Edgar G. Ulmer movies on TCM: 'The Black Cat' & 'Detour' Turner Classic Movies' June 2017 Star of the Month is Audrey Hepburn, but Edgar G. Ulmer is its film personality of the evening on June 6. TCM will be presenting seven Ulmer movies from the mid-1930s to the mid-1960s, including his two best-known efforts: The Black Cat (1934) and Detour (1945). The Black Cat was released shortly before the officialization of the Christian-inspired Production Code, which would castrate American filmmaking – with a few clever exceptions – for the next quarter of a century. Hence, audiences in spring 1934 were able to witness satanism in action, in addition to other bizarre happenings in an art deco mansion located in an isolated area of Hungary. Sporting a David Bowie hairdo, Boris Karloff is at his sinister best in The Black Cat (“Do you hear that, Vitus? The phone is dead. Even the phone is dead”), ailurophobic (a.
- 6/7/2017
- by Andre Soares
- Alt Film Guide
"I really am looking for absolution for all the things I had to do for money's sake."
Edgar G. Ulmer said that, to Peter Bogdanovich.
Everything about Ulmer's last film, The Cavern (1965), speaks of hope battling despair. Ulmer, known informally as "King of the Bs," was a man who toiled in the darkness of the underfunded, unregarded B-movie, Z-list, exploitation world for practically all of his career. After making the surreal death-dream that is the Karloff-Lugosi horror The Black Cat (1934), Ulmer found himself informally blacklisted and worked on the margins of the film industry, going wherever the money could be scraped together to make something... anything.
Of course, the reason he's remembered is that within the impossible limits of micro-budget genre film-making (two-week schedules, one-week schedules), he kept producing films, or at least moments, that aspired to our achieved greatness. He didn't wait for the right project. He couldn't afford to.
Edgar G. Ulmer said that, to Peter Bogdanovich.
Everything about Ulmer's last film, The Cavern (1965), speaks of hope battling despair. Ulmer, known informally as "King of the Bs," was a man who toiled in the darkness of the underfunded, unregarded B-movie, Z-list, exploitation world for practically all of his career. After making the surreal death-dream that is the Karloff-Lugosi horror The Black Cat (1934), Ulmer found himself informally blacklisted and worked on the margins of the film industry, going wherever the money could be scraped together to make something... anything.
Of course, the reason he's remembered is that within the impossible limits of micro-budget genre film-making (two-week schedules, one-week schedules), he kept producing films, or at least moments, that aspired to our achieved greatness. He didn't wait for the right project. He couldn't afford to.
- 11/4/2010
- MUBI
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