You know the summer movie season is over when people start talking about Melissa McCarthy winning an Oscar for a true-life drama and not about her languishing through a much-derided adult puppet comedy.
That’s right—it’s fall. Bring on the earnest biopics about figures as different as Neil Armstrong and Freddie Mercury, and movies about drug addiction and war correspondents. Robert Redford’s acting career ends, Tiffany Haddish’s stardom takes off, and we get a Lady Gaga version of a classic Hollywood tragedy.
Of course there are aliens and supervillains too (mixed in with the Oscar bait). The awards contenders often have their release dates shift around, but here’s a sampling of what the landscape looks like from now until the holiday season.
[Originally published in Movietone News 32, June 1974]
At least half of Seattle knows by now that the Seattle Film Society did not show AnimalCrackers as originally announced for May 18. They know because at least half of Seattle was planning to come see AnimalCrackers at St. Mark’s Cathedral. This is what happened.
AnimalCrackers is the one among the thirteen films of the Marx Brothers that has not been in general release for years. Like its predecessor Cocoanuts, it was based on—it virtually is—a stage show the boys did late in the Twenties. The original producer was Paramount Pictures, the studio that produced all of the first five Marx films (Cocoanuts, AnimalCrackers, MonkeyBusiness, Horsefeathers, DuckSoup). Paramount no longer distributes its post-silent, pre-1950 films; they were picked up for nontheatrical distribution and TV leasing by Universal MCA. Because of some hassle involving the copyright on the preexisting stage material, Universal has never troubled to clear the way toward officially rereleasing AnimalCrackers. Hence its increasingly conspicuous absence on the repertory circuit otherwise wellnigh glutted with Marx Brothers movies.
Too Much Johnson, the Orson Welles film (or rather film project) that was long thought lost (the last print was reportedly destroyed in a fire in Welles’ Spanish home in 1970), was found a few years ago and restored. It’s not a feature or even a short, per se, more of an experiment shot to accompany a production of the theater farce “Too Much Johnson,” but at least the first section plays just fine on its own as a tribute to silent slapstick comedy with Joseph Cotten doing Harold Lloyd antics and Buster Keaton chases as a serial philanderer pursued by a jealous husband. The film was unfinished but mostly complete and you can watch both the workprint and a “reimagined” version with the outtakes removed at the National Film Preservation Foundation website. An HD version of both are available through the subscription streaming service Fandor.
I wrote an essay on the film for Keyframe: “This would all be interesting but academic if it wasn’t also entertaining and Too Much Johnson is a hoot. The prologue was designed to open the play, introduce the characters and situations, and set the racing pace for the stage scenes with a wild slapstick chase through the streets of New York to the ship that carries the story to Cuba. It plays just fine on its own (with an assist from intertitles added by NFPF), like an open-ended Mack Sennett farce that races through German Expressionism and Russian Formalism on the way to the docks. The subsequent sequences, both much shorter and apparently incomplete, are not as self-contained or coherent but they do feature some eye-opening moments for Welles fans.”
The third wave of Amazon Prime Instant Video Pilot Season shows will be available to sample on Thursday, August 28. As in previous waves, Amazon has made the pilot episodes of five new shows available to all Amazon customers (you don’t have to be a Prime member to watch them), and they will decide which shows move forward to full series based on audience feedback.
This time through, they have enlisted some interesting directors to create for the small screen. Whit Stillman heads to Paris for The Cosmopolitans, a continental romantic comedy, David Gordon Green (director of Pineapple Express and HBO’s Eastbound and Down) stays home in New Jersey for Red Oaks, a coming-of-age comedy set in 1985 (it’s produced by Steven Soderbergh), and Jay Chandrasekhar offers the sitcom Really, about a tight-knit group of married couples in Chicago. Each of these are in the half-hour format.
There are also two hour-long shows: Marc Forster (World War Z) takes the helm on Hand of God, starring Ron Perlman as a judge of dubious morals who goes vigilante after receiving messages from God, and writer / producer Shaun Cassidy delivers Hysteria, with Mena Suvari as a neurologist faced with virtual virus spread through social media.