Guest Programmer #10


Watching TCM, I was interested in the “guest programmers” Robert Osborne had on: celebrities who talked about their favorites films that were in the TCM “vault” with their comments being a “wrap-around” to showing of the films They are usually on for a month or so, introducing two films a night in a weekly show. I wondered what films I would pick if I were a “guest programmer“. As a fantasy project, I decided to figure it out. I found I couldn’t have cut it off with four shows, so I wound up with ten weeks of shows. That’s too many I know but it is a fantasy-and Alec Baldwin seemed to be on there forever . I decided to post it to see if it interested anyone. You could respond by critiquing my choices or interpretations of these films and/or by telling us what films you would select if you were a TCM “guest programmer” and what you would say about them.

I didn’t list films simply because I liked them- I grew up on Errol Flynn movies but there are none here. Instead I decided to concentrate on films along a particular theme- how we viewed ourselves and the world we lived in, as reflected by Hollywood. Tinseltown did a great job of entertaining us over the years but didn’t often take a good look at the real world we lived in. The results were interesting when it did. I also wanted to look for themes that still resonate with us today. I love old movies and they are TCM’s stock in trade. I decided to limit myself to films that came out before 1960.

The video revolution of the 80’s and beyond were a Godsend to me: I was able to fill in so many blanks in my understanding of the past and see many films I’d only been able to read about before and judge them for myself. I developed the habit of renting two films at once: one is sure to be better than the other. They usually were related in some way to each other: originals and sequels or re-makes; two films by the same actor or director; two films in the same genre or which came out in the same year, etc. The TCM guest programmer typically introduces two films in a night so this seemed to fit in.

I chose 20 American films that came out from 1928-1957. I don’t know if TCM would have all of them. They all had a general relationship to each other in that they were related to my theme of how we saw ourselves through this period but I paired them up so direct comparisons could be made between films that seemed connected in some way. Some of these films can be seen on the internet, (mostly U-Tube), in their entirety. For some of them there were only clips. You may be able to find them in your video store- if you can find a video store. I’ve provided some links: if you see “Part 1”, that means that parts 2, 3, 4, etc. are also available. U-Tube will usually offer the next part so you can just click on it. If you click on the box with the arrows pointing outwards, you can get the image “full screen”. Some of them you’ve seen before and I hope my take on them will be interesting. Some you haven’t seen, at least not in their entirety. There may be a couple you‘ve never heard of.




The past is a series of presents. The present is living history we are priviledged to witness

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Science was on our minds in the 1950’s. We were living under the threats of atomic annihilation and Soviet domination. Then came Sputnik. Soon we would be traveling into space. What if beings from space came here? “Horror” films moved away from the concept of monsters and vampires to alien invasions and the possible side-effects of the new technology.

The greatest film to evolve from this was Invasion of the Body Snatchers. A small town doctor in California finds that his patients are complaining about their family members being replaced by imposters. He goes to a psychiatrist who diagnoses some form of mass hysteria. But it turns out the cause is a strange plant spore that had drifted through space and landed on earth. To maintain itself, it grows copies of the local beings in “pods” who will care for the resulting plants, with the originals dying and being replaced when they fall asleep. A small group of people band together but cannot avoid eventual slumber and extermination. The hero is the last one of the group to retain his identity and is reduced to trying to stop people on the highway and warn them of the danger. In the end, (the original ending, anyway), he turns to the audience and shouts: ”They're here already! You're next! You're next!"

http://www.youtube.com/watch?v=2Bc34cfEp60&feature=related

http://www.youtube.com/watch?v=dQWy0tq86CI&NR=1

http://www.youtube.com/watch?v=NIvH2dPolsM&feature=related

I have a loathing of most horror films. Dread is not a very enjoyable emotion and most of them are about seeing who “gets it” next, usually in a grisly manner. Hitchcock said that the key to suspense is having the audience know something that the hero doesn’t know, (it’s also the key to comedy), but when it gets reduced to “Don’t open that door”, it loses interest to me. But when horror, or at least science fiction, is used to present complex themes, it can be quite interesting. The writer is not restricted to the conventions of normal fiction. It’s also an alternative to presenting controversial themes in an historical context to fool the sensors.

This film is ultimately about individuality and the pressure we feel to conform. The hero, Dr. Miles Bennell, is a modern Will Kane, the last man willing to take on the bad guys. But the bad guys aren’t a gang of criminals but a bunch of pseudo-people who believe, as the “pod” version of the psychiatrist tells Bennell, “Love, desire, ambition, faith - without them, life's so simple, believe me.”

The studio, assuming that the public didn’t want a scary ending to a horror film, added an additional scene where Bennell wakes up in a hospital and convinces a doctor of what’s happening and the doctor calls the FBI, who will presumably take care of everything. Inevitably, people who think politically, interpreted the film according to their politics. Some felt that the “pod people” were a metaphor for communists who infiltrate our society and want to create a world with no individuality, just soldiers who service the state. The left saw an allegory for McCarthyism where the government demanded the original form of “political correctness” and quashed dissent in a society that forced people into prescribed roles. (Ironically, Dr. Bennell was played by an actor named Kevin McCarthy.) Three years later, Eugene Ionesco wrote a play called “Rhinoceros” in which the residents of a small town in France turn into the animal of the title for no apparent reason and one guy stubbornly holds onto his individuality. The play was seen as a response to Communism, Fascism and Nazism, all of which the author had lived through. One wonders if he had seen Invasion of the Body Snatchers.

According to everyone associated with the movie, there was never any intent to do anything but make a thriller. Nobody ever suggested any political interpretation during the production of the film. The fact that people could read so much into it demonstrates that it was a classic human story. And, of course, both America and the Soviet Union were plagued by people who insisted on conformity to protect their power so the movie could have been about either of them if that had been the intention. Certainly the film was at least intended to have a deeper meaning, as when Dr. Bennell says: “In my practice, I've seen how people have allowed their humanity to drain away. Only it happened slowly instead of all at once. They didn't seem to mind... All of us - a little bit - we harden our hearts, grow callous. Only when we have to fight to stay human do we realize how precious it is to us, how dear. “


Another science fiction tribute to the dignity of the individual came out the next year, with a title that certainly underscored the theme, The Incredible Shrinking Man. Grant Williams plays a man who is exposed to a cloud of radioactive pesticides, (a combination of atomic and chemical pollution), and who as a result keeps getting smaller and smaller. It starts slowly but accelerates. He loses his job and his wife and winds up in a carnival side-show and then lives in a doll’s house. He has to fend off a housecat and later a spider. The FBI can’t help him here.

http://www.youtube.com/watch?v=SpT-n8la0dk&feature=related

He winds up resigned to his fate and delivers this soliloquy to end the film:

http://www.youtube.com/watch?v=Bp3iHjGBfT4

They could have of brought up Einstein’s Theory of the Unified Field, in which atoms could be solar systems or universes the next lower one of which will be our hero’s destination. But as he points out, we are already infinitesimally small beings in a colossally large Universe and yet we matter and that’s the real point of the film.

If there is one theme that all of cinema, all of drama, really has is that people are important and their lives are interesting.





The past is a series of presents. The present is living history we are priviledged to witness

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