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Pity the poor exhibitors in 1953 that splurged on 3-D equipment, only to see the payroll soar and the profits fall. Nope, Anamorphic Widescreen was the innovation that swept the world. It proved perfect for stories with scenic grandeur, such as Fox’s very early mini-epic shot on Florida locations. Thanks to Bernard Herrmann’s impressive music score, this one’s not going away.

Beneath the 12-Mile Reef

Blu-ray

Twilight Time

1953 / Color / 2:55 widescreen / 102 min. / Street Date September 19, 2017 / Available from the Twilight Time Movies Store 29.95

Starring: Robert Wagner, Terry Moore, Gilbert Roland, J. Carrol Naish, Richard Boone, Peter Graves, Jay Novello, Angela Clarke, Jacques Aubuchon, Harry Carey Jr., Gloria Gordon.

Cinematography: Edward Cronjager

Film Editor: William Reynolds

Original Music: Bernard Herrmann

Written by A.I. Bezzerides

Produced by Robert Bassler

Directed by Robert Webb

Four years have passed since the now dormant 20th Century Fox Cinema Archives DVD-r label stealth-released a surprise...

Demián Bichir may not be a household name, but he's an actor that's definitely started to make his impact on Hollywood. Starting out in telenovelas in Mexico in the 1980s, the actor slowly transitioned into Hollywood with films like 2001's In The Time Of The Butterflies and 2008's Che, where he played Cuban dictator Fidel Castro.

More recently he's starred in such films as Savages, The Heat, and, perhaps most notably, Machete Kills, a film that eventually led to his being cast in Quentin Tarantino's Hateful Eight, as is discussed in the discussion below.

In a phone interview, Kellvin talks in-depth about the acting process with Tarantino, as well as Bichir's upcoming role in Alien: Covenant.

If you'd like to hear an audio version of the interview, you can listen to the one of our recent podcast episodes below! The interview begins around 01:39:11 into the episode.

Now...

Woody Allen Golden Globes 2014 tribute: Diane Keaton remembers ‘friend’ (photo: Woody Allen directing Cate Blanchett in ‘Blue Jasmine’) Accepting from presenter Emma Stone the 2014 Cecil B. DeMille Award for absentee Woody Allen, Diane Keaton (Sleeper, Love and Death, Annie Hall, Interiors, Manhattan, Manhattan Murder Mystery) was a likable presence at the January 12, 2014, Golden Globes ceremony, but her reminiscences about Allen were clearly PG-rated, going on about their "friendship" as if the two had always been just pals. Was that lullaby she sang moving or would Woody Allen have been right in yelling, "get the hook and get her off the god damn stage"? You decide. Now, in all fairness, Diane Keaton’s Woody Allen tribute wasn’t all PG-rated treacle, as she was twice bleeped by the censors. Apparently, NBC — and the ludicrous FCC — believe television audiences should be treated as if we were all three-year-olds. (See also: “Golden Globes...

Film's golden era was tarnished by appeasement

Nazi Germany loved movies, and their leader was, as in so much else, fanatical about them. In his private cinema at the Reich Chancellery Hitler watched a movie every night, then gave his invited guests the benefit of his opinion on it. He loved Laurel and Hardy, for instance, noting how their comedy Block-Heads contained "a lot of very nice ideas and clever jokes". Yet he regarded movies as something more than entertainment; he saw in their power to seduce and bewitch a vital instrument of persuasion. His propaganda minister, Joseph Goebbels, saw it, too. After watching It Happened One Night, he wrote in his diary: "A funny, lively American film from which we can learn a lot. The Americans are so natural. Far superior to us."

If this eye-opening study of Hollywood and the Nazi elite is to be believed, that superiority was purely a technical one.

By Erik Butka, Meagan Calnon & Kathryn Anthony

(Read the original story here)

(Click here for an enlarged version of the infographic)

In recent years, high profile news outlets like The New York Times and CNN have featured architects’ struggles by citing the dire unemployment statistic of 13.9% for recent graduates, the highest of any college major. Many architecture firms are still reluctant to hire new full-time members to their team, and all too often students and recent graduates remain without work. Since approximately 40% of architecture graduates pursue work outside of the architectural profession, and the National Council of Architectural Registration Boards (Ncarb) currently reports 26,850 students enrolled in accredited architecture programs, we can assume that over the following years 10,000 students trained as architects will forge their own path in a variety of other occupations.

One of the most creative, high profile fields that can offer an architect a wide range of positions is the film industry.

10: Gentleman’s Agreement

Perhaps a bit tame by today’s standards, but Kazan’s message drama was an extremely important film in 1947, marking one of the first times that the word Jew was explicity used in a Hollywood picture. Kazan was known throughout his career as a champion of social causes, and Gentleman’s Agreement earned him the first of two Best Director wins (out of five such nominations). Agreement follows a respected gentile journalist (Gregory Peck) hired by a magazine publisher (Albert Dekker) to write a gutsy expose about anti-Semitism. In order to deliver a true, honest and powerful story, he decides to present himself as Jewish everywhere he goes. Gregory Peck gives unquestionably the second best performance of his career. His strong, steady portrayal earned him a Best Actor nomination (although not a win).

- Ricky D

9: Wild River

Set during the early 1930s when American...

You'd think a movie starring Marlon Brando at the height of his young-firebrand sex appeal, written by Nobel laureate John Steinbeck, and directed by the great Elia Kazan, would be better remembered today. Yet "Viva Zapata!", released exactly 60 years ago (on Feburary 7, 1952), is all but regarded as a footnote in the careers of Brando, Steinbeck, and Kazan. That's a shame, since it's at once a terrifically exciting action film, a heroic biopic, and a penetrating political study. Of course, even then, it was an odd one -- a movie about legendary figures in Mexican history portrayed by an almost Mexican-free cast; a movie about a pro-peasant revolutionary hero made at a time of anti-Communist hysteria in Hollywood. That it got made at all was remarkable, given the battles over censorship and casting, not to mention the battles between Brando and co-star Anthony Quinn, whose bitter tension often erupted into elaborate pranks and practical jokes.

I’ve finally made it to the grand master of the bravura sequence, or, more specifically, of the ending bravura sequence, King Vidor.

It isn’t surprising that a producer as knowledgeable as Selznick often ran to the services of the two major champions of “slice of cake” cinema and strong sequences, Hitchcock (Rebecca, Spellbound, Notorious, The Paradine Case) and Vidor (Bird of Paradise, Duel in the Sun, Light’s Diamond Jubilee, even Ruby Gentry), who, without a doubt, made the best films for Selznick.

Love Never Dies, Wild Oranges, Hallelujah, Our Daily Bread, Comrade X, Duel in the Sun, The Fountainhead, Ruby Gentry and their terrific denouements once made me write that Vidor was a director of film endings. No doubt I was exaggerating, but it isn’t for nothing that he hesitated for a long time between several different endings for The Crowd. I was also exaggerating because...