the “loop.”
The USLinc Closed Caption Receiver is a simple, portable way to enjoy closed caption subtitles for any film. This device fits snugly in your seat cupholder, and the adjustable goose neck allows you to position the caption box exactly where you want it. It's battery operated, so there are no cords to tangle with. The text is crisp, clear, and easy to read without being harsh in low-light settings. Since it uses infrared sensors, it won't pick up interference from other theaters or radio transmitters.
Bryn Mawr Film Institute is currently the only art house theater in the region that offers this closed caption system!
Thanks to the innovative hearing system known as The Loop, real movie sound can now be transmitted right to your hearing device. The loop is a sound system that broadcasts directly into hearing aids and implants, meaning that it serves you by using your own device, which is already customized to your exact specifications. Most new hearing aids come with Telecoil technology that can pick up on signals sent from a loop system. How can you tell whether your hearing aid is loop-equipped? According to HearingLink.org, if your hearing aid has an obvious "T" setting on the program switch, you can probably use it with the loop system. However, if you really can't tell, the best way to find out is to ask your audiologist.
We are looking into aids for the visually impaired as well.
As always, BMFI is fully wheelchair accessible. There is wheelchair-accessible parking in the lot behind the theater, as well as wheelchair seating and restroom access. There is an elevator with access to the second floor.
We hope that these enhancements will help you to enjoy a day at the movies at BMFI! Kerri Grogan is BMFI’s Staff Assistant. She studied animation at the Maryland Institute College of Art, and moonlights as a dice-rolling, video gaming geek, blogger, and comic artist.
Our Kids Matinees tribute to beloved children's author Roald Dahl features a screening of Willy Wonka & the Chocolate Factory (1971) this Saturday, September 28 at 11:00 am. Kerri Grogan shares some sweet facts about the making of the candy-filled fantasy.
I've Got a Golden Ticket: Willy Wonka & the Chocolate Factory By Kerri Grogan, BMFI Staff Assistant
Charlie and the Chocolate Factory was written by Roald Dahl and published in 1964. As with many of his novels, Dahl drew inspiration from his experiences as a schoolboy in the 1920s, a time when chocolate companies were competing fiercely with each other for young customers.
But what inspired the film? Director Mel Stuart said that he was approached by his daughter, who was ten at the time and had just finished reading the novel. It delighted her so much that she told her father that he should make a film out of it!
Turning this sweet novel into a delightful film was fairly challenging, especially when many of the actors were children without a lot of acting experience. Stuart had a simple way of capturing some genuine expressions from the actors, though: by making sure they really were surprised. For instance, the kids' reactions to the chocolate room are very real—it was their first time viewing the set! Also, even though the Wonkitania was being pulled down the chocolate river on a track, the actor portraying the Oompa Loompa at the helm thought he was the one steering. Stuart decided not to tell him the truth, to keep it more believable.
Director Mel Stuart surprised the young cast of Willy Wonka & the Chocolate Factory with Willy Wonka's Chocolate Room. Until they shot the scene, the young actors had never seen the set.
Gene Wilder, who played the iconic Willy Wonka, was particularly convincing. Julie Dawn Cole (Veruca Salt) said in the 30th Anniversary DVD commentary that she was completely fooled by his fake limp during filming. She assumed he had really injured himself and that production would be delayed! When he went from limping straight into a somersault, she was just as surprised as the audience. While they were floating down the chocolate river by boat, his acting was so convincing that it frightened some of the actors: they thought he really was going mad! He was even instructed not to tell Peter Ostrum, who played Charlie, that he was going to yell at him during a scene late in the movie. The pair had formed a close friendship by then, so Ostrum's shock at being yelled at was completely real. Yikes!
There were some similar mishaps behind the scenes, too. In Wonka's office, Stuart decided to have all objects in the room cut in half to give the room a more whimsical, less ordinary look. While one of the prop men was working on the set, he accidentally started sawing into a real coffee pot that someone had left in the work area! He only realized his mistake when it was too late: coffee was already leaking out.
"You're turning violet, Violet!" The makeup that turned Violet Beauregarde purple in the film seemed to have a negative side effect on actress Denise Nickerson. When she returned to school after wrapping up the film, a classmate leaned over and told her she was changing color. The makeup had seeped into her pores and was turning her violet all over again!
Kerri Grogan is BMFI’s Staff Assistant. She studied animation at the Maryland Institute College of Art, and moonlights as a dice-rolling, video gaming geek, blogger, and comic artist.
This year I had only four days at the Toronto International Film Festival (TIFF) and each one was packed with four to six full-length movies and a handful of twenty-minute samplings in some rare free moments. I had trouble with Twitter, so abandoned it. Below are my faux tweets.
Themes this year a bit harder to discern, but one theme I noticed was passion, in its many forms: alive, dead, dying, gone bad. These films are indicated below with a (P) at the end of the film blurb. There were at least four films on “Words”, of which I saw three, indicated with a (W). “No crime goes unpunished” or Aquinas’ “the ends never justify the means” was the final theme of the last two films I viewed, indicated with an (E) for “ends”.
Going to TIFF is work. I am in search of movies to show at BMFI and I look at all films through that filter. “Yes” means we would show it, “No” means we would not show it, and “Maybe” means just that.
Labor Day (d. Jason Reitman) – USA
Would we like to show this? –Yes
Kate Winslet is again wonderful in this absorbing “hostage-romance” film. Tension maintained with rewarding results. (P)
Tim’s Vermeer (d. Teller) – USA
Would we like to show this? – Yes
Wealth enables this obsessive inventor to work out the technology behind Vermeer’s art. Very interesting doc, though a bit too self-indulgent.
Le Week-end (d. Roger Michell) – UK
Would we like to show this? – Yes
If only the wife in this 30-year marriage weren’t so sadistic and mean… but that’s part of the uniqueness of this aging couple rom-com. Scenes of Paris sweeten the taste and soften some of the truthfulness of their conflicts. Must now watch Le Weekend of Goddard to appreciate its references.
I Am Yours (d. Iram Haq) – NOR
Would we like to show this? – No
While this exposes the multicultural picture of Norway to some extent, it is narratively weak.
Prisoners (d. Denis Villeneuve) – USA
Would we like to show this? – Yes
A great director and wonderful cast, but a few loose ends in this remarkably tense and a bit too gruesome story mar its polish. (P)
This is Sanlitun (d. Róbert I. Douglas) – CHN/ISR/IRL
Would we like to show this? – No
Not a funny enough spoof on ex-pats in this stylish neighborhood of Beijing. The idea is there, but the execution did not have me laughing—and it was supposed to, I think. What does come through is the arrogance and naivete of westerners trying to make it in China. (W)
12 Years a Slave (d. Steve McQueen) – USA
Would we like to show this? – Yes
A remarkable true story that we all wish were fiction, expertly executed with a superb cast. Should we wonder why an Englishman was the one to bring it to our attention on the screen? It is far better than the trailer, and will be a “must see” for everyone. (E)
Bad Words (d. Jason Bateman) – USA
Would we like to show this? – Yes
Light and funny, at last, this spelling-B farce is a good night’s entertainment! (W)
Love is the Perfect Crime (d. Arnaud Larrieu) – FRA/SUI
Would we like to show this? – Maybe
I am a sucker for Mathieu Amalric, architecture, and the alps in winter, but the peculiarities of this thriller don’t quite live up to the setting and the cinematography. (E/P)
Gravity (d. Alfonso Cuarón) – USA/UK
Would we like to show this? – Yes, but not without 3-D
Finally, a film that rationalizes 3-D. Neither the two characters nor the appreciative audience (will) have much to talk about. Here a picture wins out over words (see below movie of similar title). Total immersion in CGI and exhausting.
Enough Said (d. Nicole Holofcener) – USA
Would we like to show this? – Yes
Charming and poignant, given the recent death of the male star, James Gandolfini. The naturalness of the characters enrich this sweet, but not saccharine, romance.
Words and Pictures (d. Fred Schepisi) – USA
Would we like to show this? – Yes
Why is the part of the eccentric American English teacher given to Brit Clive Owen, who cannot quite hide his accent? Any number of great male actors could have done it. At least Juliette Binoche is playing an artist whose unexplained French accent may make a bit more sense. Am I picky? Yes. This film deals with a wonderful subject, yet it is a bit too predictable and fey. Can’t the battle between words and pictures, fought by newly energized students in a prep school, be enough in itself without throwing in the 12 Step program to save the drunken English teacher? (W)
Walesa. Man of Hope (d. Andrzej Wajda) – POL
Would we like to show this? – Maybe
Poland’s greatest filmmaker combines reenactment and archival footage to explore the motivation and methods of this simple man who did so much to change the world in the 1980s. Worth seeing to remember him and learn what happened (probably) behind the scenes.
When Jews Were Funny (d. Alan Zweig) – CAN
Would we like to show this? – Yes
I can’t believe it, but I got a bit tired of the question, “Are Jews funnier than others?” However, there are enough laughs to satisfy most Jewish audiences, even if the filmmaker can’t quite focus on what his real questions are. Did you hear the one about the thirsty guy…? (W)
Fading Gigolo (d. John Turturro) – USA
Would we like to show this? – Yes
Of course we all will go to a movie written, directed, and co-starring John Turturro and Woody Allen (who MUST have had a hand in the directing and writing, don’t you think?) Turturro is a believable novice prostitute. Woody as pimp is funny and slightly embarrassing. His living with a black family and supporting a Hasidic widow are both confusing plot features that may be his idea of a perfect NY story. Sure you’ll go see it.
Wonders (d. Avi Nesher) – ISR
Would we like to show this? – Maybe
Alice in Jerusalem might be its subtitle, and that city is as much the star of this film as the humans who are caught up in a religio-criminal-fraud tangle that provokes giggles if not laughs.
American Dreams in China (d. Peter Ho-sun Chan) – HKG/CHN
Would we like to show this? – Yes
China’s economic success is powered by creative entrepreneurs who, in the case of this movie, are funny and inventive. Their goal is an English language school to prepare millions of young Chinese with better TOFL scores for entry into US colleges. Their friendship survives partnership travails. The choppiness of the narrative is challenging, but the heart of this film is solid. And Christopher Doyle’s camerawork is as remarkable, as usual.
Enemy (d. Denis Villeneuve) – CAN/ESP
Would we like to show this? – No
A great director entirely off his mark. This is a slow moving doppleganger story that looks like a psychological thriller but one leaves without an inkling as to what is going on in the psychology of the character. The entire audience was in the dark, I sensed.
Night Moves (d. Kelly Reichardt) – USA
Would we like to show this? – Yes
A very good tale that proves, as St. Thomas Aquinas argues, the ends do not justify the means. No matter that the environment (water, in this case) may be improved, be wary of your means. What’s wrong is wrong. OK, got the point. This movie brings it to life quietly and with some terrific acting and directing. (E)
Therese (d. Charlie Stratton) – USA
Would we like to show this? – Yes
Another case where the crime cannot be justified and the sinners get their just deserts. This is a close adaptation of Zola’s novella and beautiful and poignantly set. Jessica Lange is the strong centerpiece of this cast. It is a costume piece with finely carved characters, great atmosphere, and good pace. (E)
Cool off at BMFI as we bring our "My Summer Vacation" series to a close with the 1961 Disney classic The Parent Trap, which will be showing on Saturday, August 24 at 11:00 am.
By Kerri Grogan, BMFI Staff Assistant
One actress, two roles. Hayley Mills was certainly up to the task of playing both twins in The Parent Trap, but in 1961, when computers weren't used for film editing, how did she manage to appear in two places at once? The creative minds of Walt Disney Studios used a few different techniques to make sure you'd be seeing double.
The easiest way to make this kind of film work is to use a body double, and for The Parent Trap, Susan Henning fit the bill—she and Mills were the same size, right down to their shoes! They got along quite well, too. Henning even helped the natively British Mills learn some American slang for the part. For many scenes, she stood in as one twin and then they switched places to film Mills as the other twin. You can see Henning herself plenty of times too, cleverly facing away from the camera. Unfortunately, despite those appearances, the way her contract was worded meant that she went uncredited for her part in the film. For a long time she wasn't even allowed to talk about it! However, at the wrap party, Walt Disney presented her with "The Duckster", a small Donald Duck statue that served as an award recognizing her as the "Best Unseen Performance of the Film."
Hayley Mills pulls double duty as Susan and Sharon in a duet of "Let's Get Together." Her version of the song became a pop hit!
The clever technique they used for more complicated scenes is called "double exposure", or in filmmaking, "split screen". The cameraman locks the camera in place and the exact same scene gets recorded twice, once with the actor on one side of the screen, and then again on the other. Then the negatives from both recordings are spliced together by hand. No one knew if it was going to turn out well, so originally they only planned to use it for a few shots. But when Walt Disney saw the end result, he was so pleased with it that he rearranged the script to include more.
Can you try acting as two different characters at the same time? Mills reportedly got so confused while filming that the only way she could tell which character she was playing was by the wig she was wearing. And then they both cut their hair short!
Disney remade The Parent Trap in 1998, but even with all the advances in technology since the original came out, they decided to use these very same techniques to give the illusion of one actress playing two characters. Fun fact: Joanna Barnes, who played Vicky Robinson in the original, played Meredith Blake's mother in the remake. The character's name was Vicki.
Did you know? The film went through a handful of different titles, starting with His and Hers. The studio even had a contest for fans to pick the name of the film! Some of the winning titles were "Susan and I" and "We Belong Together." Then one day Walt walked in, announced that they were calling it The Parent Trap, and the rest is history. Kerri Grogan is BMFI’s Staff Assistant. She studied animation at the Maryland Institute College of Art, and moonlights as a dice-rolling, video gaming geek, blogger, and comic artist.
Bryn Mawr Film Institute is hosting a Summer Family Favorites screening of To Kill a Mockingbird, directed by the late Robert Mulligan. In honor of Saturday's showing, film fan Alan Webber takes a look at two of Mulligan's best films, including To Kill a Mockingbird.
Director Robert Mulligan: Two Summer Gems By Alan Webber, BMFI Patron and Film Fan
Robert Mulligan (1925-2008), like his contemporary Sidney Lumet, was part of a new wave of filmmakers who learned their craft in the “golden age” of television. He is a neglected American film director who is due for a major reassessment if his consistent quality is recognized. He fully mastered what can be called a “classical” style, which was essentially unassuming and minimalist in technique.
Robert Mulligan directed six films in the 1960s alone, including To Kill a Mockingbird (1962) and Up the Down Staircase (1967). He was well known for directing dramatic films that were tender, nostalgic, and filmed with very fluid camera motions.
Some critics took him to task for lacking a strong directorial vision, yet he was often praised for a fluid camera, a strong narrative ability and a fidelity to his source material. More popular with audiences than with critics, he did not receive the same acclaim as other contemporaries like John Frankenheimer and Arthur Penn. Yet, sensing a kindred spirit, French director François Truffaut was a vocal champion.
Mulligan’s most notable talent was, like Truffaut’s, a special sensitivity in the handling of young people. It was this enduring interest in youngsters on the cusp of self-discovery in an adult world that that occupied him from his first film to last and is most evident in two of his finest: To Kill a Mockingbird (1962) and Summer of ’42 (1971). The films are set in summers ten years apart and make great vacation viewing.
To Kill a Mockingbird Maycomb, Alabama, 1932
Mulligan’s greatest achievement “remains one of the most well-respected and emotionally engaging films in the American cinema,” as Charles Derry puts it. This alone should be enough to demand a reevaluation. It is a movie which continues to please audiences everywhere, whether they remember it from their past or whether they see it today for the first time. It is, like Harper Lee’s Pulitzer Prize-winning novel from which it was adapted, moving, passionate, and told with great humor and tenderness.
The film recounts the childhood experiences of six-year-old “Scout” Finch (played by Mary Badham) during the Great Depression in the fictional town of Maycomb, Alabama. When her widowed father Atticus Finch (Gregory Peck), a principled and respected attorney, defends a black man falsely accused of raping a white woman, Scout and her brother Jem (Phillip Alford) witness the horrors of racism. They also learn valuable lessons about courage, compassion, tolerance, and prejudice.
Phillip Alford and Mary Badham as Jem and Scout, respectively, in To Kill a Mockingbird. Director Robert Mulligan was adept at working with young actors, a trait that carried through to the end of his career.
But bringing Ms. Lee’s celebrated novel of the Deep South in 1932 to the big screen was not an easy task. Studios didn’t want to produce it, for it was “only” a story about a middle-aged Southern lawyer with two kids. There was no romance or onscreen violence and it was certainly devoid of action. Who would want to see this?
But, as Marc Lee has noted, and Mulligan skillfully demonstrates, "…the story is in their characters, their failings and fragility, their heroism and nobility of spirit. It’s in the depiction of heart-breaking cruelty and heart-warming humanity. It’s in the innocence of a child’s world overshadowed by the evil that adults do.”
It is also a daughter’s loving evocation of her dad as seen through her childhood eyes.
In the film, Mulligan demonstrates his greatest skill: a keen attention to the inner lives and self-discovery of young people. He coaxed nuanced performances from Mary Badham (Scout) and Phillip Alford (Jem) and guided Gregory Peck to an Oscar.
The film is not without critics though, most notably Roger Ebert, who has castigated To Kill a Mockingbird for its misplaced liberalism and heroics. For most, however, the film remains an enduring classic.
The American Film Institute named Atticus Finch the greatest movie hero of the 20th century. The film was ranked number 34 on AFI's original list of the 100 greatest movies of all time, but moved up to number 25 on the 10th Anniversary list in June 2008.
I believe Elmer Bernstein’s musical score is among the finest ever written and was the first soundtrack album I ever purchased. I still listen to it today. It placed 17th on the AFI’s list of greatest film scores.
Summer of ‘42 Nantucket Island, 1942
Summer of ’42 is a coming-of-age drama based on the memoirs of screenwriter Herman Raucher. In his early teens, he and a bunch of friends would summer on Nantucket Island. In 1942, Raucher engaged in a one-sided romance with a married woman, Dorothy, who had come to the island while her husband had gone off to war. With some modifications, this is the tale Raucher brings to the screen, along with all the coming-of-age hijinks that you would expect from teenage boys and girls centered on their sexual self-education and experimentation. Warner Bros. liked the script so much that they asked Raucher to novelize the story. The resulting book was published prior to the film’s release and it became a runaway bestseller.
The film's screenplay was so well-received that it was made into a novel before the movie was released. For that reason, many people mistakenly think the story was based on a novel.
Summer of ‘42 opens with an adult Raucher recalling in narration (Mulligan provides the voiceover) his time as 15-year-old “Hermie” (Gary Grimes) on the island with his best friends, the sex-obsessed Oscy (Jerry Houser) and timid Benji (Oliver Conant). The teens in this film are archetypical and I knew a half-dozen “Oscy”s in my own high school years with the same obsessions. Early on, the boys encounter Dorothy, played by a radiant 22-year-old Jennifer O’Neill.
She is the bride of a naval officer who is shortly sent off to war. Hermie casually develops a relationship with her, which soon becomes a one-sided romance on his part while he carries home her groceries, puts boxes in her attic, and shares awkward talks over her “exquisite” coffee.
Hermie goes to visit her one night and discovers that her husband has been killed in the war. In Dorothy’s sorrow and grief she takes 15-year-old Hermie to her bed. The sequence was filmed by famed cinematographer Robert Surtees with the simplicity and sensitivity that is a signature of all Mulligan’s films, especially those involving young people. Dorothy leaves the island the next day having written Hermie a note trying to explain their carnal experience and what he should remember. The mark she leaves on Hermie’s psyche is positive, profound, and lasting. Hermie never sees her again, but Herman Raucher carried her with him the rest of his life and gained joy and strength from that knowledge.
The film is sentimental and nostalgic in the best Hollywood tradition, although some critics held this overt sentimentality against Mulligan in later assessments.
Summer of ‘42 was a major box-office hit and the film received five Academy Award nominations. Composer Michel Legrand won Best Original Score for one of the most memorable ever written.
Robert Mulligan made some other fine films with adolescents at their core, including Up the Down Staircase (1966). The film features an Oscar-nominated performance from Sandy Dennis and remains one of the finest depiction of “teaching” ever on screen.
His final film and one of his best, The Man in the Moon (1991), features the debut of a 14-year-old Reese Witherspoon, and is a subtle, beautifully realized coming-of-age story of young love. Ebert considered it to be a “masterpiece of language and mood.” Again, Mulligan’s sensitivity to performance and period detail is evident. It is a deeply poetic and moving film.
The film was a postscript to a fine career, for by 1991 Mulligan’s time in the limelight had passed as Hollywood had, as Richard Corliss remarked, “jettisoned sentiment and subtlety for sharks and light sabers” and Mulligan had “outlived the mood he so delicately captured.”
Can Mulligan regain some of his luster? It’s possible, but as Charles Derry has noted, “His taste may be too fine and his feelings too sentimental to attract contemporary regard in a culture which thrives on the sexy, profane conflicts…” common in films today.
Other notable Mulligan films are: Fear Strikes Out (1958), Love with the Proper Stranger (1964), Baby, The Rain Must Fall (1965), Inside Daisy Clover (1966), The Other (1972), and Same Time, Next Year (1978).
Our "Hitchcock at the Height" series comes to a close this Wednesday, July 31, with the avian thriller The Birds, which will be introduced by Andrew J. Douglas, Ph.D.
Terror by the Sea: The Birds By Kerri Grogan, BMFI Staff Assistant
Spoiler warning!
This year marks the 50th anniversary for Hitchcock's harrowing film, The Birds (1963), but the novelette it was based on was already a decade old by then. Also titled The Birds, it was written by Daphne du Maurier and originally published in 1952. Both feature deadly attacks by birds in a seaside town, but there are some big differences from text to film. One of the main changes was Tippi Hedren's character, Melanie Daniels, who was originally war veteran and family man Nat Hockens.
The other distinctive change is setting. While the original story is set in du Maurier's native Cornwall, Hitchcock moved the story to Bodega Bay, a remote coastal town in California. Eerily enough, two years before the film's release, there was a real avian invasion in the seaside city of Santa Cruz, California. Hitchcock reportedly asked for a copy of the news article covering the event (which you can read here) to use as research material. Obviously the real event had no widespread aftermath, but the novelette does: by the end, all of Britain is suffering from deadly attacks. Hitchcock's film doesn't explicitly have the same apocalyptic results, but it does hint at it.
Hitchcock leaves a very open ending in the film by intentionally omitting a "the end" title card. He wanted audiences to have the impression that the terror faced in the film was ongoing.
Did you know? The attic attack scene took a full week to film, and used only live birds–no puppets. Hedren was injured during filming, and afterwards, she was so exhausted that she had to spend a week in the hospital! Hitchcock leading man Cary Grant happened to be visiting the set that week, and after watching the filming, he called Hedren "one brave lady" for her work on it. [Source]
Kerri Grogan is BMFI’s Staff Assistant. She studied animation at the Maryland Institute College of Art, and moonlights as a dice-rolling, video gaming geek, blogger, and comic artist.
We are thrilled to present the powerful new film Fruitvale Station starting today at BMFI. The drama features a break-out performance from Michael B. Jordan (The Wire) as Oscar Grant, who was shot and killed by a transit cop in the wee hours of New Year's Day 2009. Written and directed by debut filmmaker Ryan Coogler, this heart-wrenching dramatization of Oscar's final day won awards at Sundance and Cannes and co-stars Academy Award winner Octavia Spencer as Oscar's mother.
Michael Coard, a criminal defense attorney in Philadelphia with twenty years of state and federal trial experience, will moderate a discussion about Fruitvale Station and the issues it raises after the 7:00 pm show this Monday, July 29. You candownload a flier with more information about this special screening and buy tickets here.
Below you'll find some questions for self-guided discussion; printed copies are also available in our lobby.
Suggested Questions for Self-guided Discussion
The film’s outcome is a given and the story is told in flashback. Did the “spoiler” at the beginning spoil anything for you as a viewer? Does knowing the outcome make the details in the dramatization seem more meaningful or poignant?
What impact did including the real cell phone footage captured by bystanders at the scene have for you as a viewer?
How does the film put you into the characters’ shoes? What methods did the filmmaker use that promoted your understanding of their situation?
What effect does the flashback to prison in the film have on you as a viewer? What role does it play in giving you a better sense of Oscar Grant?
What did you think of the inclusion of the dog scene?
How does the use of the hand-held camera change your relationship to the characters and the story being told?
This is an emotional film. What aspects of it most touched you? What filmmaking techniques did the filmmakers use to heighten your emotional response?
What is your biggest takeaway from the film?
When Oscar Grant was killed on New Year’s Day 2009, it shocked the world and made headlines. How does your remembrance of the news coverage of the event impact your understanding of the film, and vice versa?
How does the film’s character-oriented narrative approach impact your understanding of the issues Oscar Grant’s murder raises?
Would you consider Fruitvale Station a political film? How does the film contribute to your understanding of race relations in America?
If you've seen the film, what discussion questions would you add? Tell us in the comments below. Devin Wachs is the Communications Manager at Bryn Mawr Film Institute. She joined BMFI in 2005, following her graduation from Bryn Mawr College. If you
send BMFI a message on Facebook or Twitter or are interested in onscreen
sponsorships, she's the one who will be in touch!
Our "Mad for the Marx Brothers" series continues this Saturday, July 20, with the Marx Brothers' first feature film, The Cocoanuts!
"Talkie" Triumphs and Technical Tribulations: The Cocoanuts By Kerri Grogan, BMFI Staff Assistant
Before the Marx Brothers released their first feature-length film, The Cocoanuts, producer Monta Bell wanted Groucho Marx to discard his signature grease paint mustache, citing that it was too "phony-looking" for audiences to believe. Groucho's response? "The audience doesn't believe us anyhow. All they do is laugh at us, and isn't that what we're being paid for?"
Filming The Cocoanuts (1929) for the silver screen had its pitfalls. Trying to record singing, music, and zany antics in the early days of sound films was tricky. Cameras were noisy--so noisy that they had to be placed in soundproof cases so that the camera noise wouldn't be recorded by the external microphones! Microphones were stationary, too, meaning that in order to stay within the recording area, actors had to keep a limited range of motion.
Another problem was recording sensitivity. If camera sounds were being recorded, you can bet that other noises were, too. One of the most notable problems was the rustling of paper props. At first, shots including them were re-recorded, very carefully, to minimize the sound that they made. Then someone had the bright idea of soaking all the paper props on set in water!
Does this map look a bit soggy to you? Chico and Groucho Marx look over blueprints for the Hotel de Cocoanut.
Rumor has it that director Robert Florey was also put into the soundproof camera chamber once or twice. Why? He had never seen the Marx Brothers in action, and couldn't stop laughing while the cameras were rolling.
Fun fact: The ink that Harpo drinks in the hotel lobby was actually Coca-Cola. Delicious!
Kerri Grogan is BMFI’s Staff Assistant. She studied animation at the Maryland Institute College of Art, and moonlights as a dice-rolling, video gaming geek, blogger, and comic artist.
Welcome to BMFI's blog. We're a non-profit art house movie theater and film education center in Bryn Mawr, Pennsylvania. Check here for the scoop on upcoming films, education courses, and information about the renovation of our 1926 theater.
