Feom a Wall Street Journal Arts & Entertainment article:
Seventy-five years ago, “Double Indemnity” opened in theaters across America. It was an instant hit, and remains to this day a staple offering of revival houses and on cable TV and streaming video. Yet little journalistic notice has been taken of the birthday of Billy Wilder’s first great screen drama, a homicidal thriller that nonetheless had—and has—something truly unsettling to say about the dark crosscurrents of middle-class American life.
Directed by Wilder and co-written by him and Raymond Chandler, the celebrated mystery novelist, “Double Indemnity” is the story of a restless insurance salesman who helps a sexy, frustrated housewife murder her husband for profit. Though neither Wilder nor Chandler realized it at the time, it would later be acknowledged by critics and scholars as the first fully developed example of film noir, in which a flawed but basically innocent protagonist is presented with a moral choice, makes the wrong call, and is plunged into a violent after-hours world of passion and crime.
To read more click on following link: https://www.wsj.com/articles/a-film-noir-icon-turns-75-11565637941
From a NY Times article by Jill Cowan and
If you are among the significant number of people who’ve seen Quentin Tarantino’s latest love letter to a bygone era, “Once Upon a Time … in Hollywood,” then you’ve seen the Musso & Frank Grill.
It’s the spot where Leonardo DiCaprio’s and Brad Pitt’s characters commiserate about their lives over a whiskey sour and a bloody Mary. They also share an emotional moment in the restaurant’s parking lot as they wait for the valet, and a Musso & Frank sign looms prominently over their heads.
It’s clear Mr. Tarantino has an affection for the place, which will have been open for a century on Sept. 27, and has been a favored industry haunt for almost that entire time.
To read more click on the following link: https://www.nytimes.com/2019/08/02/us/california-today-musso-frank-grill.html
From “The Guardian”:
“…from Elton John’s albumGoodbye Yellow Brick Road to the Coen brothers’ O Brother, Where Art Thou?, which owes as much to Oz as it does to Homer’s Odyssey. Joel Coen once said: “Every movie ever made is an attempt to remake The Wizard of Oz.” In his 1992 essay about Fleming’s film, Salman Rushdie describes it as his “very first literary influence”. It was one of Derek Jarman’s favourite movies, and among the first he ever saw. (This is the key to its influence: the fact that everyone watches it in childhood. It seeps into your unconscious and stays there.) And there are the spin-offs, sequels and prequels – The Wiz, Return to Oz, Oz the Great and Powerful, Wicked.”
Eighty years ago, in the summer of 1939, 16-year-old Judy Garland appeared on cinema screens as the orphan Dorothy Gale, dreaming of escape from bleak, monochrome Kansas. “Find yourself a place where you won’t get into any trouble,” her aunt beseeches, too busy for poor old Dorothy, who soon breaks into song: “Somewhere, over the rainbow, skies are blue / And the dreams that you dare to dream really do come true”. Her wish is soon granted by a tornado that carries her to the gaudy, Technicolor Land of Oz, instilling her as an icon for misfits, migrants, gay kids, dreamers – anyone who has ever wanted to run away.
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