Tools of the Trade
F&S Recommends
- Campaign for Censorship Reform
- Glenn Kenny at Some Came Running
- New Zealand International Film Festival
- NZ On Screen
- RNZ Widescreen
- Robyn Gallagher
- Rocketman
- Sportsfreak NZ
- Telluride Film Festival at Telluride.net
- The Bobby Moore Fund
- The Hone Tuwhare Charitable Trust
- The Immortals by Martin Amis
- Wellington Film Society
- Wellingtonista
About F&S
You May Also Like
AmericanaAwesomenessGreat ArtMusic
Two or three (make that four or six) motherf**kers
Two or three (make that four or six) motherf**kers
Any of you out there ever read Miles Davis' autobiography, co-written with the incredibly patient…
Glenn KennyAugust 16, 2009
AffinitiesAuteursDVDMovies
Clint Eastwood's Capra movie: "The Gauntlet" (1977)
Clint Eastwood's Capra movie: "The Gauntlet" (1977)
Checking out the recently issued Blu-ray disc of Clint Eastwood's 1977 The Gauntlet (a nice…
Glenn KennySeptember 9, 2008
AuteursMovies
"Cold Weather"
"Cold Weather"
It's interesting and sometimes a little odd how people can admire a film equally, but…
Glenn KennyFebruary 4, 2011
She’s so lovely in that. Made the same year as “Vertigo” Richard Quine and John Van Druten give Kim Novak and Jimmy Stewart the happy ending that Hitchcock wasn’t interested in.
Bell, Book and Candle is one of my favorite movies of that era about what it’s like to be gay and closeted, whatever its “manifest” content is about. Witchcraft, right?
It’s subtext is gay life before “Stonewall.” Van Druten (who adapted Isherwood’s “Berlin Stories” to the stage as “A Am A Camera”) was gay and the “Zodiac Club” is obviously a chic Village gay dive. Jack Lemmon’s bongo-playing Warlock using his abilities to turn out streetlamps “for his love life” is clearly “coded-gay.” And that’s not to mention that French singer-dancer’s performance at the club.
Now, why do I think that’s a Cindy Sherman photo?
one of my favorites
@David Ehrenstein: That’s what I thought, but did not want to presume without the cultural bona-fides. Thanks for the corroboration, and the line on John Van Druten – I did not know about him or his connection to Christopher Isherwood, a shame since I’m fairly obsessed with CABARET and Weimar Berlin in general.
“Cabaret” credits Van Druten’s “I Am A Camera” as its primary source, rather than Isherwood’s “Berlin Stories.” The book of the Broadway show is quite different than the screenplay for Bob Fosse’s film. But the film is tons gayer than the Broadway show.