Archive for Edmund Lowe

William K. Howard

Posted in FILM, Radio with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , on July 5, 2017 by dcairns

One of the treats at Bologna was Dave Kehr’s retrospective of a sampling of the works of William K. Howard, a seriously neglected figure. On this evidence, perhaps a minor figure, but one who deserves to be remembered.

Howard made a good many silents, but the earliest title screened was ~

DON’T BET ON WOMEN

I liked this more than some people — it’s a creaky early talkie filmed play, starring Howard regular smoothie Edmund Lowe, tight-lipped mutterer Roland Young, smiley twinkly Jeanette MacDonald and croaking cracker Una Merkel. Some of the jokes are good, and it manages to triumph over its initial disagreeable sexism to end up with something like an empowering message. (The first people we meet are Lothario Lowe, who despises women, and bourgeoise Young, who patronises them — but when the women show up, things improve.)

Though the camera does move, it’s only to follow people about, and the most striking visual is the rogue appearance of a boom mic. U

It’s incredible that the same year, Lowe and Howard teamed up to make ~

TRANSATLANTIC

This one has a camera that swoops and sweeps around its vast ocean liner sets, craning around the engine rooms, transforming a sort of “GRAND HOTEL at sea meets The Saint” into something genuinely, excessively cinematic. We get to enjoy a young Myrna Loy, a heavily disguised Jean Hersholt, and a couple of obscure beauties — Lois Moran in the boring nice girl role and Greta Nissen as the much more exciting bad girl, dancing frenetically in a top hat. The film seems like a B-movie (perhaps a Saint one) made on a super-A budget, and the new restoration is gorgeous, all art deco white and sweep and dash.

THE TRIAL OF VIVIENNE WARE

Another B-type mystery plot, but with an even more interesting aesthetic. Firstly, Howard has thrown off all traces of the stodgy pacing of early sound and whips this thing along at a terrific pace. It anticipates Howard’s later Sturges-scripted THE POWER AND THE GLORY by using a series of flashbacks to tell its story, and anticipates nearly everything in its use of a dramatic score, a year before KING KONG. It’s based on a radio play, and so I guess you could argue that these innovations are really just radio techniques transposed, unthinkingly — but I don’t think so, and they would still count as historically important even if that were so.

Sturges liked to trumpet the “narratage” of TP&TG as his own invention, but this movie makes it feel as if Howard may have suggested it to him. Many of the flashbacks are literally “flashed” to by zip-pans, but in his zeal Howard also uses these to cross geographical space from scene to scene, or just to get from one side of the room to another. It’s a movie which could give you whiplash.

The music is maybe less effective and more annoying, but it’s a major step forward from the unscored early talkies — Howard uses it mainly to fill in during flashbacks, and you feel it may have been used that way in the radio version to distinguish different time zones. It behaves like a silent film score in these sequences — it’s just there all the time, until we zip back to present tense.

Fun perfs from Skeets Gallagher and Zasu Pitts as radio hosts commentating on the courtroom drama add to the overall sense of fast-paced entertainment delivered by one of those tennis-ball-launching machines.

SHERLOCK HOLMES

A complete farrago — as one friend said, if you introduce Holmes preparing for his upcoming nuptials while putting the finishing touches to a ray gun, while a “Canadian” boy assistant comments admiringly in an atrocious Cockney accent, you know what you’re in for. The film sports a fine Watson in Reginald Owen, who anticipates Nigel Bruce’s interp (“By Jove, Holmes, it’s a positive ambuscade!”) and a transcendent Moriarty in Ernest Torrence (also visible at Bolognia in STEAMBOAT BILL, JR.) The stagey talking scenes are one thing, but Howard shows his creativity BETWEEN scenes, as with a dazzling montage introducing a funfair straight out of Lynchland.

Also: Clive Brook in drag.

THE POWER AND THE GLORY

Maybe Howard’s best-known movie, but one spoken of in terms of Preston Sturges’ script and its structural anticipation of CITIZEN KANE rather than the skilled direction. Ralph Morgan, a Howard regular, narrates flashbacks exploring the life of railroad baron Spencer Tracy, who has just committed suicide. The Rosebud here is the motive, and the theme is the dog-eared “What shall it profit a man etc?” Morgan’s reminiscences anticipate the KANE flashbacks by including numerous scenes he didn’t witness, and follow two separate timelines, one dedicated to the hero’s business success (Sturges appears to find him admirable, even when his strike-breaking causes hundreds of deaths), the other to his disastrous personal life.

Stand-out performance is from Colleen Moore, whose last scene is absolutely devastating. Elsewhere in the fest we got to see one of her earliest roles, or part of it, in the incomplete Rupert Julian race-melo, THE SAVAGE, so watching her play a character who ages thirty or so years here, in one of her last roles, seemed apt.

Only appearance from a member of the future Sturges stock company? Robert Warwick, at the time a popular supporting player at Universal.

According to Kehr, there are quite a few more Howards of interest, and the man’s biography also seems fascinating. He was producer on Thornton Wilder’s Our Town until a week before it opened, at which point an argument with the author led to him taking his name off the show — a self-destructive move of unique proportions, but one which seems to find its echo elsewhere in his career, which may be partly why he hasn’t been better known.

Advertisements

Sheep Shape

Posted in FILM with tags , , , , , on May 19, 2016 by dcairns

vlcsnap-2016-05-18-21h35m53s68

BLACK SHEEP is an obscure Fox picture from Allan Dwan which is suprirsingly solid, amusing, charming, and touching.

Trivia: one of the stars is Adrienne Ames (pictured, left). She married actor Bruce Cabot. According to the IMDb ~

“In 1938 the pair appeared before a US Tax Appeals Board to explain why she wrote off more than $9000 in wardrobe and jewelry on her 1934 tax form, which she claimed was necessary for “professional reasons” (as was her maid). She claimed that her “daily expenses” included flowers, massages, taxis and beauty work.”

This is somehow perfect — the way she plays her role in BLACK SHEEP is entirely consistent with her real-life behaviour! “Stay away from that vampire,” advises Edmund Lowe.

I made this cute little picture the subject of this fortnight’s Forgotten.

At the Notebook.

Cummings and Goings

Posted in FILM with tags , , , , , , , on May 23, 2015 by dcairns

vlcsnap-2015-05-23-11h34m14s199

SEVEN SINNERS is a title which kept getting trotted out — the one Lewis Milestone made in 1925, long thought lost, has just been rediscovered, which is cause for rejoicing. The unlikely pairing of John Wayne and Marlene Dietrich resulted in a delightful romp for Tay Garnett in 1940. But the version I looked at was from Britain in 1936, and it’s a fairly naked attempt at doing a THIN MAN knock off with American stars — Edmund Lowe and Constance Cummings, who made England her home, it seems, and went on to triumph in BLITHE SPIRIT.

I don’t imagine any of those movies have a good reason to be called SEVEN SINNERS. This one doesn’t. It just sounds good.

vlcsnap-2015-05-23-11h34m26s63

Lowe, who has a lovely mellifluous voice, is a drunken detective a la Nick Charles, and Cummings plays an insurance investigator supposed to accompany him to Scotland to investigate missing jewels. Sadly, they never make it north of the border, but their adventure instead hinges upon murder and train-wrecking, and shunts them from Nice (at carnival time) to Paris and on to London and then the English countryside. All fun stuff.

The train angle stems from the involvement of author Arnold Ridley, who wrote THE GHOST TRAIN and THE WRECKER — the spectacular full-scale smash-up from that accomplished silent thriller is recycled here as stock footage. The whole film may well have been written around it. Elsewhere, director Albert de Courville (best known for: nothing at all) mocks up colossal derailings by spinning the camera and mixing together multiple images to suggest Lowe’s intoxicated experience of being thrown to the ceiling in a spinning corridor.

vlcsnap-2015-05-23-11h37m06s111

Messrs Launder & Gilliat are credited with the script, and do a fine job simulating the kind of patter stars like, say, Myrna Loy and William Powell would throw off in Hollywood productions. It should seem a poor cousin to those movies, but it actually manages to carve out its own little corner and curls up in it like a shaggy dog, looking vaguely pleased with itself but not smelling too bad. Each scene is based around an amusing bit of investigation, the logic connecting them is playful but solid enough, and the business transacted within them is frequently amusing too. Hitchcock would have asked for more real sense of jeopardy — British comedy-thrillers tended to fall heavily on the first quality and scrimp on the second — but it’s all perfect undemanding afternoon entertainment.

“A minute to strip. A minute to dress. I’ll be back in a minute,” says Lowe.

“Better make it two,” says Cummings.

As always with these things, you’re left wishing there was a whole series with these characters. Maybe they’d finally reach Scotland.