455 search results for Best Makeup
A lot of love for a lot of films.
The press room hosted a slew of freshly-minted Academy Award winners this evening
An array of periods and genres make for a very wide-open race
The Oscar nominee also talks about the directors she'll follow anywhere
Also: Could Disney's 'Frozen' be an unexpected contender?
Ang Lee was president of this year's award jury
The moment I saw the crazy spectacle that was Miley Cyrus's MTV VMAs performa...
Nothing's a sure thing in this year's stacked race
And Angela Lansbury finally has an Oscar!
Special abilities: Tremendously efficient and detail-oriented, able to simult...
The Mummy represented Boris Karloff's second horror starring role after his "overnight" success in Frankenstein. Brought back to life after nearly 3,700 years, Egyptian high priest Imhotep wreaks havoc upon the members of the British field exposition that disturbed his tomb (shades of the King Tut curse). While disguised as a contemporary Egyptologist, he falls in love with Zita Johann, whom he recognizes as the latest incarnation of a priestess who died nearly 40 centures earlier. Spiriting Zita away to the tomb, he relates the story of how he had dared to enter her ancestor's sacred burial crypt, hoping to restore her to life. Caught in the act, he was embalmed alive and his tongue was cut out for his act of sacrilege. Now that he has returned, he intends to slay Zita, so that they will be reunited for all time in the Hereafter. Despite its melodramatic trappings, The Mummy is essentially a love story, poetically related by ace cinematographer and first-time director Karl Freund. Jack Pierce's justly celebrated makeup skills offers us two Karloffs: the wizened Egyptologist and the flaking, rotting mummy, who though only seen for a few seconds remains in the memory long after the film's final image has faded. Best line: "It went for a little walk." The Mummy was followed by four stock footage-laden sequels, none of which approached the power and poignancy of the original. ~ Hal Erickson, All Movie Guide
Includes - Freaks (1932) Dr. Jekyll and Mr. Hyde (1941), MPAA Rating: G House of Wax (1953) The Haunting (1963), MPAA Rating: G Freaks The genesis of MGM's Freaks was a magazine piece by Ted Robbins titled Spurs. The story involved a terrible revenge enacted by a mean-spirited circus midget upon his normal-sized wife. In adapting Spurs for the screen, writers Willis Goldbeck, Leon Gordon, Edgar Allan Wolf, and Al Boasberg retained the circus setting and the little man-big woman wedding, all the while de-vilifying the midget and transforming the woman into the true "heavy" of the piece. German "little person" Harry Earles plays Hans, who falls in love with long-legged trapeze artist Cleopatra (Olga Baclanova). Discovering that Hans is heir to a fortune, Cleopatra inveigles him into a marriage, all the while planning to bump off her new husband and run away with brutish strongman Hercules (Henry Victor). What she doesn't reckon with is the code of honor among circus freaks: "offend one, offend them all." What set this film apart from director Tod Browning's earlier efforts was the fact that genuine circus and carnival sideshow performers were cast as the freaks: Harry Earles and his equally diminutive sister Daisy, Siamese twins Violet and Daisy Hilton, legless Johnny Eck, armless-legless Randian (who rolls cigarettes with his teeth), androgynous Josephine-Joseph, "pinheads" Schlitzie, Elvira, Jennie Lee Snow, and so on. Upon its initial release, Freaks was greeted with such revulsion from movie-house audiences that MGM spent the next 30 years distancing themselves as far from the project as possible. For many years available only in a truncated reissue version titled Nature's Mistakes, Freaks was eventually restored to its original release print. ~ Hal Erickson, All Movie Guide Dr. Jekyll and Mr. Hyde 1941's Dr. Jekyll and Mr. Hyde is the second sound version of the Robert Louis Stevenson "doppelganger" tale. This time Spencer Tracy plays the benevolent Dr. Jekyll, whose experiments in releasing the evil impulses within himself transform him into the bestial Mr. Hyde. The problem here is that while Tracy is convincing enough as Hyde, we have trouble accepting him as the kindly Jekyll--exactly the opposite of the 1931 version, in which Fredric March was credible as both Jekyll and Hyde (in fairness to Tracy, it must be noted that he didn't want to play the role and had to be forced into it). MGM decreed that no publicity pictures be released showing Tracy in his Hyde makeup, thereby building up audience anticipation. It's just as well that MGM kept these pictures under wraps: Tracy's Hyde looks less like the Living Personification of Evil than like a man who's been on a three-day bender. The most fascinating aspect of this version of Dr. Jekyll and Mr. Hyde is the casting of the two leading ladies. Ever since the 1920 John Barrymore version of this story, it has been de rigeur to symbolize the schism between Jekyll and Hyde by giving him both a "good" and "evil" girlfriend. Originally, MGM adhered to typecasting by assigning the good girl to Ingrid Bergman and the bad one to Lana Turner. But Bergman begged the studio to be allowed to play the more wicked of the two ladies; as a result, hers is by far the best performance in the picture. Neither as lively as the 1920 version nor as innovative as the 1931 remake, MGM's Dr. Jekyll and Mr. Hyde is weighted down with tiresome dialogue and over-obvious symbolism (catch that dream sequence in which Ingrid Bergman and Lana Turner make like racehorses!) Despite its shortcomings, Dr. Jekyll and Mr. Hyde was infinitely preferable to the next remake, Abbott and Costello Meet Dr. Jekyll and Mr. Hyde (1953). ~ Hal Erickson, All Movie Guide House of Wax This simplified (but lavish) remake of the 1933 melodrama The Mystery of the Wax Museum was the most financially successful 3-D production of the 1950s. In his first full-fledged "horror" role, Vincent Price plays Prof. Henry Jarrod, the