They were very different in tone, genre, production values, and intended audiences, but these two films from 1994 had one key innovation in common.
• "The Rack" (1956) • "Until They Sail" (1957) • "The Prize" (1963) • "Tales of Tomorrow: Ice From Space" (1953)"The Rack," "Until They Sail" and "The Prize" are now available on made-to-order DVD from the Warner Archive Collection for $19.95 each. "Tales of Tomorrow" can be viewed on Hulu Plus and Amazon Instant Video.
by Jeff Shannon You would think that every film Paul Newman ever appeared in would be readily available on home video, right? Guess again. One of the best films from Newman's early career has managed to slip through the cracks of home-video distribution for decades, and unless you're old enough to have seen it in theaters or on TV over the years, it's possible you've never even heard of it. So when I heard that "The Rack" (1956) was available on home video for the very first time, I couldn't wait to break the news to Stewart Stern.
For anyone who's wondering "Stewart who?" there's a convenient shortcut you can use when discussing the impressive life and career of Stewart Stern. All you have to say is, "He wrote 'Rebel Without a Cause.'" Uh-huh, that one. With a credit like that, any screenwriter could legitimately claim a slice of movie immortality, like James Dean did as the now-iconic star of Nicholas Ray's 1955 teen-angst classic. But to say that Stern only wrote "Rebel" is a bit like saying Frank Lloyd Wright designed a house. In the course of his distinguished, decades-spanning career, Stern wrote rich, psychologically perceptive scripts that were magnets for great actors and great acting: His script for "The Ugly American" (1963) gave Brando plenty to chew on; his Oscar-nominated script for "Rachel, Rachel" (1968) gave Joanne Woodward what is arguably the best role of her career (under the direction of her husband, Paul Newman; they also earned Oscar nods); and Stern's Emmy and Peabody-winning teleplay for "Sybil" (1976) transformed cute TV actress Sally Field into an Emmy winner with a pair of Oscars in her future. A few years later, Stern left Hollywood, weary of the rat race and struggling with writer's block, the delayed effect of post-traumatic stress from service in World War II. In the mid-'80s, Stern relocated to Seattle and never looked back. And while Stern may have been a nephew of Paramount Pictures founder Adolph Zukor, with additional family ties to MGM moguls Arthur Loew Sr. and Jr., his closest Hollywood connection was more personal and more warmly indicative of the man's soul and spirit: For 55 years, Stewart Stern was one of Paul Newman's very best friends.
Camille Paglia is known for being both brilliant and wacky (possibly wacko) -- often at the same time, which is probably when she's at her most inspired. A founding contributor at Salon.com (and co-star of "It's Pat: The Movie"), Paglia spoke on the phone to Salon editor Kerry Lauerman yesterday after the news of Elizabeth Taylor's death, and offered up an extraordinary tribute. I just wanted to share some of it with you. Lauerman begins by quoting something Paglia wrote about Taylor in Penthouse in 1992:
"She wields the sexual power that feminism cannot explain and has tried to destroy. Through stars like Taylor, we sense the world-disordering impact of legendary women like Delilah, Salome, and Helen of Troy. Feminism has tried to dismiss the femme fatale as a misogynist libel, a hoary cliche. But the femme fatale expresses women's ancient and eternal control of the sexual realm." Paglia takes it from there:
Exactly. At that time, you have to realize, Elizabeth Taylor was still being underestimated as an actress. No one took her seriously -- she would even make jokes about it in public. And when I wrote that piece, Meryl Streep was constantly being touted as the greatest actress who ever lived. I was in total revolt against that and launched this protest because I think that Elizabeth Taylor is actually a greater actress than Meryl Streep, despite Streep's command of a certain kind of technical skill. [...]
TORONTO, Ont. -- This kid David Gordon Green is 29 years old, and he is a great filmmaker. He walked onto the stage at the Toronto Film Festival wearing jeans, a T-shirt and flip-flops, and said he'd gotten worked up over the premiere of his new film and stubbed his little toe on his coffee table and broken it. "It's twice the size it was an hour ago," he said morosely, peering down at the injured digit. And then he showed us "Undertow," and this film is a masterpiece.
You aren't going to believe this, but Sandra Dee is an all-right chick. The first thing she said was: "Well, do you want the party line? You know, about my mother and my new mink coat, and how I feel about my divorce, and how much I love to cook, and how I'm really just a little ole homebody at heart?"