Great Movies
Festivals & Awards
NYFF 2022: White Noise, Showing Up, Triangle of Sadness
A fest opening dispatch that includes thoughts on the Opening Night film, Noah Baumbach's White Noise.
A fest opening dispatch that includes thoughts on the Opening Night film, Noah Baumbach's White Noise.
The latest on Blu-ray and DVD, including Death on the Nile, Cyrano, and 4K releases of The Apartment, Mary Shelley's Frankenstein, and 'Round Midnight.
An obituary for the one and only Jerry Lewis.
For the 36th installment in his video essay series about maligned masterworks, Scout Tafoya examines Ken Russell's Lisztomania.
Glenn Kenny highlights the picks of Blu-ray releases for the month of November
"The Wes Anderson Collection" continues with a video essay on "The Life Aquatic with Steve Zissou," probably Anderson's most widely disliked feature, and MZS's personal favorite.
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Welcome back to the Opening Shots Project -- which has been on a bit of an unscheduled hiatus simply because I've had too much else going on. To get us back into the swing of things, I present the introduction to the great 1956 rock 'n' roll musical musical comedy, "The Girl Can't Help It," directed (unmistakably) by former Looney Tunes animator Frank Tashlin.
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Our tuxedoed host (and co-star) Tom Ewell -- coming off a pairing with another pneumatic blonde, Marilyn Monroe, in the previous year's "The Seven Year Itch" -- introduces the film with the proper gravitas. No, this is not the spokesman for Mr. Carl Laemmle, warning us that we may be horrified or even shocked by the specter of "Frankenstein." Mr. Ewell, instead, plays our genial -- if a bit formal -- emcee: "Ladies and gentlemen, the motion picture you are about to see is a story of music." The set -- with musical instruments tastefully floating around the soundstage -- looks like it could be from a live-action black-and-white version of "Fantasia."
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Ewell modestly explains his role in the story and proclaims: "This motion picture was photographed in the grandeur of CinemaScope, and... gorgeous, lifelike color by DeLuxe." It takes a little effort, but he manages to push the frame into the proper aspect ratio and add color to the emulsion.
[Discreet cut to medium shot here.]
In short order, the music Little Richard bursts from a jukebox -- "not the music of long ago, but the music that expresses the culture, the refinement and the polite grace of the present day" -- drowning out out Mr. Ewell completely. The montage that follows, of colorfully lit couples tearing up the soundstage floor will be evoked in the credits for David Lynch's "Mulholland Drive" years later.
But for now, it's Jayne Mansfield who explodes onto the screen in the grandeur of CinemaScope and in gorgeous, lifelike color by DeLuxe -- or rather, garish, lurid color by DeLuxe, and we wouldn't want it any other way. Then it's one politely graceful act after another: not only Ms. Mansfield and Little Richard, but Fats Domino, Abbey Lincoln, The Platters, Gene Vincent and His Blue Caps, Eddie Cochran, The Treniers, and Julie London, Julie London, Julie London and Julie London. She can't help it.
