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November 11, 2011


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David Ehrenstein

Hey Glenn, bet you didn't know that Aldrich's film was a remake of a telvision play written by Robert Thom, directed by Farnklinn J. Schaffner and starring

(wait for it)



I saw it when it ran on the tube and it was quite good.

Still the Aldrich remake is nothign to sneeze at.


So, basically, the pitch for this would not be 'Bambi Vs. Godzilla', but rather "Antonioni's 'L'Eclisse' meets Godzilla"?


I find this film unwatchable except for those last two minutes.


I've resisted the Warner Archives for all this time, because I'm a tightwad, but I may have to take the plunge, because I can't resist shows about show business.

I caught part of this on TCM a few years ago, but I lost the plot somewhere.

It seems wrong to pass it up, seeing as how it'd make a nice double-feature with my copy of The Big Knife.

Peter Nellhaus

There's also the obvious link to "Vertigo" with the casting of Kim Novak, no?

Glenn Kenny

Indeed, Peter. Of course in my book everything Novak appears in after "Vertigo" refers to or is linked with "Vertigo," so...

warren oates

Thanks for the heads-up on this release, Glenn. I finally caught THE KILLING OF SISTER GEORGE this year and farking loved it. If you left your French theory books at home and, say, Eastwood's manyly man films still strike you as too heteronormative, then a Robert Aldrich women's picture will hit the spot every time.

David Ehrenstein

"Midnight in the Garden of Good and Evil" is FAR from "
Heteronormative." Likewise "J. Edgar"

Mr. Peel

Come to think of it, I'll bet MIDNIGHT IN THE GARDEN OF GOOD AND EVIL would be vastly improved by having LYLAH's ending tacked on to the end.

Funny thing, just last week I saw KILLING OF SISTER GEORGE for the first time, at the New Beverly on a double bill with J. Lee Thompson's RETURN FROM THE ASHES. I'm still a little knocked out from SISTER GEORGE and when the credits rolled I just felt punched in the gut in a way that I suppose you only get from Robert Aldrich. All the oddly, intensely nightmarish elements found in that film and some of his others can of course be found in LYLAH CLARE like the ending or that opening credit sequence on an eerily deserted Hollywood Blvd. or that high angle shot of Finch sitting alone in the Chinese Theatre near the end. But they get lost in endlessly dull scenes of things like Finch and Borgnine bickering over deal points in the Brown Derby and it really does feel like the work of a director who never quite figured out the concept of the film he was making. Or maybe never adequately described it to anyone around him. Still, just reading this makes me want to see the movie again and I'll probably order the Warner Archive disc eventually.


Today there's a big sale at the WB shop on-line for Black Friday.


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