Classic Hollywood

Leo Grin

For Conservative Movie Lovers: John Ford, John Wayne, and ‘They Were Expendable’ Part 4

by Leo Grin


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“Close-ups, affectionate or noble, are held at leisure; long shots are sustained long after their narrative role has been performed. A marginal figure is suddenly dwelt on, lovingly enlarged to fill the center of the screen. Informed with heightened emotion, a single shot, unexpectedly interposed — a ragged line of men marching into nowhere, one of them playing a bugle-call on his harmonica — assumes a deeper significance than is given by its function in the story. This is one of the properties of poetry. They Were Expendable is a heroic poem.” – Lindsay Anderson

The wondrous shots about which Mr. Anderson writes were masterminded by John Ford, but they were brought to life on film by Joseph H. August (1890-1947), one of the great cinematographers of the age. It was August who memorably crafted the hauntingly beautiful images of night-fog and shadows for Ford’s The Informer (1935), which won Oscars for both Best Picture and Best Director. He also lensed now-classic movies like Gunga Din and The Hunchback of Notre Dame (both 1939), and during the war served as a Lieutenant Commander in the U.S. Naval Reserves. (more…)

Robert J. Avrech

Esther Ralston: Why Do All My Husbands Want to Kill Me? Part III

by Robert J. Avrech

image029Esther Ralston at the height of her fame, 1920’s.

To read Part I of this series, please click here.

To read Part II, please click here.

Broke, with her second marriage in shambles and blacklisted by studio boss L.B. Mayer—Esther wouldn’t trade amorous favors for movie roles—Esther Ralston flees to New York in 1939 to find work and rebuild her shattered career.

Esther, in her slim but resonant 1985 memoir, Some Day We’ll Laugh, tells us that she was forced to leave her daughter Mary behind in California with her mother.

Working in Summer Stock and radio, Esther meets a young entertainment columnist named Ted Lloyd.  Everywhere she plays, Ted is in the audience. With characteristic understatement Esther notes that Lloyd “seemed to follow me.” (more…)

Leo Grin

For Conservative Movie Lovers: John Ford, John Wayne, and ‘They Were Expendable’ Part 3

by Leo Grin

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“That bold buckaroo with the cold green eyes.”

– General Douglas MacArthur, describing his savior John Bulkeley –

In March 1942, facing imminent capture by the Japanese, America’s commander in the Far East was ordered to slip away to safety in Australia. The Empire of the Sun controlled both air and sea, and only a precious few Allied planes and ships remained in-theater, skulking through the night fog like pirates to avoid capture and running on little more than spit and baling wire. “Overhauling those motors without any replacement parts was a terrible job,” one of the few to escape that nightmare later remembered. “For instance. Any tank-town garage which overhauls a flivver back in the States always replaces the gaskets with new ones. Only we didn’t have any. Or any sealing compound. So those old gaskets had to be carefully removed, handled as gently as though they were precious lace, and laid back in place when the motors were reassembled.”

When MacArthur arrived at the dock with his family and key commanders, he found waiting for him a trio of tiny, dilapidated motor torpedo boats crewed by dirty, emaciated men with long, unkempt beards and wild eyes. Their skipper was a thirty-year-old U.S. Navy Lieutenant named John Bulkeley, who for months had held his disintegrating squadron together by scrounging like a rat among the islands for gasoline, torpedoes, and other basic supplies. His boats were little more than plywood matchboxes, but Bulkeley had kept them active long after the rest of America’s Navy and Air Force had been destroyed or driven off. He made sneak assaults against transports, cruisers, destroyers, airplanes, landing parties — anything to frustrate the pace of the overwhelming Japanese invasion. Every time he attacked it was a fearsome David-versus-Goliath mismatch, but Bulkeley had done so time and again, sinking many enemy vessels. (more…)

John Nolte

Gore Vidal Describes Polanski’s Victim as ‘Young Hooker’

by John Nolte

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In an interview published today, The Atlantic describes Gore Vidal as “a sharp provocateur, as irascible and irreverent as ever.”

I’m assuming that’s some kind of internal Atlantic-code for ”twisted old has-been degenerate desperate for attention“:

ATLANTIC: In September, director Roman Polanski was arrested in Switzerland for leaving the U.S. in 1978 before being sentenced to prison for raping a 13-year-old girl at Jack Nicholson’s house in Hollywood. During the time of the original incident, you were working in the industry, and you and Polanski had a common friend in theater critic and producer Kenneth Tynan. So what’s your take on Polanski, this many years later?

VIDAL: I really don’t give a fuck. Look, am I going to sit and weep every time a young hooker feels as though she’s been taken advantage of?

Vidal then goes on to blame Polanski’s legal problems on… (more…)

Leo Grin

For Conservative Movie Lovers: John Ford, John Wayne, and ‘They Were Expendable’ Part 2

by Leo Grin

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“I am really a coward. I know I am, so that’s why I did foolish things. I was decorated eight or nine times, trying to prove that I was not a coward, but after it was all over I still knew, know, that I was a coward.”

– John Ford –

June 4, 1942. The Battle of Midway. John Ford was on his back, covered in debris, unconscious. All around him bombs were dropping, buildings were erupting into monstrous fireballs, and young marines were dodging deadly lines of machine-gun strafing sent down by Japanese fighter planes. Ford and his assistant, young Jack MacKenzie Jr. (whose father was an RKO cinematographer) had been perched on the roof of a power station on Eastern Island, brazenly filming the morning attack by the Japanese and reporting enemy plane positions to headquarters, when a bomb landed a scant twenty feet from their position. The shockwave was so great that MacKenzie later recalled he was “bounced flat on my face by the terrific explosion,” adding, “we almost lost Commander Ford.” (more…)

Schizoid Mann

I Keep Watching the Skies: B Movies and Me

by Schizoid Mann

I have always been a fan of so-called B movies. I’m not sure I like that description because it implies that B movies are not as important as A movies, not as serious, not as good. Well, I’m not so sure about that. Of the B movies that I love, my favorites are, without a doubt, the science fiction monster movies. Yes, those wonderful creations conceived of by some of the most colorful characters in Hollywood and beyond. Studios like AIP, Toho, Daiei, Hammer and Universal are synonymous with creatures that crawl, creep and are able to stamp a city flat.

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Names like Ray Harryhausen, George Pal, Bernard Herrmann and H.G. Wells come to mind. As do those of Ken Toby, Less Tremayne, Paul Frees and Whit Bissell. Each of these names, plus thousands and thousands of others, can immediately conjure up a favorite film, a scene or even just a great line or look that impressed us as kids and perhaps continues to do so.

When I think about those elements that I love in my favorite sci-fi monster movies, my mind can easily dwell for hours on the creatures themselves, the settings, the art direction, the machinery and technology and everything in between. I never grow tired of that stuff. But I also love, with equal passion the characters that people the story. They are really what it’s all about. So, indulge me as I invite you to take a little trip through my memory, recalling some character moments that stand out for me in the B genre of scifi monster movies. (more…)

Cam Cannon

Movies We Like: ‘The Bad News Bears’ (1976)

by Cam Cannon

Morris Buttermaker was a fair to middling minor league pitcher in his day, whose claim to fame was once striking out Ted Williams in a Spring Training game. Now, he’s a whiskey and beer swilling, filtered cigar chomping pool cleaner who’s at once soft-spoken and gruff. You love him already, don’t you?

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“The Bad News Bears” is subversive from the start, its characters realistic and flawed. Of course, the engine driving this train is the late Walter Matthau, whose  Buttermaker was hired to coach a team of misfits who are so bad at baseball they’re only in the elite league because one the parents sued the league. Most of the Bears’ parents are conspicuously absent at practices and are rarely heard or seen at games. Leaving them out of the movie is a stroke of genius – we’re constantly wondering why one of them didn’t step up to coach the team. (more…)

Leo Grin

For Conservative Movie Lovers: John Ford, John Wayne, and ‘They Were Expendable’ Part 1

by Leo Grin


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“[John Ford] was the only one of the Hollywood directors who fought who did not forget his men.”

– Captain Mark Armistead, USN –

Thus quotes Joseph McBride in his masterful biography Searching for John Ford, at the head of the chapter dealing with the director’s wartime activities. It is usually seen as lamentable when a genius is pulled from the practice of his art for any extended period, but here we must make a special allowance. As filmmaker Lindsay Anderson (1923-1994) explains in his essential critical volume About John Ford (which, like the McBride book, should be sitting proudly and dog-eared on the bookshelf of every conservative film fan): “War service took Ford away from the making of films for some three years when his powers were at their height. One would regret this interruption more had it not led directly to the making of a masterpiece.” (more…)

Leo Grin

Introducing ‘For Conservative Movie Lovers’

by Leo Grin


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A thousand years ago in Cairo, surrounded by ancient pyramids and the ghosts of lost civilizations, the great Arab scientist Alhazen conducted a peculiar optical experiment. Building on observations made by Aristotle thirteen centuries earlier, he first constructed a room, one completely shuttered from the light of the outside world, as dark as death. He then cleverly lit the space around the room with an array of bright lamps. Finally, he punched a single pinhole into one wall, just large enough to let a small beam of lamplight bleed in.

Alhazen confirmed that if you entered such a room, and sat in the darkness until your eyes had ample time to adjust, and then followed the beam of light emanating from the pinhole to where it splashed onto the wall opposite, you would be privy to an amazing, almost magical sight. As you watched, shapes and colors would begin to coalesce. Familiar forms would appear. And eventually, when your eyes had acclimated enough, you would be staring at nothing less than an exact upside-down projection of the outside world, perfect in every detail. Alhazen marveled at this, and gave the experiment an evocative name: Al-Bayt al-Muthlim, translated by later scribes into Latin as camera obscura — The Veiled Chamber. (more…)

Michael Walsh

Daniel Melnick, RIP

by Michael Walsh

Even more than Washington, Hollywood is famously the land of, “if you want a friend, get a dog.”  Pals, business associates, even lovers come and go in this, the country’s last freewheeling bastion of untrammeled capitalism, in which “what have you done for me lately?” is not a reproach but a perfectly reasonable question.

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Daniel Melnick

So it is with great sadness that I learned, up here in the New England woods, of the death on Tuesday of my friend, rabbi and mentor, Daniel Melnick, the former head of MGM and Columbia, best known for Straw Dogs, Altered States, All That Jazz, L.A. Story, and That’s Entertainment.  Dan was not only a great producer, with a story sense second to none, a sense of history, both cinematic and American, a steel-trap mind, and an amazing memory (he could read version after version of a treatment written by an idiot – in this case, me – and always find the new material.  And then tell you what was wrong with it).   No, he was much more. (more…)

Russ Dvonch

Heroic Hollywood: Charlie, the Kid and the Cop

by Russ Dvonch

charlie dovoer loresfinalCharlie, the Kid and the Cop
Best Lesson Ever in Hollywood Screenwriting

If you want to write for Hollywood, study this picture.

This faded lobby card from Charles Chaplin’s The Kid is the best lesson you’ll ever have in how to write for the movies. Despite its age, it illustrates many of the essential elements you’ll need to keep in mind today as your write your Hollywood screenplay. It’s a visual reminder of the kind of movie that producers, studios and – most importantly – audiences are looking for.

And that’s no accident. This lobby card had a specific purpose: to bring people into the theater. Chaplin chose this particular image because it effectively answers the first three questions that are always on the mind of the audience when the lights go down on a Hollywood movie. (more…)

Mary Claire Kendall

‘The Wizard of Oz’: Seventy Years Later — Still Inspiring, Still Relevant

by Mary Claire Kendall

“That’s the best song ever written,” Judy Garland said of “Over the Rainbow” in an interview with Barbara Walters on March 6, 1967, almost three decades after she captured countless hearts as “Dorothy” in “The Wizard of Oz,” featuring that magical song. 

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So, too, “The Wizard of Oz”—released 70 years ago today—is, perhaps, the best film ever made.  

Or, at least, the most quintessentially American—in terms of our struggles, hopes, aspirations, dreams, and, ultimately, unshakable confidence, that “somewhere over the rainbow… dreams… really do come true.”

MGM had purchased this highly popular and imaginative children’s book written by L. Frank Baum, and published in 1900, for $75,000, specifically for Judy.  During development, the silver shoes became ruby, thus undercutting Baum’s apparent allegory to “bimetallism”—currency backed by silver, replacing “the gold standard” and favoring rural farmers; in contrast to the worthless “greenbacks” some say Emerald City represents.  (more…)

Robert J. Avrech

Esther Ralston: Why Do All My Husbands Want to Kill Me? Part II

by Robert J. Avrech

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Esther Ralston at the height of her fame, mid-twenties.

To read Part I of this series, please click here.

Blessed with a lovely, melodic voice, it’s something of a puzzle why Paramount dropped Esther Ralston’s option in 1929. Esther was a rising star who, between 1924 and 1929, starred or co-starred in twenty-five films. She would seem a natural for talkies.

But the mystery is soon cleared up as Esther explains:

Since I had only a year to go on my Paramount contract, the studio sent me a new contract with a talkie clause to sign. Knowing I had been brought up in the theater before going into pictures, George decided I should ask for a hundred thousand dollars to sign this talkie clause. He sent me alone to talk to Mr. Lasky and Mr. Zukor. They were courteous as always, but explained that the new talkie panic had them worried and they didn’t feel they should have to increase my salary until they were sure I would be adequate in talkies.

Once again, the destructive Svengali-Trilby relationship asserts itself as the guiding principle of Esther and George. (more…)

Andrea Shea King

Real Racism: Lessons in ‘To Kill a Mockingbird’

by Andrea Shea King

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My name is Bob Ewell. We’re all Bob Ewells if you check with the Left and their media mouthpieces.

Who is Bob Ewell? Well, if you’ve ever watched the movie To Kill a Mockingbird, you’d know that Ewell is the racist character who destroyed the life of an innocent man.

To Kill A Mockingbird is a classic American film, based on Harper Lee’s novel of life in 1936 Alabama and racial injustice that resided there. (more…)

Yervand Kochar

40’s Movie Stars: Better in Bed, Better on the Battlefield

by Yervand Kochar

I have been watching a lot of 40s movies lately. Being radically anti-celebrity, I was taken aback by how easily mesmerized I was by the movie stars of that period. 

After all, why wouldn’t any man (straight or gay) imitate Cary Grant’s walk up the stairs to save Ingrid Bergman at the end of Hitchcock’s “Notorious?”


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And why wouldn’t any honest woman try to talk and look like Barbara Stanwyck? 

I was at a pool party in the Hollywood Hills once where agressive supermodels were trying to seduce fake producers. That entire pack of semi-nude nymphs had less seductive power than the play of the anklet on Barbara Stanwyck left leg in Wilders’ “Double Indemnity.”  (more…)

Kurt Schlichter

Movies We Like: ‘Anatomy of a Murder’ (1959)

by Kurt Schlichter

There was a time when an “adult film” meant a movie by, for and about adults, not a tawdry tale of some tatted-up, dead-eyed 19-year old with daddy issues numbly coupling in front of a video camera for the gratification of leering, backward-hatted frat boys and twitchy loners with DSL.  They don’t make many truly adult films anymore – to see what you are missing, a good place to start is 50 years ago with 1959’s Anatomy of a Murder

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Let’s start with the cast:  James Stewart.  George C. Scott.  Lee Remick.  Eve Arden.  Ben Gazzara.  Even Big Hollywood’s own Orson Bean in a supporting part as a doctor who plays a key role in the storyIf you love movies, you only needed to get to the word “George” before you were adding it to your NetFlix queue. (more…)

Chris Yogerst

Film Noir Revival, Anyone?

by Chris Yogerst

Picture a quaint Victorian house in the Hollywood Hills overlooking Los Angeles.  A modest insurance salesman shows up at the door, it is opened by a maid.  There is a beautiful woman at the top of the stairs; the sultry Mrs. Dietrichson, dressed in nothing more than a towel.  She gets dressed after the salesman tells her their car insurance doesn’t have them “fully covered.”

The following conversation takes place:


The fast, witty, and flirtatious dialogue in this scene gives us light into how a man could possibly get seduced into what was to come.  This is of course, the big murder/insurance scam from Billy Wilder’s classic 1944 film Double Indemnity.

There was a time when dark crime films were popular both with mainstream Hollywood films and B-grade productions. McCarthyism, Hollywood censorship, and World War II among other things all played a role in the shaping and growing popularity of what became known as the classic period of America’s film noir (1940’s-1950’s). (more…)

Robert J. Avrech

Esther Ralston: Why Do All My Husbands Want to Kill Me?

by Robert J. Avrech

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Esther Ralston, at the height of her Hollywood stardom in the 1920’s.

They called her: The American Venus.

She lived in a Hollywood mansion with a staff of servants. Her chauffeur drove a limited edition limousine. But she ended her days in an upscale trailer park in Ventura, California.

One of the enduring mysteries—for yours truly—are the scores of Hollywood starlets, innocent young women, who are attracted to bad men: drunks, gamblers, liars, tinsel town sociopaths.

Esther Ralston is a prime example of an early Hollywood star who showed great promise as an actress—she played drama and comedy with equal craft—but three ill-considered marriages effectively derailed Ralston’s career and drained away her considerable fortune. (more…)

Charles Winecoff

Honoring September 11th: Memories of the WTC — King Kong, Carol Channing, and Ground Zero

by Charles Winecoff

I never liked the Twin Towers.  As a boy, I watched them go up - slowly, for years – from the terrace outside my parents’ bedroom.  My dad, who was an architect, griped about them: they were too big, they lacked style, they were monstrous.  They sat vacant for years, a folly of the Port Authority.

And they ruined the skyline.

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We all loved the Empire State Building, for decades the tallest building in Manhattan, even the world.  The Empire State Building inspired loyalty.  It was a marvel of engineering and design.  It was a class act.  And King Kong had died for love on it.

Of course, we went to see what the WTC was all about.  The lobby was tacky, grandiose yet bland, like an airport or a ballroom in a chain hotel.  The elevators were fast – a cheap thrill, like a ride at Disneyland – but when you debarked, the mundane, office hallways were an anticlimax. Nothing special. (more…)

Big Hollywood

Jack Webb Schools Barack Obama on Healthcare

by Big Hollywood


John Nolte

Natalie Portman’s Castle and Why the Movie Star is Dead

by John Nolte

One day … ONE day after gushing over how exciting the recession is now that those forced to work jobs they hate or who have lost them entirely can focus on their passions, Natalie Portman bought herself a $3 million castle-like estate.

Natalie, whoever’s advising you … fire them. If no one’s advising you, find someone who doesn’t carry a small dog in their purse or dates someone who does. Look to the real world for help. Look to someone who’s spent a few years in a land where the zip codes don’t start with “9-0.” Someone who cares enough about you and your career to say (without any “Honey, babys”):

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“Nat, past the gates of your community and away from the hills of Hollywood losing your job doesn’t fuel passion, it fuels despair, and working a job you hate is almost as bad because of the big black  permanent ball of dread it plants in your gut. I know you dig Barack, I did too before he targeted my children and health care, but you can’t flak for his recession. That’s what the mainstream media is for. You have to empathize with your audience, build goodwill. Besides, you’re closing on that castle tomorrow, so today wouldn’t be a good time to get all gushy over how exciting Barack’s recession is. And if you do, I quit.” (more…)

John Nolte

Top 5: If You Were a TCM Guest Programmer

by John Nolte

I’m not someone with many hopes and dreams, 17 years of bill collecting will do that to you, but for me sitting across from The Mighty Robert Osborne and guest programming an evening of Turner Classic Movies would be like hitting the Powerball. I’m not sure how one gets invited to do such a thing, and can tell you from experience that a letter explaining you have only six-weeks to live doesn’t help, so in the meantime we’ll all have to live vicariously through Dennis Miller or play guest programmer right here.

Sharing great movies with those who haven’t seen them is a passion of mine, so that would be the focus of my choices (and why I love Miller choosing “Dodsworth“).

1. Springtime in the Rockies (1942) — Check this cast out: Betty Grable, Carmen Miranda, John Payne, Cesar Romero, Harry James, Charlotte Greenwood and Edward Everett Horton. Twentieth Century-Fox had them some stars and TCM would just have to make a phone call to Fox and borrow this simple, sweet, unassuming color musical packed with a dozen lovely tunes over a very well-paced 91 minutes. Fox could never compete with what MGM was doing in the musical department, and to their credit didn’t really try. So instead of aspiring to create classics they went for escapism, and sometimes those are the best movies of them all.   (more…)

Robert J. Avrech

Jessie Matthews: The Dancing Divinity Does Weddings and Bar Mitzvahs

by Robert J. Avrech


British movie star Jessie Matthews at the height of her fame.

Jessie Matthews (1907-1981) was Britain’s first and greatest international movie star.

Known as The Dancing Divinity, Matthew’s tragic and scandal-ridden life was more akin to hell on earth.

Born above a butcher shop in London’s Soho district, the seventh of eleven children, George, Jessie’s father was illiterate, a harsh and distant drunk. In contrast, Jessie’s mother, Jane, was warm and loving, but Jenny lived under the thumb of her tyrannical husband and so her unconditional love for Jessie was severely blunted by her husband’s drunken rages and frequent physical abuse.

The large cockney family rarely had enough to eat. (more…)

John T. Simpson

Interview: Jerrol LeBaron of InkTip, Part Three

by John T. Simpson

In Parts One and Two of this interview, Mr Lebaron described the many legal, moral and ethical problems plaguing the California legislative process. In Part Three, Mr. LeBaron describes how We The People can begin to bring the long-hallowed and honorable traditions of enlightened American lawmaking back to the State House in Sacramento.

Q: How could such a law as the Honor In Office Act be enforced?

JERROL: There are some legislators who will perjure themselves day in and day out. There is no hope for them, unless someone reports the violation. However, we are dealing with partisanship. That means that 45-55% are Democrats and 45-55% are Republicans, typically. The Honor In Office Act plays very nicely into that. Newly elected lawmakers might be far more conscious of the new rules. There are other lawmakers in office who have lost their way, because they have had no way to protect themselves from the less scrupulous. (more…)

John T. Simpson

Interview: Jerrol LeBaron of InkTip, Office, Part Two

by John T. Simpson

In Part One of this interview, Mr. LeBaron provided background on his own classic American and Hollywood success stories, and why he started the Honor In Office campaign. Today, Mr. LeBaron tells us what Honor In Office is all about, and why real reform is so badly needed in Sacramento.

Q: Can you describe for me, specifically, what Honor In Office is all about?

JERROL: If you look at the header at the Honor In Office homepage you will see the phrase, “There was a time in this country when our leaders’ signatures meant more.” Be it the Constitution, the Bill of Rights, or bills passed by Congress to conduct the People’s business, our Founding Fathers and early members of Congress drafted, read in full, debated at length, and either passed or rejected whatever legislation was before the Congress. (more…)

Big Hollywood

Tarantino’s Top Twenty Since 1992

by Big Hollywood


John T. Simpson

Interview: Jerrol LeBaron of InkTip, Part One

by John T. Simpson

THE BACKSTORY

From all appearances, Jerrol LeBaron’s life is both a classic American and Hollywood success story. Having started out in the construction industry in and around Los Angeles, Mr. LeBaron became restless and purchased a small jewelry business, which he owned and ran for seven years. In 2000, after dabbling in screenwriting and discovering just how difficult it was to market scripts in Hollywood, Mr. LeBaron sold his jewelry business and started the online Writers’ Script Network, now known today as Inktip.com.

Today, InkTip is the most successful venture of its kind in Hollywood, matching spec screenplays with prospective studios, producers, and other film industry insiders looking for new material. An average of twenty films a year are made from scripts discovered on InkTip. Mr. LeBaron’s bi-monthly magazine, containing the loglines of hundreds of screenplays in the InkTip database, is distributed industry-wide. Having optioned a script off of InkTip myself, I can personally testify to its success. (more…)

John Nolte

Top 15 Films of the New Millennium

by John Nolte

Using reader scores, IMDB ranked their top 15 films produced since 2000. Other than “The Departed,” which along with “Mystic River,” “Crash,” “Crash,” and “Crash,” ranks in the top 5 over-rated films of ever, there’s little to quibble over. Taste is a subjective thing.

My personal Top 15 are ranked as my favorites always are — based on nothing more than re-watchability. “Rocky Balboa” might not be better written, photographed or acted than any number of films not on this list, but I’m going to watch it a helluva lot more, that’s for sure.  

1. The Assassination of Jesse James by the Coward Robert Ford (2007) – Ever since the lights came up after that first screening, like a drug this lyrical, gorgeously photographed piece of myth-making has tugged me back for another taste. This isn’t easy to admit, but I think I admire Andrew Dominik’s directorial debut even more than John Ford’s “Young Mister Lincoln” (1939), which it resembles in so many ways. Were this also a listing of the greatest performances of the new millennium, Casey Affleck’s portrayal of Robert Ford would rank #1, as well.

2. The Passion of the Christ (2004) – Easily, the purest and rawest emotional cinematic experience I’ve ever had. The Left’s bigoted, venomous attacks combined with the film’s eventual blockbuster success were almost as satisfying as the re-election of George W. Bush. (more…)

Daniel J. Flynn

No John Hughes, No 1980s

by Daniel J. Flynn

Without John Hughes, would there have been a 1980s? The filmmaker and screenwriter died of a heart attack while walking Thursday in Manhattan. For the uninitiated, he wrote National Lampoon’s Vacation, Sixteen Candles, The Breakfast Club, Pretty in Pink, Weird Science and Ferris Bueller’s Day Off–directing several of those films as well.

Memories of Hughes’s films are as likely to be audio as visual: The Psychedelic Furs, The Smiths, and Simple Minds were among the acts introduced to a wider audience through Hughes’s sonically-savvy films. (more…)

Big Hollywood

Ben Stein: ‘John Hughes was an avid Republican’

by Big Hollywood