Friday, September 01, 2017
Mack Sennett and Buster Keaton on the set of "Hollywood Cavalcade" (1939). For this tale of the early days of Hollywood starring Don Ameche and Alice Faye, Sennett supervised the silent film sequences featuring Buster Keaton, and which were directed by Mal St. Clair, who'd co-directed two of Keaton's silent shorts. Ironically, Keaton was one of the few major silent clowns who never actually worked for Sennett during the silent era.
Posted by Matt Barry at 6:02 PM
Tuesday, August 29, 2017
Watching CAPE FEAR again last night for the first time in years, I was struck by the highly effective sense of dreamlike frustration in the climactic sequence on board the houseboat, with Peck's helpless frustration as he watches the boat get cut loose and float away, frantically swimming after it, and then learning that it was all a distraction while Mitchum has already made his way back to shore to attack Peck's teenage daughter.
I couldn't help comparing Mitchum's terrifying performance here with his characterization in NIGHT OF THE HUNTER. The difference is that CAPE FEAR takes a realistic approach, firmly rooted in the conventions of its genre and in the classical style, where NIGHT OF THE HUNTER is like a dream and stands own its own as something totally unique.
I've become fascinated by Mitchum recently -- an absolutely fearless actor with a seemingly intuitive sense of how to play each role he undertook...versatile doesn't begin to describe his range.
Friday, August 11, 2017
I'd say it's time for independent filmmakers to reclaim the word "amateur" and wear it as a badge of honor!
Herman G. Weinberg on Robert Florey, from "A Paradox in the Photoplay", in Movie Makers: the Magazine of the Amateur Cinema League, January 1929.
Posted by Matt Barry at 6:38 PM
Wednesday, July 26, 2017
I watched this film the other night. It's one of those omnibus films like IF I HAD A MILLION or O. HENRY'S FULL HOUSE -- with five stories involving a cursed tailcoat as it is transferred from one owner to the next and changes their fortunes in the process -- except this one is the work of a single director, Julien Duvivier, which accounts for the stylistic consistency between the individual segments here when compared with other films of this kind.
The five segments are all interesting if rather offbeat stories acted by major stars including Charles Boyer, Rita Hayworth, Henry Fonda, Ginger Rogers, Charles Laughton, Edward G. Robinson, Paul Robeson and Ethel Waters, among many others. (the copy I saw is missing the W.C. Fields sequence that was restored in the '90s, which is often cited as a highlight and which I've seen elsewhere, but is far from being among The Great Man's best work).
It's too bad Hollywood doesn't make films like this anymore, outside of the odd example such as 1989's NEW YORK STORIES or 2008's NEW YORK, I LOVE YOU. The format offers a lot of potential to tell short stories and the best of them can operate like variations on a theme.
A side note, but there's a particular little moment in this film that I loved: Eugene Pallette delivers the tailcoat to Henry Fonda's manservant Roland Young, who is cleaning up balloons and other debris after a wild party the night before. Young lets go of the balloons, which float up to the ceiling. A moment later, one balloon bursts off-screen, presumably from coming into contact with the hot klieg lights at the top of the set, and the men react to it briefly, while continuing on with their dialogue. Likely it was all done in a single take and was left in. It's the kind of little moment that reminds you you're watching a movie, and it calls attention to the all the hardware just out of camera range above the actors on the soundstage.
Tuesday, July 25, 2017
Something I often find interesting in the older, pre-restoration versions of silent films that long circulated on 16mm are the listings of the archival sources through which the prints were acquired, or the program notes and the original year of release added on to the beginning of the film when they were shown as part of a larger program or series. I've seen a number of these older editions used as sources for public domain videotapes and DVD releases over the years, which I like to think of as carrying on the life of these prints...almost as if they have their own stories to tell.
Monday, July 24, 2017
Great big-screen showing of THE MALTESE FALCON at the Charles tonight. The model of Classical Hollywood economic storytelling. It's a film that cries out to be seen on the big screen -- you become aware of the subtle but masterful technique Huston uses to keep things visually interesting even through pages of dialogue. Great performances all around -- everyone makes an impression and makes the most of their roles, especially Greenstreet, who comes in somewhat late in the picture but commands attention in every scene in which he appears. It's a watershed Hollywood film in some ways -- helping to usher in the era of the writer-director in the early '40s, and pushing the hardboiled detective genre film into new territory, with Spade's torn conscience about turning in the woman he has fallen for while remaining bound by honor and duty to his partner whom she killed. Spade's sarcastic kidding about Brigid O'Shaughnessy's compulsive lying masks an uncertainty and even insecurity about his feelings for her and whether she can be trusted, whether she will ultimately hurt him. His shield of cynicism toward her at the end betrays his vulnerability. A brilliant and even beautiful film...mysterious, evocative...the stuff that dreams are made of.
Tuesday, July 18, 2017
Preston Sturges' final classic was this farce comedy about a temperamental symphony conductor (Rex Harrison) who suspects his wife (Linda Darnell) has been unfaithful to him, and his overheated imagination gets the better of him as he concocts various schemes to exact revenge on his wife and her supposed lover.
An interesting blend of Sturges' characteristic comedy-of-manners laced with slapstick, and a strong dose of dark comedy, UNFAITHFULLY YOURS is an uneven but highly interesting and often quite funny film. It is filled with Sturges' sharp observations about human behavior, offering a wry commentary on how the best laid plans often go awry.