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Each month, the CMBA profiles a classic movie blog written by one of our members. This month, we are featuring Emma Stefanzick, who writes at NITRATE GLOW. 

1. Why do you blog?

The most basic answer is because I enjoy writing and classic films, so why not combine them?

I used to say my blog had no centering focus. Some people focus on the 1930s-1950s period, others on silent movies or older cult films. I tend to jump all over the place, from the nickelodeon era to the 1970s. Genre-wise, I veer towards the macabre, the melodramatic, and the satirical much of the time. I tend to prefer my films—be they comedies or dramas—more on the dark side, so you won’t often see fluffy rom-coms or super-lighthearted fare on the Nitrate Glow blog.

Lately, I’ve noticed a pattern in the subject matter I pick, however. I enjoy writing about films that I feel have been overlooked or unfairly dismissed. I like looking at less-celebrated works of prominent filmmakers and creatives. I like asking if a reviled film is really as bad as its legacy makes it out to be. And when I write about more popular titles, I try examining them from a fresh perspective.

Blogging about classic films also often inspires me to go beyond my comfort zone as a creator. I recorded my first audio commentary in 2022 after years of wanting to do so but being too timid to try. I really enjoyed the process and am currently planning another commentary, hopefully to be released this autumn. I also posted my first video essay in June. That was even more difficult, but I enjoyed learning new skills to create the video. Going beyond just the written word prevents me from getting stuck in a rut and losing my enthusiasm.

2. Besides classic movie blogging, what are some of your other passions?

I’m an avid reader. Shakespeare is a great love of mine—I’m currently re-reading all the plays yet again (my favorite is Richard III—not historically accurate, but great wicked fun). My favorite novels are Wuthering Heights by Emily Bronte, Deerskin by Robin McKinley, A Confederacy of Dunces by John Kennedy Toole, and A Clockwork Orange by Anthony Burgess. I’ve recently gotten into the John Carter of Marsbooks too. I also read a lot of non-fiction, mostly about history, spirituality, the arts, and different cultures around the world.

I enjoy creative writing and am currently working on a long-gestating fantasy novel. As a child, I used to write stories all the time, but as I got older, I became more self-conscious about my work. I felt as though I weren’t good or original enough. However, I’ve recently been fighting this self-doubt. As with my blogging, I believe in pushing beyond my comfort zone. I work on my story at least a little bit every day, be it by shaping the fictional setting I’ve created or outlining the plot.

I’m a casual anime fan. I’ve long loved Studio Ghibli, which was a major part of my childhood and adolescence. I adore the Lupin III franchise, which has been ongoing since 1967. Other anime series I enjoy are Princess Tutu and Jojo’s Bizarre Adventure.

I enjoy baking. Few things give me as much pleasure as trying out new recipes to share with family and friends.

Beyond movies on physical media, I have a small collection of vinyl records (mainly movie soundtracks and jazz) and vintage books (the gems of my library are a nearly pristine edition of Mary Pickford’s novel The Demi-Widow, a few movie novelizations from the ‘60s and ‘70s, and a 121-year old edition of Thackeray’s The Luck ofBarry Lyndon, the basis for one of my favorite Stanley Kubrick films).

3. If you could program a perfect day of classic movies for TCM, what would be the seven films on your schedule?

Oh God, that’s a difficult question! I’m tempted to pull out very obscure titles, but instead I’ve decided to select some classic films that are very personal to me.

The General (1926)

During the Civil War, a southern engineer pursues the northern spies who hijacked his locomotive. Buster Keaton was so multi-talented and inventive that it's not hard to see why his movies are often recommended as gateways into the pleasures of the silent era. It's hard to pick a favorite Keaton movie, but if you twisted my arm, I must go with The General. It's an elegantly constructed action-comedy and visually one of Keaton's most striking features.

The Most Dangerous Game (1932)

Shipwrecked on a mysterious island, a big game hunter finds himself the quarry of a nobleman who likes to thrill-kill human beings. The 1930s is my favorite decade for horror and The Most Dangerous Game, a taut adaptation of Richard Connell's legendary short story, is my favorite of that cycle. While the early sound period is often lambasted as static and talky, The Most Dangerous Game breaks that mold with its dynamic camera work and thrillingly edited climax.

Wait Until Dark (1967)

A recently blinded housewife fights back against dangerous criminals searching her apartment for misplaced heroin. Few films are as skillful as Wait Until Dark in ratcheting up the suspense until the viewer's nerves are completely shredded. Laced with dramatic irony and dark humor, it deserves the Hitchcockian label. Beyond the strong writing and direction, the three elements that really elevate the movie to greatness are Audrey Hepburn and Alan Akin's stunning performances, and Henry Mancini's sinister music.

Ball of Fire (1941)

When the cops want to interrogate her about her gangster boyfriend, a nightclub singer hides out with a group of eccentric academics, only to fall in love with one of them. I'm not the biggest screwball comedy person in the world, but I love me some Barbara Stanwyck and she is a delight in this. The plot is a clever riff on the Snow White story, turning the princess into a fast-talking gangster's moll and the dwarfs (and the prince!) into professors. The scene where Stanwyck teaches Gary Cooper about "yum-yum" is just perfection.

Duck Soup (1933)

It's a Marx Brothers film, so summarizing the "plot" is difficult-- in essence, Duck Soup is the tale of a corrupt politician whose shenanigans escalate tensions with a foreign country. In high school, my sister and I would quote this movie all the time, particularly, "Gentlemen, Chicolini here may talk like an idiot, and look like an idiot, but don't let that fool you. He really is an idiot." Despite my familiarity with it, none of the edge has ever been taken off the humor and I still belly laugh when I watch it.

He Who Gets Slapped (1924)

An embittered circus clown endeavors to rescue an innocent bareback rider from the lecherous aristocrat that ruined his life-- and get some revenge along the way. This film features yet another brilliant Lon Chaney performance. It’s morbid, melancholy, and even a bit kinky in a pre-code way, but it's also a compassionate work, throwing light upon the ways people casually dehumanize one another. The ending never fails to make me cry.

The Heiress (1949)

An affection-starved heiress believes she's found love with a young charmer, but her father believes her new suitor to be a mere fortune hunter. Don't let the Victorian drawing room vibes fool you. The Heiress is emotionally brutal, aided greatly by a trifecta of great performances from Olivia de Havilland, Montgomery Clift, and Ralph Richardson as well as William Wyler’s brilliant direction. If ever a movie rewarded multiple viewings, it’s this one.

4. What is a classic movie that you love, but most people don't know about -- and what do you love about it?

After Death (1915). It’s a Russian silent film by Yevgeni Bauer, one of the most distinctive filmmakers of the 1910s. The plot involves a morbid young man who becomes obsessed with an actress after she mysteriously dies. A lot of people write off silent films as simplistic and unsophisticated, but this is an excellent psychological ghost story with a lot of layers to it. The visuals and atmosphere are astonishing. Obviously, being over a century old and a slow-burn tale to begin with, this is the sort of film that asks patience of the viewer, but it’s worth the effort.

5. What is something that most people don't know about you?

I’m not so interesting, but my great-grandmother got to meet Maureen O’Hara sometime in the 1940s. She always raved about how nice O’Hara was. One of my great regrets is that my great-maw-maw died before I got into old movies, so I never really grilled her for more details on the encounter.

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We thank Emma for participating in our Q&A profile and encourage you to visit NITRATE GLOW. 

Each month, the CMBA profiles a classic movie blog written by one of our members. This month, we are featuring Rachel Kovaciny, who writes at HAMLETTE'S SOLILOQUY. 

1. Why do you blog?

2. Besides classic movie blogging, what are some of your other passions?

3. If you could program a perfect day of classic movies for TCM, what would be the seven films on your schedule?

4. What is a classic movie that you love, but most people don't know about -- and what do you love about it?

5. What is something that most people don't know about you?

Each month, the CMBA profiles a classic movie blog written by one of our members. This month, we are featuring Rebecca Deniston, who writes at TAKING UP ROOM. 

Each month, the CMBA profiles a classic movie blog written by one of our members. This month, we are featuring Johnny Gumshoe, who writes at THE FILM NOIR REPORT.  

1. Why do you blog?

A small part of me gets sad whenever I talk to a movie lover who's never seen a Robert Mitchum film, never heard of Lizabeth Scott, only knows Humphrey Bogart from Casablanca, or only recognizes Kirk Douglas as Michael Douglas' father.  So my number one reason for blogging is to call attention to the rich treasure trove of classic films, actors, and directors who fade further and further out of the public's consciousness with each passing year and each new generation.

I focus on film noir because I find that in the classic period of strict censorship, studio-controlled messaging, and tendency towards stagey and escapist cinematic production values, classic noir films came the closest to reflecting the true, down-to-earth, unvarnished aspects of human nature, and therefore, may be more accessible and relatable to younger audiences. That's not to say other classic films aren't equally accessible and relevant, but film noir simply resonates most with the movie enthusiast and historian in me, and is what I'm most interested in writing about.

2. Besides classic movie blogging, what are some of your other passions?

I compose music for film and TV, often collaborating with my wife, who is also a composer and jazz singer.  Music has been a part of my life since childhood, when I started taking piano lessons.  In my teen years, I taught myself guitar and played in rock bands for several years. Later, I focused on songwriting, which eventually led me to the composing work I do now.  I actually spent most of my professional life working in the corporate tech world, and music was just something I did on the side, but for the last three years, it's become my full time vocation.

3. If you could program a perfect day of classic movies for TCM, what would be the seven films on your schedule?

I'm going to break out of my film noir box and harken back to my college days to pay homage to a local TV station that ran a pair of classic movies every night after midnight (this was before the days of cable TV and hundreds of channels). Even though I had classes the next morning, I made a point of staying up to watch the first movie, and often stuck around for the second one, too. It was these late night viewings that really put me on the path of classic film appreciation. So here are seven films I first saw in the wee hours of the morning, that had a lasting impression on me:

AFTER THE THIN MAN (1936)

Discovering Nick and Nora Charles was like finding buried cinematic gold. All of the Thin Man films are great, but my favorite is this, their second outing, in which we have the rare opportunity to see a young Jimmy Stewart play a villain.

SUSPICION (1941)

This film had a big impact on me because I didn't realize it was a Hitchcock film when I first watched it (I tuned in after the opening titles), so I was completely unprepared for the ominously dark turn this seemingly light romantic comedy gradually took. It's a perfect example of how not knowing anything about a film ahead of time results in a significantly enhanced viewing experience.

THE GAY DIVORCEE (1934)

I always heard about Fred and Ginger in the abstract, but it wasn't until my late night TV viewings that I got a chance to see what all the fuss was about. I instantly fell in love with the music, dancing, and comedic banter. Truly some of the greatest escapist movies of the 1930s. Most folks point to Swing Time or Top Hat as the best Fred and Ginger films, but this is my personal favorite for the great music, wacky plot, thoroughly entertaining supporting cast, and over the top deco set designs.

THE BLACK CAT (1934)

Not only do we get to see Lugosi and Karloff together in their prime, but the film itself is a hauntingly beautiful and atmospherically moody work of cinematic art.

DETOUR (1945)

One of my all-time favorite noirs. A simple low-budget effort, with a highly effective plot that's elevated to legendary status by an incendiary femme fatale performance from Anne Savage.

THEM! (1954)

I absolutely love 1950s science fiction films, the good ones, the bad ones, the cheesy ones, all of them. This is definitely one of the better entries, and probably the best of the giant bug films that permeated the era, featuring a respectable cast, competent production values, and a serviceable attempt at plausibility given its outlandish premise.

HIS GIRL FRIDAY (1940)

It was a toss up between this and The Philadelphia Story. Both are superb, but I went with His Girl Friday for the witty rapid-fire dialog and impressive performances by the entire cast. I never tire of this truly entertaining film.

4. What is a classic movie that you love, but most people don't know about -- and what do you love about it?

The Gangster (1947) with Barry Sullivan, Belita, Akim Tamiroff, and Joan Lorring. I love this film because it's so unexpectedly different from typical crime noirs of the era. Instead of a guns-and-mayhem gangster film, we get an intimate character study of a brooding and lonely mob boss. It's not going to be everyone's cup of tea, but it's a fascinating curiosity that was in many ways, ahead of its time.

5. What is something that most people don't know about you?

In addition to classic films, I have a soft spot for old classic radio shows. Just like classic film, it's something I discovered in my youth, thanks to a local radio DJ who played curated episodes one night a week. And now, thanks to the internet, these wonderful radio dramas, mysteries, and comedies can be enjoyed 24/7!

Classic film and radio are of course, inextricably linked, since nearly all major movie stars of the era also performed on radio. In addition to making various guest appearances, quite a few film stars had their own radio series, such as Joel McCrea in Tales of the Texas Rangers, Jimmy Stewart in The Six Shooter, Frank Sinatra in Rocky Fortune, Dick Powell in Richard Diamond Private Detective, Brian Donlevy in Dangerous Assignment, Irene Dunne and Fred MacMurray in Bright Star, and Humphrey Bogart and Lauren Bacall in Bold Venture. And many stars reprised their film roles in radio adaptations of their latest movies on shows like Academy Award Theater, Lux Radio Theater, Old Gold Comedy Theater, and Screen Director's Playhouse.

In addition to their nostalgic entertainment value, classic radio shows provide an added dimension of insight that can enhance our appreciation of classic film.

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We thank Johnny for participating in our Q&A profile and encourage you to visit The Film Noir Report!