Archive for Eugene Pallette

The Sunday Intertitle: Fictionized

Posted in FILM, MUSIC, Mythology, Politics with tags , , , , , , , , , , , , , , , on July 18, 2021 by dcairns

Errol Flynn movies are highly intertitular. After enjoying THE DAWN PATROL so much, and particularly the Flynn-Niven byplay in biplanes, we ran THE ADVENTURES OF ROBIN HOOD (Fiona wasn’t sure she’d ever seen the whole thing, shock horror), THEY DIED WITH THEIR BOOTS ON and THE CHARGE OF THE LIGHT BRIGADE. Nothing came up to the satisfaction of Goulding’s flying saga, but ROBIN HOOD is of course huge fun.

Scattered impressions: Eugene Pallette really can’t swordfight. He just waves his longsword about, but struggles to do that at anything like an impressive speed. I think his problem is he’s trying to mimic the anachronistic rapier-work displayed by Flynn et al. The film is full of undercranking but he’s the one who needs it. Also: Flynn and Rathbone had a fight arranger for their fantastic duel. Pallette just seems to have been shovelled into a cassock and left to fend for himself.

The music! The sets! The film is only half Curtiz (William Keighley had it taken away from him for being too slow and not dramatic enough — Curtiz came on and was even slower but much more dramatic). The closeup of Rathbone dead! The Curtiz sadism always finds an outlet.

CHARGE is described in an opening title as “fictionized” and the same curious word is used by Hal Wallis in memos (Inside Warner Bros. (1935-1951), Rudy Behlmer) so I guess maybe he coined it. It actual makes more sense than “fictionalised” maybe. Anyway what he means is it’s a ludicrous farrago, but Curtiz is still prowl-tracking through sets with lots of intervening props and characters that glide past between us and the action, a 3D filmmaker avant la lettre.

The “British fort” is wonderfully hilarious. Utter phallocracy. It was clearly felt that a British fort in India should have an Indian aspect, a sense of minaret to it, despite the fact that colonialism is rendered visual in the way the coloniser builds in his own style structures in the land of the colonised. So this Flash Gordon fairytale palace is based on nothing, it’s as unreal as the light sources from below designed only to cast dramatic shadows on walls, a real Curtiz trope visible in both these Flynn movies he directed.

The fictionized end battle is unbelievably massive. Lots of horses, both full and empty. In some wide shots they seem to be tripping the horses with pits (the Italian method, more humane) but mostly they’re using the crueller Running W tripwire approach and lots of horses were maimed and killed. Niven and other cast members complained. It’s all right up there on the screen. The BBFC has a history of censoring such scenes but if they started on this one I don’t know what’d be left, the Valley of Death as a shredded string of blipverts and ellisions.

Incredible decision to cast Flynn and De Havilland and have her in love with his brother, the nonexistent Patric Knowles. And with Niven standing around with nothing to do! There’s a memo about casting proper posh Brits in the posh roles, and beware because naturally Curtiz can’t tell cockney from Received Pronunciation, and then we have E.E. Clive (“‘E’s invisibule, that’s wot’s the matter with ‘im!”) as a diplomat. He’s talking respectably, but diplomats are about nine shades posher than mere respectable, they’re so posh you can barely understand them.

I wish I’d seen this and BOOTS when I was younger and more into silly fun. But BOOTS would probably still have outraged me because its mangling of history is more pernicious (though one wonders at Hollywood’s man-crush on the British Empire. I guess we were an important market). Yet, despite its glorifying Custer, not a good man, the movie is quite sympathetic to the Indians for a work of that time.

Anthony Quinn as Crazy Horse!

Plenty of forthright rambunctiousness for director Raoul Walsh to get his teeth into. The crazy disregard for fact resolves into a much more coherent story than CHARGE, even though they’re stringing things out across Custer’s entire career from West Point to Little Bighorn. As with CHARGE, the trick is to disguise a strategic blunder as a cunning plan, and remould horrific defeat as stunning victory. Using Tennyson but altering the entire significance of the battle is a striking bit of Hollywood chicanery, besides which BOOTS’ repurposing of Custer’s Last Stand as a diversionary move to save another unit pales, seems almost respectable.

This one has a proper and really good romantic relationship (marriage!) for Errol and Olivia. And really good use of Arthur Kennedy, the Anti-Flynn.

Flynn’s historical, or historized, films, are crowded with intertitles. It’s as if Warners felt the use of this old-timey narrative technique would bestow a suitably archaic feeling to the action.

THE ADVENTURES OF ROBIN HOOD stars George Armstrong Custer; Melanie Hamilton – Their Cousin; Sherlock Holmes; Dr. Jack Griffin; Dr. Frank Mannering; Alexander Bullock; Mr. Pike; Gerald; Theseus – Duke of Athens; Minnie; Albert Miggles; Colonel Weed; Mr. LeBrand; Greystoke’s Nephew; King Charles II; Man in 1780 Sequence (uncredited); The Burgomaster; Crunch; Dr. John Lanyon; Loana; Old Tramp; Louise Finch; and Trigger.

THE CHARGE OF THE LIGHT BRIGADE stars Robin Hood; Maid Marian; Will Scarlett; Lord Willoughby; Dr. Watson; Battling Burrows; Sir Charles Lytton the notorious Phantom; Dr. Cream; Lt. ‘Queen’s Own’ Butler; Chingachgook; Bertha Van Cleve; Constable Jaffers; Chief Sitting Bull; Princess Baba; Monsieur Taffy; and Dr. John Lanyon.

THEY DIED WITH THEIR BOOTS ON stars Robin Hood; Maid Marian; Jackson Bentley; Grandpa Joad; Sheriff Hartwell; Paul Gauguin; Professor Siletsky; Carson Drew; Oliver Larrabee; Kasper Gurman; Arvide Abernathy; Queenie; Augustus Brandon; Alan Winters in Photo (uncredited); Babe Dooley; Wolf Larsen; Mrs Stark – Jim’s Grandmother; Mr. Cope in Fantasy Sequence; Porthos; Detective Dickens; Inez Laranetta; Duffy; and Cueball.

The Valentine’s Day Intertitle:

Posted in FILM with tags , , , , , , on February 14, 2021 by dcairns

There’s a film I have to write about that would provide a PERFECT intertitle for today, but I’m sworn to secrecy so I can’t use it. And the only other silent film I’ve seen lately is A NIGHT OUT, which isn’t particularly romantic.

Never mind, though, here’s Charley Chase, directed by his brother James Parrott, in FLUTTERING HEARTS, with Eugene Pallette AND Oliver Hardy, but also the alluring and talented Martha Sleeper, the cause of the titular cardiac irregularity. AND it has Charlie Hall as Man Under Car, perhaps the role he was born to play. Isn’t it romantic?

My chosen intertitle for this saint’s day is “Metropolitan 38986 — ask for Tillie.” This occurs at the five minute six seconds mark, but stay with it, there are rewards for the patient viewer.

From Hindquarters

Posted in FILM with tags , , , , , , , , , , , on June 30, 2020 by dcairns

A fingerprint besmirches the hindquarters of a deco figurine!

FROM HEADQUARTERS is one of William Dieterle’s best pre-codes, and I’m surprised I haven’t written about it before. I think I watched it shortly before I started blogging so it got lost in the shuffle.

We screened it as one half of a double-feature in our latest Warren William Weekend, even though the film does not feature WW. By chance, the last time I watched FH, I also ran Dieterle’s THE SECRET BRIDE, which does feature WW and links up in an odd way: in both films, characters look into microscopes and see… the SAME BULLET. How did it get from one film to another and kill Kenneth Thomson in one film and Douglas Dumbrille in the other? It must be one of those magic bullets we’ve all heard so much about.

Warner Bros were into saving money in all kinds of odd ways. “Jack Warner has oilskin pockets so he can steal soup.”

Anyway, THE SECRET BRIDE ought to be exciting and emotional, with what James M. Cain called a “love rack” at its centre, the romance creating the suspense, but the concealed marriage of WW and Barbara Stanwyck in the title role never really feels in jeopardy. When Warners went middle-class, they often lost a lot of their oomph. Also, there can be a big difference between 1933 and 1934 Warners pictures — the Code has come in.

But FROM HQ is terrific stuff — part of Warners’ Great Project to document every facet of American society — here, it’s the life of the police station, so we’re in for a kind of CSI: Pre-Code — plus director Dieterle has suddenly gotten really into elaborate and dynamic blocking, with characters crossing frame at speed alla time, the camera relaying from one busy body to another, and Eugene Pallette jumping into shot like an over-inflated jack-in-the box, bellowing his swollen head off. His character is called Sgt. Boggs and that’s just right.

George Brent is the lead and his sleepy delivery turns out to be just what the film needs, since everyone else is so overwrought. Margaret Lindsay does a lot of elaborate hand-ringing. Hugh “Woo-woo” Herbert is an ambulance-chasing bail bondsman, offering rates “that’d almost surprise you.”

Dieterle also stages multiple flashbacks to the events around a killing, in long-take subjective camera shots, including one that goes from objective to subjective in a oner, his camera discretely tucking itself into a manservant’s head to look out through his eyes, giving us an actual “what the butler saw” or “first-person butler” sequence.

FOG OVER FRISCO has been described as one of the fastest movies ever made but this one could give it a run for its money. Asides from being a murder mystery, it fits snugly into Warners’ Grand Project to document every aspect of American life: this one stars the police station itself, and spends the first few minutes observing the processing of arrestees, before lingering over forensics, ballistics, interrogation, and even the filing system. Punch cards! High-tech stuff.

Dieterle reportedly hated the pace of Warners films and, left to his own devices, would happily crank out slowies like 6 HOURS TO LIVE, which is only 72 mins but feels like it’s in real time. The strange part is that when Jack Warner cracked the whip, Dieterle went just about faster than anyone else. The actors get splashed with his sweat. FROM HQ goes like a rocket, with the same amount of smoke, noise, sparks and sputtering.