Archive for Douglas Fairbanks

Black Piracy

Posted in FILM, MUSIC with tags , , on July 25, 2014 by dcairns

DouglasFairbanksPhotoBlackPirate

Accidentally posted twice yesterday because this endless summer is making me lose track of time. I am shocked — shocked! — to realize today is Friday and I’m off to Glasgow for an Important Meeting and to see Douglas Fairbanks as THE BLACK PIRATE with live music by buddy Jane Gardner. A free outdoor show. 7.30 at Kelvingrove Bandstand, maybe I’ll see you there? Match thighs with the mighty Doug!

Suppose they gave a blogathon and nobody came?

Posted in FILM with tags , , , , , on December 7, 2012 by dcairns

Private Life of Don Juan

It was touch and go for the first day, but I can now say I’m delighted with how this has gone, and it’s not over yet — the response today has been so exciting, I’m saving my last post for tomorrow. Here’s STILL MORE –

Douglas Fairbanks (Snr) makes his last bow over at Mythical Monkey, and regular Late Show collaborator Gareth’s Movie Diary celebrates Jacques Brel’s final appearance in L’EMMERDEUR, which I only knew as the original of Billy Wilder’s own final film, BUDDY, BUDDY.

The Sunday Intertitle: Home Help

Posted in FILM with tags , , , on October 14, 2012 by dcairns

From the early Douglas Fairbanks vehicle THE NUT. That dead polar bear is doing more than tying the room together, by the way — it’s radiating influence.

Heroine Marguerite de la Motte is a social reformer, opening her house to slum kids in the hopes that the attractive furnishings will improve their morals. Hey, it could work.

Charming movie, with many Heath Robinson contraptions built by Doug’s character — maybe the first film to depict an automated house, and a character’s morning routine as he’s conveyor-belted from bed to bath to wardrobe. He also has a parrot trained as an alarm clock. Not sure how you could train it to know the time, but these birds are very smart…

The superimposed speech bubble is an uncommon device, but it’s absolutely the right gimmick for the gag: it removes any ambiguity about where the words are coming from, and allows us to see the bird and word at the same time — instantaneousness is vital for comic effect, you know. You want the viewer to put it all together at once, so that the idea clicks into place and a laugh is triggered. And when a whole audience clicks at the same time, the laughter is multiplied and amplified.

I want to see more by director Theodore “Ted” Reed.

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