Coming Soon to TCM

golddiggers-of-1933Two films featured in my book, Lessons in the Dark, will be coming soon to TCM. Tonight at 10:15PM (Eastern) the superb Great Depression era musical Gold Diggers on 1933. The film stars Joan Blondell, Ginger Rogers, Ruby Keeler and Dick Powell along with an excellent supporting cast that includes Aline McMahon, Ned Sparks, Guy Kibbee and Billy Barty.

grapes-of-wrath-3On Friday (Feb. 10th) at 8PM (Eastern) don’t miss John Ford’s masterful production of John Steinbeck’s classic novel, The Grapes of Wrath. Henry Fonda stars as Tom Joad. The cast includes Academy Award winner Jane Darwell and John Carradine. Look for a very young Darryl Hickman (Dobie Gillis) in a small role.

You can read more about both of these films plus others in Lessons in the Dark. Below I have reprinted the Introduction to the book.

Introduction – Lessons in the Dark

Why these films, why this book and why this collection you ask? It’s simple enough to answer. A few years ago I did a series of articles for Halo-17, a now defunct Australian music and arts website. One of the editors discovered my blog, I assume liked it, and asked if I would be interested in writing a column about classic films. The only caveat was that I had to make the films I wrote about connect to what was happening in today’s world. I needed to show readers how these old black and white films were still relevant. Illustrate how history repeats itself and there are lessons to be learned even from a film that is seventy years old.

   Well, the requirement set forth by the folks at Halo-17 turned out to be simpler than I thought. As I began to look at films from this perspective I realized many films whether twenty, thirty, forty, fifty years old or more remain relevant. They had something to say about us today as well as years ago. Life and art repeat themselves. As the poet, novelist and philosopher, George Santayana said, “Those who cannot remember the past, are condemned to repeat it.” Classic films help us remember the past, both the good and the bad. Sometimes they even predict the future as it did in Elia Kazan’s A Face in the Crowd (1957) and Sidney Lumet’s Network (1976), both which forecast the reality TV and political circus we are forced to endure today. A film like Black Legion (1937) teaches us about hating someone who’s different, how people get sucked into hatred or blaming immigrants for taking jobs from “real Americans.” Leni Riefenstahl’s Triumph of Will (1935) presented Adolph Hitler as Germany’s savior, a leader who would bring glory back to Germany by once again making it a great power! This Nazi rhetoric, the fear mongering, is awfully familiar to what we hear today from plastic gods with simplistic solutions promising to make America great again as they feed on the hate.

This collection of essays is divided into various sections focusing on specific themes. Each contains essays on films. Though “old” they speak about or reflect on the times we are living in today. Every one of these films remains pertinent to our current lives. Not all are great cinematically, yet there are lessons or messages to be learned. Some films are more direct in their ideas, others are more understated. There are even a few films that put forth a message or point of view for most of the film and then reverse course in the final moments. Why? Censorship sometimes exposes its ugly head or maybe the filmmakers or the studios got cold feet. Whatever the reason, it’s all part of what makes these films fascinating and worth watching and discussing.

    Part One looks at films from or about the Great Depression of the 1930’s.  As we continue to come out of our recent Great Recession that has been hanging over us since 2008, one can read into many of these films the similarities, the hard times and uncertainty we have all recently endured. In Part Two there are films exploring the absurdities of war and its effects on the men and women on the front line and back at home. Part Three contains a couple of films that reveal the influences of the news media on our lives. Part Four takes a look at social injustice. In Part Five we look at films about discrimination. In Part Six we see how the pre-code era gave us a look at tough, strong, independent and progressive women. Finally, in Part Seven, a section that is a catch all. It contains a variety of topics that we still deal with and affect our lives today.

   “Old” films are not just nostalgic. They entertain, or at least attempt to, however, they are also avenues for learning and a passageway to take a look at ourselves as we were then and are now. Movies hold up a mirror to both our past, our lives today and our future. We can see how far we have come; the mistakes that we made, the choices we made, both the good and the bad. Hopefully we are able to learn, realize the bad and not repeat them.

   The majority of these essays first appeared on my blog, Twenty Four Frames. I began the blog almost eight years ago, like many others, as a place to share my love of movies. The blog has evolved over time as I believe I have myself. During a lifetime of watching movies I have discovered new roads to travel and lessons learned. I hope you, the reader, will too.

Jules Dassin’s Brute Force on TCM Tonight!

brute_force-33Burt Lancaster stars in the brutally powerful prison drama, Brute Force, showing on TCM tonight at 10:15PM (Eastern time). The Jules Dassin directed film is a strong indictment of the prison system for its corruptness and failures to rehabilitate.

Along with Lancaster, the cast includes Hume Cronyn, Charles Bickford, Sam Levene, Ann Blyth, Howard Duff  and Yvonne DeCarlo. Set your DVR, you won’t be disappointed.

Read about Brute Force and other films including, The Grapes of Wrath, I Am a Fugitive on a Chain Gang, Ace in the Hole, The Americanization of Emily, A Face in the Crowd, Invasion of the Body Snatchers and more in my e-book, LESSONS IN THE DARK. Available on Amazon. Just click on the link below.

Lessons in the Dark Cover-Small-003




Edward Hopper and the Movies


Hopper’s The Balcony

Edward Hopper loved the movies and he reflected that love in many of his works. When Hopper was not in the mood to paint, he would frequently binge on going to the movies where he would sometimes find inspiration. However, unlike most people, for Hopper, movie going was not a communal experience. Instead, as his work bares out, he found isolation and solitude in theaters like he did in his most famous cinema theater painting, New York Movie (permanent collection of the Museum of Modern Art), which shows an usherette standing alone under a light in a side hall just off the main auditorium.

hopper_1939_new_york_movieHopper’s New York Movie

Phillip French writes in his article, From Nighthawks to the Shadows of Film Noir how Hopper influenced film and the other way around. French writes how, “German expressionism impinged on Hopper early on, during his sojourn in Paris. His 1921 etching Night Shadows looks like a storyboard sketch for a high-angle shot in a Fritz Lang movie.” I myself see Lang’s silent classic, M.

2221_hopper-night-shadowsHopper’s expressionistic like Night Shadows

Many of Hopper’s works are voyeuristic; private moments in people’s lives (A Woman in the Sun, New York Interior, Office in a Small City).  Hopper’s influence on Alfred Hitchcock can be seen in Rear Widow (1953) where James Stewart’s photographer, stuck in a wheelchair with a broken leg, sits by his bay window looking out the courtyard watching all the lonely people going about their lives in their apartments. You can see Hopper’s influence again during the opening credits of Psycho (1960) as Hitchcock’s camera moves from a wide view of the city and slowly zooms in on one  window where we discover Janet Leigh and John Gavin in an afternoon tryst.

hopper-night-windows-october-art-room Hopper’s Night Windows

rear-window-_-miss-torsoHitchcock’s Rear Window

In his most famous work, Nighthawks, Hopper was inspired after reading Ernest Hemingway’s short story, The Killers (1946), where two hitman comes to a small town diner looking to kill Burt Lancaster’s The Swede, a down and out boxer. When Universal Pictures and director Robert Siodmak turned the Hemingway story into a film, Siodmak certainly kept Hopper’s diner image in mind. Another sign of Hopper’s influence is seen in Force of Evil (1948). Screenwriter/director Abraham Polonsky, while on location in New York for his first film, took his cinematographer, George Barnes, to an exhibition of Hopper paintings and told him, that’s the way he wants the film to look.

nighthawksHopper’s Nighthawks

killers                                                       Robert Siodmak’s The Killers

Nighthawks would continue to influence filmmakers and other artists for years to come.  Director Herbert Ross used it as inspiration in his 1983 musical, Pennies from Heaven as did Todd Hayes in Far from Heaven (2002). Tom Waits third album, and his first live album, Nighthawks at the Diner, with a cover design by Cal Schenkel, was influenced by Hopper.  In 1984, artist Gottfried Helnwein did a pop version of Nighthawks called Boulevard of Broken Dreams replacing the everyday patrons in Hopper’s painting with pop icons James Dean, Marilyn Monroe and Humphrey Bogart. The guy behind the counter is Elvis. Later Green Day used Helnwein’s title and created one of their best known songs.


Edward Hopper was not a sociable man. He seems to have had little interest in communicating with or meeting people. Much of his art can be seen as the work of a man who lives within himself.





Life: A Film about James Dean and Dennis Stock (2015)

James Dean and Dennis Stock

One of the most iconic images of James Dean shows the actor walking right down the middle of the Times Square crossroads. It’s raining. He’s wearing an overcoat, his collar is turned up, he’s hunched over and a cigarette is dangling from his mouth. The photograph was taken by Dennis Stock in 1955. At the time, both Dean and Stock were still relatively unknown in the respective careers. Dean would soon explode onto the screen in East of Eden and Rebel Without a Cause. As quickly as he became a star, it would be extinguished after his fatal car crash in September 1955. The star died, but an iconic legend was born.

Photo by Dennis Stock

I accidently found this film while browsing through a local library earlier this week. I was unfamiliar with it, in truth, I never heard of it before. What caught my eye was the DVD’s cover image that loosely reflects the famous shot of James Dean walking down the middle of Times Square. Only in this version there is another guy with him with a 35mm camera around his neck, and unlike the more casually dressed Dean, wears a conservative white shirt and tie. Life, (the title as you will learn has a double meaning) it turned out  was the story of the unusual short friendship between James Dean and photographer Dennis Stock. I had to watch this!

lifefilmposterFor a short period in 1954-55, Dennis Stock would photograph James Dean in Hollywood, New York and in Dean’s hometown in Indiana. In Life, directed by Anton Corbijn, we follow this short lived friendship between a still unknown actor and a ambitious photographer, still looking for his own big break.  Stock works for the Magnum Agency and convinces his boss that this young nobody of an actor is going to be the next big thing as soon as his first film, East of Eden, is released. Stock wants his bosses to convince Life magazine to do the story.

Corbijn is definitely suitable for the subject matter considering his previous life as a rock photographer. Dean is played nicely by Dane DeHann who more through mannerisms and speech than through physical looks captures Dean’s essence. Stock is played by Robert Pattinson. He’s a bit quirky and his personal life is a mess. Married young, he’s divorced with a young boy who he hardly sees. When he does see the boy, it’s uncomfortable. While Stock works for Magnum, his career is not going in the direction he wants.  He wants to be an artist and have an exhibit instead of photographing the latest movie premiere.

Each in their own way are fish out of water. They meet at a party in Hollywood given by director Nicholas Ray who is considering Dean for his new film Rebel Without a Cause.  Stock is there on one of his routine assignments. They begin an uneasy friendship. Stock comes to see Dean as someone special and on the rise. He convinces his bosses at Magnum, Dean would make a great subject for a photo essay for Life magazine. The assignment is approved, but Dean turns out to be a relentlessly elusive subject to tie down for a shoot. During the course of their short friendship, Stock followed Dean from Hollywood to New York and even back to his hometown farm in Indiana. In the course of this short time, Dennis Stock creates a series of portraits of the artist as a young rebel. Many of the photos shot during this period turned out to be some of most intimate moments of Dean we ever get to see, especially the images of his life back in Indiana.

Dane DeHaan and Robert Pattinson as James Dean and Dennis Stock

Like James Dean, Corbijn’s film is all about mood and not action. To some it may seem like it meanders, but I felt that it fits the zigzagging mood of the two lead characters. Dean wants to be a star yet he fights the Hollywood system. Stock wants to be a photographic artist, but seems tied down by money worries and opportunity.  The two men eventually go their own ways when Dean heads back to Hollywood to begin filming Rebel Without a Cause and later Giant, both released posthumously and kicking off Dean’s legendary status.

Ben Kingsley plays a thug like Jack Warner and almost steals the film from its two lead actors. In one scene, Warner, after Dean ridiculed a Warner Brothers film during an interview, warns the young actor he better stay in line or he will be quickly dumped.

Ben Kingsley as Jack Warner impatiently waiting for James Dean to show up at the New York premiere of East of Eden.

After Dean went back to Hollywood, Dennis Stock remained in New York and focused his work on the city’s Jazz Scene. Over the next few years, he photographed artists like Billie Holiday, Louis Armstrong, Gene Krupa and Miles Davis among others. Most were not performance photos, but more personal and atmospheric moments that he captured. Stock liked to stay quietly in the background capturing those private moments when his subjects were unguarded.  The best of his Jazz work were compiled into a book called, Jazz Street, published in 1962.  Over the course of his long career, Dennis Stock turned his camera on many subjects including the youth revolution of the late 60’s including hippie communes in New Mexico and California. Later in life he did a lot of nature and landscape photography.  One thing that always remained consistent was that Dennis Stock always photographed what he wanted.  At the University of Texas where he once addressed a roomful of photojournalism students Stock said, “I’ve never taken an assignment, I’ve always photographed what I wanted to be photographing, and then worried about selling the pictures or doing something with them afterwards. I’ve always shot for myself, and when you’re shooting what you’re interested in shooting, you’re always going to be happy.”

Miles Davis by Dennis Stock

Dennis Stock was born in 1928. A native New Yorker, he was raised in The Bronx and grew up during the Great Depression. At the age of 17, he left home and joined the Navy. After his discharge, Stock apprenticed under photographer Gjon Mili between the years 1947 and 1951. He also worked closely with W. Eugene Smith. Stock first gained recognition after he was one of ten winners in a Life magazine photography contest. Some of his fellow winners at the time included Ruth Orkin, Robert Frank and Elliot Erwitt. Heady company. This was soon followed by a position with Magnum. During his early Hollywood days, Stock photographed stars like Audrey Hepburn, Marlon Brando, Marilyn Monroe, John Wayne and many others. Like his photos of James Dean, the photos were generally intimate, behind the scenes and unguarded moments. In 1955, his James Dean photo essay was published in Life just a short period before the actor’s death.

Over the years, there were more books published, exhibits, lectures and photographs. Always photographs. Dennis Stock died in 2010 at the age of 81. As the film, Life, suggest, Stock’s personal life was messy. He was married several times; his last wife was author Susan Richards. At the time of his death, he had three children, a grandson and five great grandchildren.

A posthumously released documentary on Stock called, Beyond Iconic: Photographer Dennis Stock made the film festival circuit in 2011. In was directed by Hanna Sawka Hamaguchi and narrated by Stock prior to his death.  The film seems to be sadly only available to academic institutions and resources at exorbitant prices.



Sharpio, T. Rees, Dennis Stock, 81; Magnum Photographer Shot Iconic Moments, Washington Post, Jan. 14, 2010

Dunlap, David W. Dennis Stock, Photographer of Intimate Portraits, Dies at 81, New York Times, Jan, 15, 2010

A Small Sampling of Photographs by Dennis Stock

Musician Bill Crow crossing Times Square
On the backlot of 20th Century Fox during the filming of Planet of the Apes
James Dean and unknown friend
Venice Beach, CA. Rock Concert – 1968
Miles Davis ‘Milestone’ album cover
James Dean and his young cousin Marcus


Morning Bath 1969 (Hippie Commune)


James Dean

Author Jacqueline T. Lynch Review’s My Book Lessons in the Dark

Lessons in the Dark Cover-Small-003

Jacqueline Lynch, author Ann Blyth: Actress, Singer, Star and many other books, as well an ace blogger at Another Old Movie Blog reviewed my book, Lessons in the Dark. There is also a short interview. Check it out at the link below.

Check out Jacqueline’s books at Amazon at the link belowblyth-ebook-cover


And you can read my interview with Jacqueline right below.




Robert Ryan on TCM – Beware, My Lovely

beware4Robert Ryan is TCM’s Star of the Month. On Friday, May 6th beginning at 11am (ET) TCM will be showing 13 films of Ryan’s darkest works including The Racket, Act of Violence, On Dangerous Ground, The Set-Up and Beware, My Lovely.

Continue reading “Robert Ryan on TCM – Beware, My Lovely”

Words, Words, Words!

I am happy to announce I am one of eleven contributors to CMBA’s new e-book, Words, Words, Words: Essays on Writers and Writing in Classic Film. The book is only .99 cents with all proceeds going to the National Film Preservation Fund. The book has been published in conjunction with the CMBA’s Words, Words, Words! Blogathon which is currently running through April 15th. You can purchase the book at the link below.