|
Post by Richard Kimble on Nov 28, 2023 23:22:02 GMT
|
|
|
Post by Lebowskidoo 🦞 on Nov 29, 2023 17:10:31 GMT
There's lots of overlap to be sure. But there was definitely a sense in 1967 that the death knell for "classic" Hollywood filmmaking had sounded. A telling indicator was the poster ad for 1967's Rough Night In Jericho, which read, "Who said they don't make Westerns like they used to? We just did." www.imdb.com/title/tt0062218/mediaviewer/rm1416311552/By 1970 Airport was seen as a conscious throwback/reaction (even though it used contemporary techniques such as split screen). Judith Crist called it "the best picture of 1944". I preferred the trashier sequels. ✈️
|
|
|
Post by timshelboy on Nov 29, 2023 17:27:24 GMT
By 1970 Airport was seen as a conscious throwback/reaction (even though it used contemporary techniques such as split screen). Judith Crist called it "the best picture of 1944". I preferred the trashier sequels. ✈️
|
|
|
Post by louise on Nov 30, 2023 19:31:38 GMT
Classic Film and Tv Cafe, who I follow on Twitter, cuts off at the end of the 1980s.
|
|
|
Post by Prime etc. on Nov 30, 2023 21:21:49 GMT
In an interview with Vincent Price around 1972 by an OTR program, the host mentioned that the studios closed in the early 60s--I assume he meant the radio divisions of the studios. I would think 1970 is reasonable if we factor in the end of the marquee star. I think Clint Eastwood is the last marquee star and he was just starting to gain that in 1970. I guess Dirty Harry was the film that did that for him. I don't think anyone after him out of Hollywood excluding perhaps comedy stars were enough of a box office draw to generate interest without some other hook like director, genre, stunts, spfx, franchise etc. There was a Columbo around 1972 that mentioned the studios selling off land for housing as well.
|
|
|
Post by Richard Kimble on Dec 1, 2023 7:26:16 GMT
I would think 1970 is reasonable if we factor in the end of the marquee star. I think Clint Eastwood is the last marquee star and he was just starting to gain that in 1970. I guess Dirty Harry was the film that did that for him. I don't think anyone after him out of Hollywood excluding perhaps comedy stars were enough of a box office draw to generate interest without some other hook like director, genre, stunts, spfx, franchise etc.Charles Bronson Burt Reynolds - I recall an article c. 1980 claiming that BR's presence in a film would guarantee $50M at the box office.
|
|
|
Post by Prime etc. on Dec 1, 2023 17:17:16 GMT
Charles Bronson Burt Reynolds - I recall an article c. 1980 claiming that BR's presence in a film would guarantee $50M at the box office. I would say Bronson was earlier than Eastwood since his first starring roles were in the late 50s early 60s, even though he didn't get big stardom until after his European period and then Death Wish. Plus he wasn't really working for the big studios while Eastwood remained there. I think Eastwood is the last one who had that big studio support but then again would he have had it if not for the Leone films? Probably not. So in fact, wouldn't someone earlier be the last marquee star promoted from the big studios? That is where I would look for the cut off for the classic period. Maybe Burt Reynolds is a better candidate--but he also made one or more films in Italy. And if Smokey and the Bandit was his break out film---that has stunts as a big part of the draw.
You could say the same about Charlton Heston movies though--they had stunts and a franchise brand in the sense of history or Bible connections.
|
|
|
Post by Richard Kimble on Dec 2, 2023 15:18:41 GMT
I would say Bronson was earlier than Eastwood since his first starring roles were in the late 50s early 60s, even though he didn't get big stardom until after his European period and then Death Wish. Eastwood was not a studio star, in the sense Rock Hudson was. CE produced his first post-Leone films in H'wood, and aside from two studio blockbusters in '69, essentially (co)-produced all his vehicles from then on If not for Leone, Eastwood would have had the career of someone like post-Cheyenne Clint Walker: leads in programmers, support in major H'wood releases, leads in Europe, three unsold western pilots in the early '70s, a failed series, then fading away. That is, if he were lucky. Eastwood was never as big a TV name as Walker -- he wasn't even the head cowboy on his series, but the assistant cowboy.
|
|
|
Post by Richard Kimble on Dec 2, 2023 15:30:34 GMT
wouldn't someone earlier be the last marquee star promoted from the big studios? IMHO, a key moment in the end of the studio system came in 1968. Michael Sarrazin was cast as Joe Buck in Midnight Cowboy, but Universal would not allow him to do it. This is considered the last time an actor lost a role due to a long term studio contract. To supply its massive TV production machine, Universal would continue the studio-era practice of contract players through the '70s. Sharon Gless is generally considered the last one, c. 1980.
|
|