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A friend recently forwarded these links to me (thanks Donna!) of a couple of  short films which show Chicago circa 1948. They were made by MGM as part of their Traveltalks  series. This one is entitled “Chicago The Beautiful.”

The first thing that struck me about the opening shot that pans along the Michigan Avenue Cliffs, was (aside from how many of the buildings remain) how odd the “cliffs” looked without the “mountains” of International and Post-Modern structures built in the intervening years looming behind them. This is even before the Inland Steel Building (1957) or, as the camera shows as it continues panning north, the Prudential (One) Building.

I also noticed how sooty some of the buildings looked, particularly the Merchandise Mart. This was still an industrial Chicago, where coal fires burned in the boilers of most buildings and steam engines in both trains and boats weren’t entirely uncommon.

The look from the “observation tower of the Board of Trade” was edifying, and I found it fascinating to see certain buildings without any structures around them. The stunning Jewelers Building stood out even more along the river than it does today, and the shots of the “original” Adler Planetarium long before its glass addition were particularly striking.

This is such a valuable record of the city especially considering it was shot during a period where there was very little filming going on in Chicago. I’ve been obsessively going back over it and finding new details; outer Lake Shore Drive before it was extended North to Hollywood (legend tells that a “clouted” person living in the Edgewater Beach Apartments wanted to get to work earlier), how the Water Tower looks bare without the Victor Skrebneski designed gardens, and a road crew standing around doing nothing in closed down lane (some things never change!).

The second film is entitled “Nightlife In Chicago.”

Wow! People really knew how to party back then! It was quite a kick to watch that short, having heard the tales of those who had experienced these places. I now see why they get a little misty eyed when relating those stories.

What was your favorite thing about these films? What struck you as odd? Please share your thoughts in the comment section.

Of all the Chicagoland shot films that I was hoping to see before handing in the manuscript for Hollywood On Lake Michigan, 2nd Edition, Were The World Mine was probably the one that I was most sad to have missed out on. I had heard great things about this empowering gay musical made on a shoestring budget, and how the film’s makers were desperately trying to get it a mainstream theatrical release.

Unfortunately, that mainstream release never materialized, and I was forced to wait until it was recently released on DVD. While the film was definitely worth the wait, viewing it made it painfully clear what a travesty of cinematic justice it was that this delightful little picture never received the exposure it deserved. Hopefully, the DVD release will bring it some wider recognition.

Were The World Mine is an enjoyable film on several levels; an exuberant and charming musical, a touching and tender coming of age story, a meditation on the nature of love and acceptance, and a wacky, surreal and sometimes campy comedy.

The project grew from a short musical screenplay, written in 2003 by Tom Gustafson, about a young gay teen who finds solace and strength in the words of Shakespeare (the piece was inspired by his experiences growing up gay in a small Illinois town). Gustafson’s partner, Cory James Krueckeberg, was impressed by the script and they both embarked on an attempt to actualize the work.

Gustafson, a graduate of Northwestern University, used contacts developed from working as a casting assistant on Road To Perdition and Master And Commander: The Far Side of The World to marshal resources and assemble a devoted team of collaborators and crew members. Krueckeberg, an accomplished actor, designer, and director; also drew upon his tenure in the Chicago theater community to assist the cause.

The result was Fairies, a short musical film. Fairies received a rave response at a screening in a Boystown venue, and they were quickly able to raise money for festival submissions. The film ended up appearing at over 75 festivals around the world. A year later, during a flight from LA to New York, they decided to expand Fairies into a full length feature. By the time the plane landed, Gustafson and Krueckeberg had already sketched out the framework for the picture.

After the pair completed the script (working in conjunction with talented Chicago composer Jessica Fogle on the songs), Gustafson and Krueckeberg then methodically set out to acquire financing for the feature film. Their efforts were a primer on the right way to fund and create a low budget independent movie; using staged readings of the script to garner interest in the project from potential investors, presenting a well constructed business plan to those investors, and doing research to locate all other possible funding sources. Meanwhile, they were also working hard on a production schedule so as to be able to hit the ground running when the financing came through, and searching the country for the talent to perform the various roles in the film.

Although many big name actors who expressed interest early on disappeared once the extent of the film’s gay content became apparent to them, casting people Carrie Barden, Mickie Paskal and Jennifer S. Rudnicke were able to assemble an amazing group of performers, the proverbial mix of seasoned veterans and talented newcomers.

Big name actors (and/or their agents) weren’t the only ones afflicted by uneasiness over the film’s gay content, investors were shying away as well, and for a while it looked as if financing would not materialize. But Gustafson, Krueckeberg and producer Peter Sterling were able to secure the final funds required. Pre-production reached a fever pitch in preparation for the shooting of the film, which was done in the Chicago area and took an amazingly short 4 weeks (it almost seems impossible when you watch the movie).

Were The World Mine is the story of Timothy, a shy and creative gay teen who often retreats into his musical daydreams in order to endure life in a private boys school and a stultifying small town. When he is cast as Puck in a school production of Shakespeare’s Midsummer Night’s Dream, he becomes more aware of his talents and starts to blossom under the tutelage of his arty English teacher.

This process reaches full flower (pun mandatory) when he discovers a love potion recipe for Puck’s purple pansy secretly encoded in Shakespeare’s text (the pansy causes those sprayed by it to fall for the first person they see). Timothy creates the potion, then uses this magical flower to turn his whole town gay, most notably the hunky rugby player for whom he has been pining.

Tanner Cohen, who plays Timothy, was really quite a find for the production; possessing strong acting skills and an incredible voice (not to mention an uncanny resemblance to Nick Stahl). Cohen deftly captures the nervous insecurity of Timothy, but also really brings it in the musical numbers.

Nathaniel David Becker, who makes his film debut as Jonathan (the rugby playing love interest), has an excellent voice, handsome looks and solid acting chops. He should be able to write his own ticket in the musical film/theater world; in fact he already seems to be a bit of a gay heartthrob.

The supporting cast is unbelievably strong: the devilishly quirky Wendy Robie (Nadine from Twin Peaks) plays the English/Theater instructor (in a role she reprised from Fairies), revered Broadway stage performer Judy McLane shines in her first film work as Timothy’s mother, Daytime Television fixture Jill Larson (Opal on All My Children) is an absolute hoot as McLane’s eccentric employer, veteran Chicago character actors Christian Stolte and David Darlow do their usual brilliant jobs, and newcomers Zelda Williams and Ricky Goldman are adorable as Timothy’s best friends and confidantes.

In addition to the fine acting performances, the musical numbers really knocked my socks off (and I’m not generally a fan of contemporary musicals). Cory Krueckeberg seamlessly melded Shakespeare’s words with his own clever lyrics, Jessica Fogle’s melodies were excellent (catchy without being cloying or fluffy), and Tim Sandusky’s work on the score, arrangements and production was absolutely first rate (of course, he has a reputation for that in Chicago). Todd Underwood’s choreography was joyously kinetic but not too busy or cliched, Elizabeth Powell Wislar’s costumes were fab, and Director of Photography Kira Kelly was able to achieve a beautiful look with limited resources.

Hell, there wasn’t much about this film that I didn’t like. I know this big of a rave about a picture of this sort from a big butch breeder like me might seem incongruous, but hey, sue me. I call ‘em like I see ‘em.

Gustafson and cohorts worked hard for a wider mainstream release for the film and it’s a shame that they weren’t successful, because Were The World Mine is truly “The Gay Teen Musical For The Whole Family.” Seriously. Although there’s a certain intensity in the romantic moments that generates a bit more heat than the hook up scenes in your average WB-style teen dramedy (which comes more from having better actors being directed well); WTWM is much less salacious than the teen centered offerings on any network. The most graphic action in any of the love scenes is a chaste kiss and warm caress, which is positively Disney-esque compared to the bump and grind explicitness in standard teen fare (actually, WTWM has been likened by many to Disney’s High School High). And I think we can all agree that young dudes with their shirts off isn’t exactly pornographic (those who don’t agree probably wouldn’t have read this far anyway).

Of course it’s two guys doing the kissing, so the knee jerk reaction from mainstream execs (particularly gay mainstream execs) when confronted by a film that forthrightly portrays romantic affection between two males is to pronounce it “too gay.” Those two words are the bane of the existences of all gay filmmakers/artists/musicians/etc. seeking to expose their work to a wider audience.

The fact that this cowardly mantra is so often recited by corporate cultural gatekeepers who are themselves gay is especially puzzling. Particularly about something as heartfelt and wholesome as Were The World Mine. In a interview included in the WTWM press kit, Gustafson wonders:

Maybe it’s really that purity and innocence that scares people into saying the film is too gay? I think to some people, this innocence is even more dangerous than films that portray gay characters in very crude and sexual ways. Historically, ‘gay’ has been more prominent, and as a result more accepted in a way, as a dirty little secret involving bathroom stalls or sex clubs than when it involves real love, religion and the long term commitment of a marriage like institution. Regardless, it’s a strange irony to say that an incredibly innocent film is too gay. In some way I think it comes from a shameful place, and I think some of the non-straight people in the industry react this way to things as a defense mechanism. The same way our main character escapes an unsavory reality with daydreams, these people escape reality by saying it’s ‘too gay’ instead of putting support behind it and risking ridicule.

Whatever the true motivations of those who denied this film its due, the fact remains that it was a poor decision. With both filmed and live musicals pulling in the public in droves in recent years, Were The World Mine could have really made a splash had it been given a chance.

Hopefully, the recent DVD release will at least help get this picture seen by some of the legions of people, gay and straight, who would enjoy it.

Which is the really crux of the matter at hand, not to mention one of the most frustrating things about the capricious and arbitrary way that films are distributed by Hollywood, the fact that so many great pictures never get brought to the attention of the people who would most enjoy them.

Aside from the sheer injustice of it, it’s just bad business.

Tanner Cohen and Nathanial David Becker bring the sexy in Were The World Mine.

This poster, used for the international theatrical release of The Unborn, illustrates how integral to the plot it was for Odette Yustman to be in her underwear.

Some salient info that I didn’t want to bury at the end of the previous manifesto (things got very bloggy there, please pardon me):

Veteran Chicago Special Effects Coordinator John Milinac, who I interviewed and featured in Hollywood On Lake Michigan, 2nd Edition, encouraged me to catch The Unborn when it was in theaters last Winter. John was the SE Coordinator on the film, and he discussed how intense and freaky some of the effects were, and that it really should be seen on the big screen. Unfortunately, I was too busy finishing the manuscript to spare the time.

After catching it on DVD last week, I contacted John to discuss how he and his crew pulled off some of the effects, but he was too busy to chat, as he is finishing up work on the remake of Nightmare On Elm Street (which wraps next week). So we made arrangements to talk about The Unborn (and the various tricks and illusions he employed) once he has a bit of time. [I'll also see what he can tell us about Nightmare On Elm Street.]

So here is what I propose, Gentle Reader: If you wish, you can rent The Unborn and view it sometime in the next week or so; then come back here and discover how the major mechanical effects were actualized by John and his crew.

Keep in mind that the Special Effects Coordinator is in charge of the physical effects that happen in front of the camera, so he won’t have much insight into any CGI or other visual effects done in post-production. He’s also responsible for general physical effects like running water, fireplaces, appliances and the like; so on the off chance you have any questions about how he made the shower run or anything exciting like that…feel free to leave your query in the comments section. [Oh the wonders of Internet 2.0!!!].

BTW- The Unborn was shot mostly in Lake Forest and the northern ‘burbs; although there is one brief exterior scene Downtown on Wacker Drive (across from the Christian Science Temple), another interior scene in what looks to be the Aon Tower, and the Harlo Grill in Melrose Park also has a brief cameo (looking absolutely gorgeous). And (of course) the mandatory awe inspiring overhead shots of the lakefront and the Chicago river.

I ended up watching both the theatrical version and the “unrated” version, and the only “extra” footage seemed to be about 2.5 seconds of relatively chaste (albeit well executed) simulated sex betwixt the protaganist and her hunky beau. Apparently by “unrated” they mean “not quite PG-13 anymore.” So don’t be expecting some bonus Veerhoevenesqe (Veerhoevian? Veerhoevarian?) orgy of demonic lust and violence.

I kind of stopped watching horror pictures at some point in the mid-1980’s, mostly because they became so different from the horror movies I loved as a kid.

Having cut my teeth on the Hammer Studio films of the Christopher Lee/Peter Cushing Era and the Shock Theater oeuvre of 50’s and 60’s chillers, I spent many a late night cringing in terror at those gruesome Gothic-tinged offerings in front of a old black and white set in my room.

Sure, they were cheesy, and most of them don’t hold up today. But they were perfect for the sensibilities of a kid; with their overblown acting, simply drawn characters and ponderous plot machinations. The low budgets, stodgy public mores and the primitive state of special effects at the time kept them from being too graphic or showing a lot of the various monsters, so the filmmakers learned to do without all the intense visuals contemporary horror films rely on. It was all about what you didn’t see with those movies that made them so chilling, the idea of the monster. This was also perfect for the fertile mind and ability to suspend disbelief of a child. The details you filled in with your imagination were scarier that any amount of fake blood or monster costume could possibly be.

The more existentialist horror films of the late 60’s and early 70’s also understood the “less is more” concept. Films like Rosemary’s Baby (1968) and Burnt Offerings (1976) spared the gore and effects, but laid on the atmosphere and the feeling of imminent doom. Even The Exorcist (1973), lauded (and condemned) at the time for its intense and graphic special effects, was mostly about the build-up.

But the success of Friday The 13th (1980) (and the boatloads of cash the sequels pulled in) resulted in a new formula and paradigm in horror films:  A bunch of obnoxious stupid people (often teens) are rapidly killed off in gruesome and graphic fashion by a vicious and sadistic (yet often oddly charismatic) character who has supernatural powers and/or inhuman strength and abilities. The “Slasher Film” became the norm, and this paradigm shift caused me to bail out of the horror genre. I didn’t stop watching horror films altogether, but I definitely backed off and let the genre “see other people.”

Now, I’m a huge fan of clueless people being killed (I’d like the idea to become public policy, in fact), but when everyone in the entire film is annoying and stupid it really destroys the drama. You can’t buy into the movie if you don’t really care if anybody lives. I’m also not afraid of a little gore, but once the buckets of blood start flowing there’s really nowhere else to go and the movie can’t build any suspense. And since you know the least abrasive and dim witted people are going to be the last ones killed or will vanquish the homicidal slasherbeing (at least until they churn out the next one)– Why bother to stick around?

It isn’t like the earlier movies didn’t follow formulas or have repugnant characters or let the blood flow on occasion; but they didn’t always use the same formula or make everyone odious, and they at least attempted to build some sort of suspense before hauling out the red corn syrup.

This brings me to The Unborn, which was just released on DVD. [Good Lord. Over 500 words before I even mention the movie at hand! I'm already turning into Jonathan Rosenbaum. Somebody stab me with a giant knife or something!]

The Unborn definitely isn’t bereft of formula or cliche (especially the “preternaturally hot female protagonist who spends inordinate amounts of time in her underwear”), it has its moments of semi-graphic violence (especially towards the end), and it certainly throws down a fancy visual effect or two; but I found myself buying into the movie in a way that I haven’t since I was a little sprout all huddled in front of the TV in my room.

The main thing that made The Unborn remind me of those bygone days was that it attempted to create a little drama before trotting out the sound and fury. Although it turns on the trippy suspense at the get go with a creepy dream sequence, it gives the audience time to get acquainted with the characters and generates some dread and anticipation before totally going for the throat.

What’s more, the aforementioned characters aren’t completely shallow, brain dead idiots. Not that they’re little Mother Theresas or extremely deep, but they seem to possess a thought or two, and (most important) you aren’t rooting for them to all die 10 minutes into the film.

The film was written and directed by David S. Goyer, who is most known for writing the scripts for Batman Begins and The Dark Knight, as well as the three Blade films. Jane Alderman [featured in Hollywood On Lake Michigan], who helped cast the film, told me that Goyer did not like to even use the term “horror movie.”

I don’t want to give too much of the plot away, so I’ll merely say that it involves a young woman (actress/model Odette Yustman) who battles against an evil spirit who wishes to possess her. A few of the plot elements are lifted from other horror films, but they’re reassembled very well, and the acting is as good as you’ll find in this genre; especially the cameos from James Remar (as the girl’s father), Idris Elba (who played Stringer Bell on the unfreakingbelievably excellent HBO Series, The Wire), and Gary Oldman (yes, the Gary Oldman) as a helpful Rabbi.

Which leads me to another aspect I enjoyed about The Unborn; the fact that the main character and her family are Jewish (albeit non-practicing) and the central “myth” (for want of a better word) of the film is based around the Kaballa and Hebrew mysticism. That’s right, a Jewish exorcism movie. Now this hardly constitutes some sort of B’nai B’rith cultural watershed moment, but it was a nice change of pace not to have to hear all the shopworn Book of Revelations-type cliches for once. Plus, why should us goyim always have all the fun battling insensate supernatural evil? There’s an interesting moment where Yustman’s character mentions that she doesn’t want “a Christian exorcism,” only to be reminded that “this sort of being predates Christianity or Judaism, perhaps even humanity.”

Of course, all of the things that I liked about the film (its leisurely pacing, the relative lack of graphic violence and tons of over the top special effects) are anathema to youngsters who cut their teeth on post-Friday The 13th fare. Therefore, although The Unborn did pretty well at the box office, if you go to any of the online reviewing sites (such as Rotten Tomatoes or the IMDB) you’ll find post after post about how completely awful this film is (many “real” critics dumped on it as well).

And I will grant you, this isn’t a piece of great cinema; but if you’re yearning for something slightly reminiscent of the kind of horror film they made back before the dawn of the Slasher Era, something that will give you some plot development along with your minimum RDA of gore and mayhem, then definitely rent The Unborn.

I had been waiting a long time for the release of Public Enemies, and I wasn’t disappointed. It is a dark and riveting roller coaster of a film that held my (and the audience’s) attention throughout, despite the fact that we all knew how it was going to end. (At least I hope we all did.)

My pining to see Public Enemies began last summer, after I interviewed the film’s Production Designer, Nathan Crowley, just after principal photography had wrapped in Chicago.

Nathan described the effort he (and many others) put into creating a vision of mid-1930’s Chicago that would satisfy the exacting standards of Michael Mann, a director known for being a bit of a stickler on period (and overall) details. “I think it’s the most work I’ve ever had to do in a period film in terms of having to alter locations,” Crowley told me.

Ironically, most of this “alteration work” involved the locations where pivotal events in the Dillinger story actually happened. The tasks included prepping the Little Bohemia Lodge up in Northern Wisconsin (the site of a furious shootout between bank robbers and G-men) for a fake Hollywood gunfight, including all the requisite bullet holes and broken glass. “There were still bullet holes in the walls there [from the the 1930's].”

Clearing out and restoring the decrepit and abandoned old Lake County, Indiana jail was another big endeavor, but it was the block of Lincoln Avenue outside of the Biograph Theater in Chicago that provided his biggest challenge.

Basically, what he (and Set Decorator Rosemary Brandenburg) did was completely roll back the clock on the entire block to how it looked the night Dillinger was gunned down. “So we had to facade up all the buildings around the alley where he was shot, had to change the exterior of the Biograph and the interior lobby. We put cobblestones down, we put the tram lines in, we had to take out the lamp posts; we had to do all this stuff; the traffic lights, there was a McDonald’s there and we had to cover that up.”

Keep in mind that this is smack dab in the middle of Lincoln Park, one of the original  “overgentrified” (to put it politely) North Side Neighborhoods, and the businesses involved were mostly high end (or at least high volume) stores, bars and restaurants. Crowley himself was rather amazed, “I’m astonished that everyone went along with it. I guess people who work on that street really understood where we were trying to go with it, but it was definitely an inconvenience. And the traffic flow down that street is horrendous. But you know the city really worked with us and somehow we managed to do it.”

Not that there was a choice in Crowley’s mind that the job needed to be done, “We looked at options like faking it in Milwaukee, but it’s an injustice to the Dillinger story to start faking stuff like the Biograph, if you do you’ve kind of sold out at that point.”

Colleen Mastony of the Tribune has a very nice rundown of the major locations used by the film here, but one that wasn’t mentioned is Union Station, whose Art Deco style offices upstairs from the station (left abandoned by Amtrak several years ago) filled in as J. Edgar Hoover’s offices in Washington, DC (it was refreshing to see a film portray Hoover more like the evil, power mad S.O.B. that he was-BTW).

The most dramatic use of the station, however, was for the scene where the Texas Rangers arrive in Chicago. Nathan elaborates, “There’s a scene where Melvin Purvis, the lead agent, brings in some help from the Texas Rangers because to fight Dillinger they need some men who understand how to gunfight, not like the young FBI guys… To me it was like the cavalry arriving. In Union Station there are certain platforms that still have the old Victorian arches on them, the big steel glazed arches and they still have the steam openings, the little slits, in the ceiling. So we found the largest still running steam engine in the world and it just fit into Union Station, so we brought it in and the Texans get off this enourmous steam engine and march across the grand hall of Union Station [MC-the site of the famous "baby carriage scene" in the The Untouchables].”

The thankless job of Production Designer on a period picture:

The train sequence was very dramatic, and Nathan and company endeavored throughout the film to be as accurate as possible, but no matter how hard you try; this site and this other railfan discussion forum illustrate how you can never satisfy those in the know.

Public Enemies was actually the 4th film in a row that Crowley had done in the city, so he was used to facing big challenges in Chicago; since he had already created the look of Gotham City for Batman Begins, designed and overseen the construction of a modernistic glass house on stilts in a forest preserve lake for The Lake House, and been in charge of Production Design for The Dark Knight (he also designed the Batmobile and the futuristic BatPod).

Check out Hollywood On Lake Michigan, 2nd Edition for more about Nathan Crowley and his amazing 4 year tenure in Chicago! Hollywood On Lake Michigan, 2nd Edition is now available for pre-order.

Uncle Nino is not only an example of the rare species, “the family movie that doesn’t suck”; it is a member of that rarest subset, “the family movie that is poignant and entertaining for all the various age groups of the family.” It is (unfortunately) also an example of that not-so-rare phenomenon, “the great little independent film that is crapped upon by the cold uncaring film distribution system.”

A labor of love of writer/director Robert Shallcross, Uncle Nino was actually shot in 2003 and wandered in the wilderness of studio indifference for several years unable to find a distributor. This despite a great reception at film festivals and a huge grassroots cult following (it sold out a theater in Grand Rapids, Michigan for an entire year). After much work by those associated with the film, it received a halfhearted limited release in 2004/2005 (again garnering a rave response). More corporate lethargy ensued before the film was finally released on DVD in June of 2009. Hopefully now Uncle Nino will finally get its due from a wider audience.

Joe Mantegna plays Robert Micelli, an overworked ad exec who has lost touch with his wife and children. In fact, the entire family has lost touch with each other, each living in their own world, unable to communicate except via arguments and screamed conversations from separate rooms. Basically the average suburban American family in the current age.

That autistic pattern is broken when Mantegna’s elderly Uncle Nino (deftly portrayed by Pierrino Mascarino) unexpectedly arrives from Italy. At this point, you’re probably saying to yourself, “Gosh, I bet Uncle Nino’s Old World charm and simple ways cause everyone to reevaluate their lives and the choices they have made; resulting in them all rediscovering the value of family and of a less complicated, not as goal directed life.”

And you’d be right, cynical smart ass; but it’s about the journey, not the destination. And Uncle Nino gets there with style and an easy grace. Whenever the movie threatens to dip into total bathos or hokieness, the actors and director manage to avoid veering off the Cliffs of Schmaltz. It sometimes feels a bit like an After School Special, but a really really good one. Besides, it’s a family movie, not a Tarantino flick; so back off.

Joe Mantegna’s real daughter, Gina (who was 12 at the time), plays his daughter in the movie and does a fabulous job. The two were able to translate both the bond and the angst from their actual relationship, and it gives their scenes a veracity beyond the standard Father/Daughter family film dynamic. Anne Archer, who had worked with Mantegna several times before, has the role as his wife, and their familiarity and comfort with each other adds to the genuine feel of the film.

Making Uncle Nino was truly a family affair for Mantegna; not only did he get to work with his daughter for a summer back in his hometown of Chicago (the Northwest ‘burbs, actually), but he took his whole family with him for an extended reunion with all of his relatives, who were scattered in the towns around where the film was shot (Joe and family ended up just crashing with them during down time). In fact, most of the extras in a large crowd scene toward the end of the film are members of the Mantegna clan.

So, to sum up: if you’re having a jones for a sexy high-octane shoot-em-up or a bracing look at the seamy underbelly of suburban America; give Uncle Nino a pass. But if you’re looking for something to pop in the DVD player at a holiday gathering that will keep the little ones and the old folks entertained, yet won’t bore the tweens and young adults (and you) to death; and even might elicit a few tears and hugs all around— Uncle Nino is a fantastic choice.

Join me on a journey through Chicago film!

Welcome to Chicagocinema.net!

It shall be a companion website for Hollywood On Lake Michigan, 2nd Edition; but more importantly a place for lovers of Chicago and Chicago Film.

Hollywood On Lake Michigan, 2nd Edition is scheduled for an Autumn release, but is now available for pre-order on Amazon.

In the weeks leading up to the release, I’ll be spotlighting certain aspects of the book and also discussing and reviewing Chicago related films that either were released after I handed in the manuscript or that I just did not have the time or space to get to in the book itself.

The topic at hand was way too large to cover in a single volume, so much of this site will be dedicated to filling in the blanks and discussing the films that fell through the cracks. I conducted several interviews with some very fascinating people and not all of the content of those interviews made it in the book, so I’ll also be throwing in outtakes from interviews, as well as “teasers” for segments that are in the book.

Hopefully, some of these interview subjects (and others in the Chicago film community) will occasionally show up and comment on the postings, and submit to some followup interviews on new projects. I’ll start pursuing some new folks for fresh interviews once I get my “sea legs.”

I also hope to persuade my coauthor, Arnie Bernstein, to periodically check in with more delicious tidbits about Chicago’s rich and varied film history, or whatever strikes his fancy. He’s pretty busy these days promoting his excellent, poignant and heartbreaking new historical tome, Bath Massacre: America’s First School Bombing (highly recommended), so unfortunately don’t expect that too often.

Other features will include reviews and info about older “classic” Chicago films, as well as some that people may not be aware of. I will also attempt to more fully explore the local independent film scene, especially ethnic and LGBT films. Once the site starts to get some traffic and regular commenters; I’ll begin to pose some “thread” questions about types of favorite scenes in Chicago films and other matters (you’ll see what I mean when It starts happening). There will also be other cool features that I have neglected to mention, plus ones that will occur to me as we go along and that readers will suggest.*

The scope of the site will undoubtedly grow and evolve as time passes, but for now I’m going to try and focus on Chicago related items as much as possible. I will go wherever my curiosity and interests lead me, however, so don’t be surprised if a few non-Chicago related items appear on occasion. I’ll also be straying into the realm of local live theater, music, spoken word and performance art.

So there we have it. This site is going to be eclectic, wide ranging, constantly evolving, and (if you haven’t already noticed) probably a bit long-winded. I’m new to blogging so that should lessen a bit as we proceed (or not, I won’t make any promises that way).

But it should be a very fun and interesting ride. I hope you’ll come along.

Regards,

Michael Corcoran

*Have an idea for something you’d like to see on this site? Just let me know and I’ll try to oblige. Either send me an email: michael@chicagocinema.net or post a suggestion in the comments. (See my comments policy.)