All hail Frank Tashlin! America's subversive secret weapon of the 1950s made incredible adult live-action cartoon movies that satirized all the sex and vulgarity denied by the mainstream. In Technicolor! Political incorrectness meets lollypop-sweet sentimentality in a farce that transcends good taste. Susan Slept Here Blu-ray Warner Archive Collection 1954 / Color / 1:66 widescreen / 98 min. / Street Date April 19, 2016 / available through the WBshop / 21.99 Starring Dick Powell, Debbie Reynolds, Anne Francis, Alvy Moore, Glenda Farrell, Horace McMahon, Herb Vigran, Les Tremayne, Mara Lane, Maidie Norman, Rita Johnson, Ellen Corby, Red Skelton. Cinematography Nicholas Musuraca Film Editor Harry Marker Original Music Leigh Harline Choreographer Robert Sidney Written by Alex Gottlieb from a play by Gottlieb and Steve Fisher Produced by Harriet Parsons Directed by Frank Tashlin
Reviewed by Glenn Erickson
Director Frank Tashlin has finally found an appreciative audience with adventurous film fans, but the charms of his glorious style of filmmaking are unknown to...
Reviewed by Glenn Erickson
Director Frank Tashlin has finally found an appreciative audience with adventurous film fans, but the charms of his glorious style of filmmaking are unknown to...
- 3/29/2016
- by Glenn Erickson
- Trailers from Hell
On The Evolution Of CinemaScope: Or, of you're going to be a stickler about names of formats and such, "The 2.35:1 Or So Aspect Ratio."
Above: The Robe (Henry Koster, 1953).
Above: Bonjour Tristesse (Otto Preminger, 1958).
Above: Le Mepris (Contempt) (Jean-Luc Godard, 1963).
When CinemaScope was introduced in 1953, the first film in the widescreen format was in the then au-courant sand-and-sandals quasi-Biblical-epic genre. The Robe still plays, in its silly way, as a study in gargantuan production value. And the gargantuan dimensions of the CinemaScope screen were seen as something of a novelty, a piece of showmanship rather than cinema per se, Zanuck's would-be blowback at television in an attempt to shore up the notion that movies were still going to be your best entertainment value.
What, though, had 'Scope to do with the art of cinema? And/or what director was going to be able to use 'Scope artistically? The answer came reasonably quickly,...
Above: The Robe (Henry Koster, 1953).
Above: Bonjour Tristesse (Otto Preminger, 1958).
Above: Le Mepris (Contempt) (Jean-Luc Godard, 1963).
When CinemaScope was introduced in 1953, the first film in the widescreen format was in the then au-courant sand-and-sandals quasi-Biblical-epic genre. The Robe still plays, in its silly way, as a study in gargantuan production value. And the gargantuan dimensions of the CinemaScope screen were seen as something of a novelty, a piece of showmanship rather than cinema per se, Zanuck's would-be blowback at television in an attempt to shore up the notion that movies were still going to be your best entertainment value.
What, though, had 'Scope to do with the art of cinema? And/or what director was going to be able to use 'Scope artistically? The answer came reasonably quickly,...
- 11/13/2009
- MUBI
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