The winners will be announced Oct. 19th at the Folio Eddie & Ozzie Awards Luncheon in New York. Jason wishes to thank the team at Folio, and also thank and congratulate AC editor-in-chief and publisher Stephen Pizzello, managing editor Jon Witmer (also a fellow nominee), and the entire AC team.
By Jason Apuzzo. Over the course of its storied first century, Technicolor came to represent more than a motion-picture technology company. Marked by a vividness of color and an exuberant style, Technicolor became synonymous with an entire era of Hollywood filmmaking, the golden age of studio production from the late 1930s to the early 1950s. This era did not emerge overnight, however, and a new book by James Layton and David Pierce, The Dawn of Technicolor 1915-1935, published by George Eastman House to coincide with Technicolor’s 100th anniversary, documents the company’s earlier, groundbreaking “two-color” era.
From Technicolor's two-color "The Black Pirate" (1926).
It was during this formative period that Technicolor based its technology on the innovative use of red and green filters and dyes — colors chosen to prioritize accurate skin tone and foliage hues. Two-color Technicolor was achieved by way of a beam-splitting prism behind the camera lens that sent light through red and green filters, creating two separate red and green color records on a single strip of black-and-white film. Separate prints of these two color records (with their silver removed) were later cemented together in the final printing process, with red and green dyes then added; this was a complex and error-prone process that later gave way to a two-color “dye-transfer” printing process, in which the color dyes were pressed onto a single piece of film, one color at a time.
As Layton and Pierce’s book reveals, this early two-color system, which was unable to properly reproduce blues, purples or yellows, was eventually superseded by Technicolor’s more famous, three-color process. Yet surviving motion pictures from Technicolor’s two-color period, such as Douglas Fairbanks’ The Black Pirate (1926) and the color sequences inBen-Hur (1925), reveal a subtlety and understated elegance unique to the technology.
LFM’s Jason Apuzzo has an article in April’s edition of American Cinematographer commemorating the 85th anniversary of 1930’s The Big Trail, directed by Raoul Walsh. The Big Trail was the first major 70mm studio film, and also featured John Wayne’s first starring role. Walsh’s innovative film also debuted a new sound system for the cinema, and was otherwise one of the most influential films in history.
The article delves into the colorful production history of The Big Trail, examines its ground-breaking technology, and features interviews with Richard Schickel, Leonard Maltin, Ben Burtt, John Hora (ASC), Ethan Wayne (son of John Wayne) and others. Copies of American Cinematographer can be found at Barnes and Noble, at your local newsstand, or on-line at the American Cinematographer website.
By Jason Apuzzo. Today marks the 73rd anniversary of The Battle of Los Angeles, also known as The Great LA Air Raid, one of the most mysterious incidents of World War II — and one of the most colorful tales in all of UFO lore.
It’s also a tale we couldn’t resist turning into a movie.
Between the late evening of February 24th, 1942 and the early morning hours of February 25th, the City of Angels flew into a panic as what were initially believed to be Japanese enemy aircraft were spotted over the city. This suspected Japanese raid — coming soon after the Pearl Harbor bombing, and just one day after a confirmed Japanese submarine attack off the Santa Barbara coast — touched off a massive barrage of anti-aircraft fire, with some 1400 shells shot into the skies over Los Angeles during the frantic evening.
Strangely, however, the anti-aircraft shells hit nothing. Despite the intense barrage, no aircraft wreckage was ever recovered.
Indeed, once the smoke had cleared and Angelenos calmed down (the public panic over the raid was mercilessly satirized by Steven Spielberg in 1941), no one really knew what had been seen in the sky or on radar. Were they weather balloons? German Zeppelins? Trick kites designed by Orson Welles?
Many people believed the aircraft they’d seen was extraterrestrial – one eyewitness even described an object he’d seen as looking like an enormous flying “lozenge” – and some accused the government of a cover-up. Conflicting accounts of the incident from the Navy and War Departments didn’t help clarify matters.
An image from the Great Los Angeles Air Raid.
As if to confirm public fears of extraterrestrial attack, one famous L.A. Times photograph (see left) emerged from the incident showing an ominous, saucer-like object hovering over the city. This much-debated photograph inspired America’s first major UFO controversy — a full five years before Roswell.
By Govindini Murty & Jason Apuzzo. What makes something a classic? It’s a question worth asking as Hollywood devotes ever more of its resources to remaking movies, TV shows, and comic books from the past as the majority of our movie content today. Not that we mind the odd sequel (we’re definitely looking forward to Spectre and Star Wars) – but 2015 will see an unprecedented number of sequels and remakes, including new installments in the Mad Max, Mission Impossible, Jurassic Park, Terminator, Avengers, and Fast and Furious franchises.
If you want a break and would like to see some movies that are truly unrepeatable and non-franchisable, we suggest you check out the upcoming 2015 TCM Classic Film Festival, returning to historic Hollywood from March 26th to March 29th, 2015. It’s a marvelous chance to see some of the world’s classic movies the way they were meant to be seen: on the big screen, and often with their original creators in attendance.
Shirley Jones and guests at the TCM Classic Film Festival.
The classic movies shown at the TCM Classic Film Festival are inspiring because they are the result of what can be called “first-order,” direct personal experience. They are not self-referential mash-ups of other people’s work, but are original art works created by some of the cinema’s greatest talents during Hollywood’s Golden Age. The festival is one of the last opportunities our generation will have to encounter first-hand some of Hollywood’s classic film artists – and it’s an opportunity to be very thankful for.
At the 2014 TCM Classic Film Festival, for example, we had the chance to attend the red carpet at the Chinese Theatre and chat with such Golden Age movie stars as Maureen O’Hara, Kim Novak, Tippi Hedren, Shirley Jones, Margaret O’Brien, and George Chakiris. Each of them was charming, gracious, and ready with a witty quip – though none had more quips than legendary funnyman Mel Brooks – who we saw being interviewed by Robert Osborne in the lobby of the Roosevelt Hotel. Continue reading On Being Inspired by Classic Movies at the TCM Classic Film Festival
It’s the kind of thing you probably missed over Thanksgiving dinner, while gnawing on a turkey leg, bickering with your uncle, or falling asleep during a Detroit Lions game: the Miami Marlins just signed an outfielder to a $325 million deal, the largest contract in sports history.
You read that correctly: $325 million. That’s Hunger Games money, Transformers money. It’s the kind of figure you associate with World Bank loans or Rolling Stone comeback tours. Apple needs at least a day to make that kind of cash.
The young outfielder, named Giancarlo Stanton – no, I hadn’t heard of him, either – apparently hit .288 with 37 home runs last season. (Note to Marlins: those were roughly my numbers playing T-ball in 5th grade.) Stanton later celebrated his deal in a Miami nightclub with a $20,000 bottle of champagne coated in 22-carat gold leaf. I don’t know whether he kept the bottle.
It says something about baseball today that a guy you’ve never heard of – again, he plays for the Marlins – can be signed for $25 million per year over 13 years. Frankly, it’s probably a bad deal for the Marlins – especially if the names Albert Pujols, Alex Rodriguez or Josh Hamilton ring a bell. Players paid more than they’re worth – more than some national economies are worth – rarely stay motivated purely by love of the game.
Love of the game. That’s what sports are supposed to be about, isn’t it?
When you think about love of the game, you think of Lou Gehrig – the Iron Horse – playing in 2,130 straight games until his body gave out from ALS. Or Pete Rose, aka Charlie Hustle, barreling over Ray Fosse in the 1970 All Star game to secure a seemingly meaningless win. Or Kirk Gibson, gamely limping around the bases after hitting his clutch home run in the 1988 World Series.
And you should also think of the Portland Mavericks, the subject of a wonderful new documentary called The Battered Bastards of Baseball that premiered this past year at Sundance and is currently showing on Netflix.
My writing partner Govindini Murty and I caught Battered Bastards at Sundance and also at this year’s Los Angeles Film Festival. At the Sundance screening we had the chance to speak to Kurt Russell, who’s interviewed in the film, along with his nephews Chapman Way and Maclain Way, Battered Bastards‘ co-directors.
LFM's Jason Apuzzo & Kurt Russell at Sundance 2014.
The Mavericks – an independent, Class A minor league baseball team between 1973-77 – were the brainchild of Bing Russell, the actor best known for playing deputy sheriff Clem on TV’s Bonanza. A hugely colorful showman with a fast wit (“I played Clem for 13 years on Bonanza and never solved a case”), Russell appeared in countless film and TV westerns, and made a career of getting killed on camera – most notably in Howard Hawks’ Rio Bravo and John Ford’s The Horse Soldiers.
Of course, Russell is best known today as the father of Kurt Russell, who himself played for the Mavericks in 1973.
As Battered Bastards relates, Bing served as a bat boy for the mighty New York Yankees between 1936-41, when he got to know legends of the game like Joe DiMaggio, Lefty Gomez and Lou Gehrig (who gave young Bing his bat after hitting the final home run of his storied career). Although Bing later tried his hand at pro baseball, an injury cut short his career – leading him to try an acting career in Hollywood.
His love of baseball never left him, however – so when his acting career stalled in the early 1970s, Russell jumped at the opportunity to bring pro baseball to Portland in 1973 after the prior team left town.
“Baseball was a big part of our family,” Maclain Way told us. “Kurt, our uncle, played professional baseball. Bing, himself, played professional baseball. We had cousins who played major league baseball, so baseball was a huge part of our life growing up. I played baseball in high school because of Bing – he taught me how to play.”
The upstart Mavericks would become a team like no one had seen before – totally unaffiliated with any big league franchise, and filled to the brim with misfits and rejects – a scrappy, real life Bad News Bears squad.
“He had a great eye for ball players,” Kurt Russell told us, speaking warmly of his father. “We knew we could put a competitive team together.”
Kurt Russell & LFM's Govindini Murty at Sundance 2014.
Managed by restaurant owner Frank “The Flake” Peters, the Mavericks’ roster of wild characters would include: a shaggy, 33 year-old high school English teacher named Larry Colton (who’d later be nominated for a Pulitzer Prize); 38 year-old ex-Yankee Jim “Bulldog” Bouton (who’d been blackballed from baseball after writing a wild tell-all memoir); Joe Garza (aka “JoGarza”), a madman utility player who waved flaming brooms when the Mavericks swept opposing teams; Rob Nelson, who invented Big League Chew bubble gum in the Mavericks’ bullpen; star outfielder Reggie Thomas, who took a limo to games even though he lived only a block from the stadium; and fiery batboy Todd Field, who once got tossed from a game, and later became an Academy Award-nominated writer-director.
And, of course, there was Kurt Russell. “I got injured [playing minor league baseball in Texas], so I had the opportunity to go to Portland and help them get the ball club started,” Russell told us.
