Archive for Douglas Fairbanks

It All Ties Together

Posted in FILM with tags , , , , , , , , , , , , , , , , on July 2, 2016 by dcairns

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In James Whale’s THE KISS BEFORE THE MIRROR, Nancy Carroll is an unfaithful wife named Maria living in fear of her murderously jealous husband, Paul (Frank Morgan).

In Jean Epstein’s COEUR FIDELE. Gina Manes is an unfaithful wife named Maria living in fear of her murderously jealous husband, Paul (Edmond Van Daele).

In James Whale’s REMEMBER LAST NIGHT?, Gustaf Von Seyffertitz is a German psychoanalyst shot while attempting to reconstruct a crime.

In Lewis Milestone’s THE FRONT PAGE, Gustaf Von Seyffertitz is a German psychoanalyst shot while attempting to reconstruct a crime.

In THE MYSTERY OF THE LEAPING FISH, Douglas Fairbanks snorts coke.

In TOUCHEZ-PAS AU GRISBI, Jeanne Moreau snorts coke.

In ONE-EYED JACKS, Marlon Brando is tormented by a corrupt sheriff.

In THE HALF-BREED, Douglas Fairbanks is persecuted by a corrupt sheriff.

In KING OF JAZZ, a man plunges his hands into a tank of goldfish.

In Louis Lumiere’s LA PECHE AU POISSONS ROUGES, a baby plunges his hands into a bowl of goldfish.

All these films played the day before yesterday in Bologna. Cinema is imploding into a kind of primal atom.

The St. Valentine’s Day Intertitle #1

Posted in FILM, MUSIC with tags , , , , , on February 14, 2015 by dcairns

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Friday Night at the Wash House (Portobello Community Centre) for a screening of THE BLACK PIRATE with music by the Jane Gardner Trio. Seen it before, and with the same accompaniment (wildly romantic, witty), but that was at a bandstand in broad daylight with the film “projected” on two screens rather like scoreboards. The Wash House turns out to be a terrific venue, with good sound and projection and a fun audience — a genuine community (apart from us) with plenty of old folks and kids, who all got into it and laughed in the right places and also spontaneously cheered at the grand climaxes.

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Shona Thomson, introducing the show, also informed me that Donald Crisp, the comedy relief one-armed pirate sidekick (complete with tam-o-shanter and Scots dialect intertitles, was another BOGUS SCOTSMAN. There’s a plaque in his honour in Aberfeldy but he was actually born in East London, the swine. Just as with Chaplin’s hulking foe, Eric Campbell, we have a case of an actor who just liked the idea of being Scottish, and so reinvented himself.

(How different from Donald Sutherland, Canadian of Scots descent, who was mortified at the idea of being a Scot. “I thought, ‘If only I could be Irish or Jewish, that would at least be SOMETHING.'”)

Tonight, the Trio play once more, accompanying Buster Keaton’s ONE WEEK and SEVEN CHANCES — Fiona and I shall be there. What better way to celebrate romance than with a silent comedian being chased through Los Angeles by a hundred brides?

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Although, admittedly, Doug’s proposal (top) is better than Buster’s (above).

The Sunday Intertitle: Sympathy for Baby Vengeance

Posted in FILM, MUSIC with tags , , , on October 19, 2014 by dcairns

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The baby in question is jazz baby/personality kid Bessie Love, nineteen years old and cute as a great big button, though she is not in fact a large person. Still, if you wore a button the size of Bessie Love you would probably fall over, unless you were Douglas Fairbanks, who fortunately is her leading man in 1917’s REGGIE MIXES IN. Also fortunately, Bessie does not actually play the role of a button.

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The movie is one of Doug’s various meditations on the subject of class in American life, although “meditations” is a funny word to use. Doug doesn’t meditate, he vaults over furniture and punches wrongdoers. Still, this is a serious consideration of the role of class in American life, conducted through the medium of furniture-vaulting and wrongdoer-punching. Doug plays a millionaire playboy who moves into a rough neighbourhood incognito because he’s smitten with capital L for Love. Doug even gets a job as bouncer at the rough Irish dive Love dances at, just to be near her.

The movie features some nice jumping around and some surprisingly brutal fighting. It’s indifferently directed by Christy Cabanne, for the most part, and its attempts to be egalitarian are sometimes decidedly odd — so he can marry Bessie, who is socially beneath him, Doug secretly creates a phony will in the name of her long-lost uncle bequeathing her a hundred K. Now she can marry Doug without seeming like a fortune-hunter! Fraud is so useful to ease social mobility. I’m almost certain Nick Clegg would approve.

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The movie’s trump card is Bessie, who gives a touching performance way beyond what the silly story requires, and Cabanne is at least smart enough to feature her lovely pear-shaped face in plenty of close-ups. Grapevine’s release fo this title is typically fizzy-facky, but just about watchable, and with an unusually fun selection of jazz-age fuzzy warblers on its needle-drop soundtrack — I particularly liked the kazoo and ukulele version of Tannhauser for Doug and Bessie’s first meeting.

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