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Sunday, 31 October 2010

Formative Experience: First Movie Scare

Posted on 06:34 by Unknown
How does someone become a movie freak?  These are the formative experiences and moments of one cinephile.

The six-year-old me just went into the fetal position
This being Halloween, it seemed a good place to start with this feature was my first movie scare.  I was young (probably 5 or 6 years old) and we were driving back from a family party.  Being a child, I fell asleep in the back seat which meant I was on the receiving end of one of those cherished childhood memories: your father carrying you from the car to your bed.  There was always something very comforting and safe about those moments.

We walked into our house in Philadelphia.  My mom had gone ahead and turned on the lights and television so my half-asleep brain looked over at the screen.

There was a ethereal, demonic spirit with a booming voice surrounded by fire and smoke. The apparition was threatening a group of people gathered in front of it.  It was the most terrifying image my still young mind had ever seen.

Yes, I had just woke up in the middle of The Wizard of Oz (1939).  Dorothy and her fellowship were meeting the wizard for the first time in his throne room.

Of course, I did not know that at the time.  I lost it. I started screaming and crying.  My dad quickly brought me up to my room and I settled down.  My brain remains convinced the episode lasted ten minutes when I am sure in effect it was more like thirty seconds.

For years after that, I avoided The Wizard of Oz like the plague.  No one could convince me this movie was not about demons born in the fires of hell.  When I finally did see it, I was convinced it was not the same movie that I saw as a younger child.  How could it be?  The movie I saw featured the spawn of Satan surrounded by the flames of the underworld.  Now, I was seeing a floating head in a glass orb surrounded by colored lights and fog machines.

Memory is a funny thing.  Walking into that living room and seeing the all-powerful Oz for the first time remains the most terrifying moment any movie has ever given me.  Over time, my neurons fired to make the experience even scarier.  When I finally saw the entire movie, I could not connect the image in my brain to what was on my screen.  And the Wicked Witch of the West was much more frightening than Oz could ever hope to be.

What was your first memory of being scared by a movie?
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Posted in formative experience, wizard of oz | No comments

Saturday, 30 October 2010

1919: Artists of Hollywood... Unite!

Posted on 05:05 by Unknown
The founders of United Artists

We are reaching the end of decade number one for the site and it's another year of changes for film.  The biggest film stars in the world, Charlie Chaplin, Mary Pickford, D.W. Griffith and Douglas Fairbanks (note to self: still need to watch some Douglas Fairbanks' films), form their own studio to exercise more creative control (and receive more profits).  The name of the studio is United Artists, a title still with us today as a subsidiary of MGM.

Animation also starts to become a more serious effort.  Two unknown animators named Ub Iweks and Walt Disney formed Disney-Iwerks Commercial Artists.  Max Fleischer premiered Koko the Clown as part of the Out of the Inkwell series.  And the Felix the Cat cartoons debuted.

Comedian Harold Lloyd introduced one of the more regrettable practices in Hollywood: the test screening.  Love how every film panders to the broadest possible audience?  Thanks Harold Lloyd!

As far as our film viewing, 1918 proved to be an invigorating year.  The Blue Bird, The Bell Boy, Shoulder Arms, The Sinking of the Lusitania... all of them were great.  I spent more viewing hours than normal in that year, but it was time well spent.

What are we watching in 1919?  Broken Blossoms, another D.W. Griffith film (that I mistakenly thought was released in 1918) will definitely be on the list.  The one I am crazy excited for is The Cabinet of Dr. Caligari, a very influential German expressionist film.  Both are available through Netflix Watch Instantly.  I will also be watching Daddy Long Legs, Mary Pickford's first production credit.
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Posted in 1919, broken blossoms, daddy long legs, the cabinet of dr. caligari | No comments

Friday, 29 October 2010

Stella Maris (1918)

Posted on 03:48 by Unknown
Stella and her cousin... in love....

Directed by Marshall Neilan
Starring Mary Pickford, Conway Tearle, Marcia Manon
Produced by Pickford Film

Young Stella Maris is a paralyzed girl, living an idyllic life.  She is doted on by her aunt and uncle, blushes as her handsome cousin John visits her kingdom and is attended by children dancing around a maypole and presenting tributes of flowers.  Her family has shielded her from every misery the world offers and she lives in ignorant bliss.

Of course, for every action, there is an equal and opposite reaction.  And the world is trying to balance the scales with Unity Blake.  Unity is an orphan living a hard life.  She thinks her luck is about to change when she is adopted by a young woman.  Of course, the adoptive mother is an alcoholic tyrant and, after Unity is robbed, the woman beats her ward to within an inch of her life.

The woman goes to prison and the woman's husband turns out to be John, the very man who is in love with Stella Maris.  John takes Unity as his own to make amends for his wife's deeds.  Stella is given an operation that allows her to walk and she is soon witnessing every horror life has to offer.  Stella and Unity's lives are on a collision course that will change them both forever.  But who can win the hand of John?

Let's start with the good great.  Mary Pickford plays both Stella and Unity.  Stella is basically the same Mary Pickford character we see in all of her films. The blond curls.  The seemingly perpetual smile.  Classic Pickford.

For Unity, she transforms into Stella's opposite.  She has black, flat hair.  She walks with an awkward gait and her face is unremarkable.  Through special effects, Pickford portrays both characters simultaneously and her Unity is almost a foot shorter than Stella.  She is so good, I would have never guessed it was the same actress.  An absolutely amazing job.

Neilan does a fantastic job directing.  He seems amongst the best at understanding the film grammar created by D.W. Griffith and knows how to cut and edit scenes and when to move in for a close-up.  The ending shot is a dramatic pull away that is obviously on a vehicle (there's some bouncing), but it is still the right way to end the movie dramatically.  Neilan is very good at walking the viewer through the story.

Unfortunately, the story is my big problem with this.  It's all soap opera and melodrama.  I never really cared about the plight of any of these characters.  Every person is one-dimensional and makes broad pronouncements that are not even questioned.  At one point, after his wife is improsoned John wants to leave London. Stella's family says he cannot go because it would break Stella's heart.  John stares and sadly nods his head.  There is a lot of John doing the classic soap opera stare off camera in this film.

And John's wife? Evil for sake of being evil. If she had a moustache, she would be twirling it.  She wants to destroy Unity.  And John.  And Stella.  Why?  Because she's evil.  Period.

The movie is a series of soap opera cliches.  A man who is married to an evil shrew, but in love with the beautiful young maiden.  The put-upon orphan who cannot catch a break.  The magical appearance of a doctor with a miracle cure.  John keeping his marriage a secret so as not to hurt Stella (gee, do you think she finds out anyway?).

The one last large problem for me watching this was the relationship between John and Stella.  He looks like he's in his 40s and she looks 17.  John's evil wife looks like she's in her 30s.  Pickford looks and plays roles that make her look young so to see this seemingly much older man with this really young girl feels creepy.  And then when you remember that they are actually cousins?  Ugh.

It's a shame too because Neilan and Pickford have clearly brought their A game to the film.  Pickford's Unity is a marvel to behold when compared against her Stella. Ultimately, having her talent in service of this story is like asking Frank Owen Gehry build a Jenga tower: it may look nice, but it's a waste of a consummate professional's time.

** out of *****

Watched on DVD through Netflix
Photo from Observations on Film Art
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Posted in 1918, marshall neilan, mary pickford, stella maris | No comments

Tuesday, 26 October 2010

Time Traveler Cannot Resist Chaplin Premiere?

Posted on 02:49 by Unknown
Our mission statement here at 100 Years is bringing a modern eye to the last century of cinema, so this definitely fits with that theme.  I cannot speak to the veracity of this, but found it completely arresting.  The video below purports to show that a woman at the 1920 premiere of Charlie Chaplin's The Circus is talking on a cell phone-like device.  The actual footage starts at about the 2:30 mark.  Fake footage? Woman scratching her head while talking to herself?  Or is she in communication with the mothership?  You decide...

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Posted in charlie chaplin | No comments

Sunday, 24 October 2010

Another Look at... The Blue Bird (1918)

Posted on 04:38 by Unknown
The Blue Bird (1918) is the first of the 100 Years movies I watched with my children.  My eight-year old watched the entire film, while my six-year old only watched the last half hour.

The movie is basically a children's story so I thought this would be a good initial film to introduce them to the silent era.  And it did not disappoint.  My older child watched with rapt attention throughout.  It took longer for the younger one, but she started asking about the title cards and soon she was enveloped by the story.

The only touchy moment was the scene where the two leads meet their dead brothers and sisters.  It took a moment, but my son spoke up.

"Wait, they're dead?"

"Yes."

"Oh.  The baby too?"

"Yes, but they are all happy together."

"Okay."

When they got to the Kingdom of the Future, he asked why they weren't more kids.  His theory was if that were all of the children yet to be born, there should be a LOT more.  Can't argue with that. 

They understood the film and the ultimate message (Fairly obvious, but I won't spoil it here.)

For fun, here are my tweets during the film (found at 100yearsofmovie):
  • Watching 1918's The Blue Bird with my 8-year-old. Should be interesting. 8:26 PM Oct 22nd via web
  • From the 8-year-old pre-credits: "I like movies a lot better when they actually talk" 8:27 PM Oct 22nd via web 
  • Four minutes in: "These don't look like very fun times." 8:30 PM Oct 22nd via web 
  • Laughter when Tyltyl says that bread might have a soul. The character is mocking his mom. 8:35 PM Oct 22nd via web
  • 8-year-old: "Man, that's a big thing of sugar." 8:36 PM Oct 22nd via web 
  • The dog saves Tyltyl. Eight-year-old yells: "Karate dog!" 9:05 PM Oct 22nd via web  
  • A scene where the kids meet children yet to be born. My son is questioning the mechanics of this. 9:30 PM Oct 22nd via web  
  • Final verdict: both the eight and six year-old liked it. The 2-1/2 year-old? Snoring. 10:04 PM Oct 22nd via web  
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Posted in 1918, blue bird | No comments

Saturday, 23 October 2010

The Blue Bird (1918)

Posted on 20:10 by Unknown
Directed by Maurice Tourneur
Starring Tula Belle, Robin Macdougall, Lillian Cook, Edwin E. Reed
Produced by Famous Players-Lasky Corporation

Tyltyl and Mytyl do not have an easy life.  There's not enough bread to go around.  Their mother and father are constantly working.  Still, they are bright-eyed and smiling as they play with their dog and cat.  And the small blue bird in their cage brings them some joy.

A poor neighbor asks to borrow the bird to bring to her sick daughter, but Mytyl cannot bear to part with her pet.  Later, that night they receive a visit from the neighbor.  Except now, the neighbor claims to be the fairy Berylune.  The visitor wants the children to seek the legendary Bluebird of Happiness.

As on any quest, the kids receive some help.  Instead of ruby slippers or the One Ring, Berylune gives Tyltyl a magic hat.  A turn of the diamond on the brim and the kids can see the souls of things.  Soon, the children are surrounded by the spirits of fire, water, bread, even their dog and cat.  Off the group goes to seek the bluebird, traveling to the Palace of Night and the Kingdom of the Future.  Can they find the fabled bird?  Or will their own cat be successful in destroying their plans?

This is a gorgeous film that sneaks up on you.  The opening fifteen minutes focus on the relatively mundane lives of the children.  It's engaging and well-filmed with all of the techniques we have seen over the decade (the editing pioneered by D.W. Griffith, close-ups).  The scenes are of a family dealing with routines we would all recognize: preparing dinner, playing with the dog, cleaning up the scarf left on the floor.

Then, the fairy arrives.

The fantastic world that comes to life relies on a lot of stage techniques.  But Tourneur has a cinematic eye and it never feels like a play.  The fire spirit is a dancer in an inventive costume.  The bread comes sliding from the oven and stretches its arms and legs.  A stream of water unfolds to reveal a woman.  All through elaborate costumes one might find on the stage, but the editing makes it a film.

Other touches are achieved through more traditional cinematic effects.  Clothes leap onto a child through reversed film stock.  A loaf of sugar turns into a man through a simple dissolve.  Tricks of light reveal mood and hidden lands.  All set against surreal backgrounds that help complete the effect.

There are elements that will hit the modern audience in a strange way.  The children visit their deceased grandparents.  Then they ask about their brothers and sisters.  Seven (yes, seven) children including a baby descend the stairs.  There is a really high mortality rate in their village.

There are also some beautiful ideas in the story.  The Palace of Happiness is filled with joys and luxuries, but the highest of all is maternal joy.  When they meet the spirit of motherhood, the kids are overcome and reminded not to forget this feeling when they see their mother in rags.

The Kingdom of the Future is the playground of a of the children yet to be born.  The children meet a future sibling.  They also see two children who are inseparable; they are soulmates.  When one is taken to be born, they resolve to find each other as they live their lives.  What a great concept for married couples.

This is a beautiful film. Of course it is dated, but it features incredible imagery and wonderful performances by the children.  My only surprise is there has not been an update in the last few years.  I can easily imagine an adventure film or an animated tale centered on this story.

**** out of *****

Update: I posted a brief write-up on watching this with my children.

Watched on DVD through Netflix
Photos from The Obscure Hollow
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Posted in 1918, blue bird, Maurice Tourneur | No comments

Wednesday, 20 October 2010

Are Crooks Dishonest? (1918)

Posted on 19:54 by Unknown
Directed by Gilbert Pratt
Starring Harold Lloyd, Bebe Daniels, Snub Pollard
Produced by Rolin Films

A couple running a fake seance business decide to take a break in the park after one particularly "fruitful" day.  There, they meet up with a couple of con artists who are running a scam involving a lost ring.  While most people have seen it all before, the woman running the seances has seen it all before and easily turns the tables on the pair.  But when they end up taking refuge at her business, will they manage to con the con artist?

Here's a Harold Lloyd short and it's another very straight-forward tale.  While Lloyd get the top billing it really is Lloyd, Bebe Daniels and Snub Pollard all playing equal roles.  Also, unlike a lot of comedies we have reviewed here, Are Crooks Dishonest? relies more on situational humor and sight gags than the physical comedy of Charlie Chaplin or Buster Keaton.

But was it funny?  Not really.  It's amusing in parts, particularly when the crooks hide out at Daniels business, but it's never laugh-out-loud funny.  A lot of screen time is taken up by Lloyd running his scam repeatedly on people in the park and, even if you though it clever the first time, by the sixth time you're waiting for the plot to move along. 

The con itself will be familiar to modern audiences.  Pollard loses a valuable ring and enlists the victim's help to find it.  Lloyd comes along and finds the ring.  The victim, thing the ring is worth something, offers to buy it.  Lloyd gets paid off and the victim of the hoax is left with a ring from "Phoney Jewelry Company."

If one wants to take the film as a commentary on the times, it's an argument that everyone is a crook.  The crooks attempt the scam on a half dozen or more people, always with the same result.  Those being scammed only fall victim because they are trying to steal the ring themselves.  And not one person fails to fall victim until Daniels' character comes along.  And she doesn't fall victim only so she can con the crooks out of the money they just stole.  Are crooks dishonest?  Is everyone dishonest?  Is everyone a crook?

At the end of the day, Are Crooks Dishonest? is average. It's a nice diversion that may make you smile in parts and its brevity is a virtue.  I prefer Chaplin and Keaton's work to this.

** out of *****

Watched on YouTube
NOTE: Photo upload is not working.  Hopefully it is fixed for my next post.
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Posted in 1918, are crooks dishonest, harold lloyd | No comments
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  • that guy
  • the adventures of prince achmed
  • the affairs of anatol
  • the battle of the sexes
  • the bells
  • the big trail
  • the black cyclone
  • the black pirate
  • the blue angel
  • the cabinet of dr. caligari
  • the champ
  • The Cheat
  • the circus
  • the cocoanuts
  • the dark knight rises
  • the dinosaur and the missing link
  • the dream
  • the eagle
  • the floorwalker
  • the general
  • the haunted house
  • the heart of new york
  • the hunchback of notre dame
  • the iron horse
  • the jazz singer
  • the kid
  • the king of kings
  • the little american
  • The Lonedale Operator
  • the lost world
  • the love of jeanne ney
  • the love trap
  • the man who laughs
  • the mark of zorro
  • the miner
  • the mothering heart
  • the navigator
  • the oyster princess
  • the paleface
  • the passion of joan of arc
  • the phantom of the opera
  • the ring
  • the seven chances
  • the sheik
  • the sinking of the lusitania
  • the struggle
  • the temptress
  • the ten commandments
  • the thief of bagdad
  • the three musketeers
  • the three stooges
  • the tramp
  • the unchanging sea
  • the unknown
  • the wasp woman
  • the wind
  • the wonderful wizard of oz
  • Theda Bara
  • thomas edison
  • thomas ince
  • titanic
  • tod browning
  • tol'able david
  • top ten
  • toy wife
  • traffic
  • traffic in souls
  • trolley troubles
  • tropes
  • trouble in paradise
  • twilight of a woman's soul
  • two-lip time
  • un chien andalou
  • union depot
  • universal pictures company
  • victor halperin
  • victor heerman
  • victor sjostrom
  • vlog
  • w.c. fields
  • wallace beery
  • walt disney
  • walter huston
  • warner brothers
  • waxworks
  • way down east
  • we faw down
  • we sing poorly
  • what i learned
  • what price hollywood
  • what the daisy said
  • white zombie
  • why change your wife
  • william a. wellman
  • william austin. Clarence G. Badger
  • william powell
  • william wyler
  • willis o'brien
  • wings
  • winsor mcay
  • wizard of oz
  • woman in the moon
  • x-men: first class
  • yasuji murata
  • yasujiro ozu
  • young america
  • youtube

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