Archive for Herbert Wilcox

Thus Spake Zorro

Posted in FILM, Politics with tags , , , , , , , , , , , , , , , , on March 19, 2022 by dcairns

A fun-packed day in Bo’ness for the Hippodrome Silent Film Festival yesterday — and more today and tomorrow. My programme notes are online this year, you can access those for THE MARK OF ZORRO here. And the whole history of programme notes is up here.

Fred Niblo’s swashbuckler of old California — his finest film, I think — looked stunning on the Hippodrome’s big screen, in its Photoplay restoration and with Neil Brand and Frank Bockius accompanying it on piano and percussion (amazing feats of synchronization, quite apart from the romance and excitement). A treat.

Earlier in the day I saw Lawrence Napper lecture on the filmic history of Nurse Edith Cavell, as prelude to Herbert Wilcox’s 1928 DAWN, starring Sybil Thorndyke as the patriotic nuse. Discussing the case, we all agreed to disapprove of Nurse E.C., since she was smuggling British soldiers home under the cover of the Red Cross — undermining that organisation’s whole existence. We reckoned if she’d been a German doing the same thing, the British would have shot her too.

Anyway, the film, accompanied by Stephen Horne and Frank Bockius, was suspenseful and made with some skill, though heavy on the intertitles. Maybe it was partly because the Belgian print screened (the film exists in two cuts) was titled bilingually, but doubtless British silent cinema’s tendency to prolixity was also a factor: whenever you got one title card, it spilled onto a second, the writers just having too much good stuff they wanted to say.

Today I hope to see NOT FOR SALE, CITY GIRL and THE FALL OF THE HOUSE OF USHER — a Murnau, an Epstein, and the first-named will be my first experience of W.P. Kellino, and Ian Hunter’s first film. Expect some reviews or reactions shortly.

The Late Show Round-Up

Posted in FILM with tags , , , , , , , , , , , , , , , , , , , , , on December 12, 2010 by dcairns

THE LATE SHOW: THE LATE FILMS BLOGATHON is here. I’ll keep this post at the top of the page, presenting all the participants’ work, while my own entries will appear immediately below it.

Links!

Arthur S., over at This Pig’s Alley, files a confidential report on Eric Rohmer’s TRIPLE AGENT.

The latest Shadowplay post, on Cukor’s RICH AND FAMOUS, is right below this one.

Brandon keeps it coming with an illuminating scan through Orson Welles’ ONE-MAN BAND.

Eric at Sporadic Scintillation plays THE MUSIC, curtain call of the great Yasuzo Masumura.

WARM WATER UNDER A RED BRIDGE, the last film from Shohei Immamura, which provoked mainly perplexity upon release, is sympathetically showcased at Serene Velocity.

Flickhead makes a very welcome contribution, bringing a documentary flavour to the proceedings with a look at Varick Frissell’s THE VIKING.

More from Andreas at Pussy Goes Grrr, exploring the tragedy and hope of Mizoguchi’s final opus, STREET OF SHAME.

Gareth’s Movie Diary rides with THE COMANCHEROS, the last movie from golden age giant Michael Curtiz. And a handsome piece it looks, too!

55 DAYS AT PEKING, arguably the final completed feature from (in part) Nicholas Ray, is under the microscope at Mr. K’s Geel Cornucopia. And it takes us into quite a lovely place!

My own new entry is right below this one. NOT an appreciation of LOLA MONTES, merely a sidelong observation or two.

Arch-Shadowplayer David Ehrenstein, over at the Fablog, presents Pasolini’s 1966 anthology piece CHE COSA SONA LE NUVOLE?, in which giant puppets enact Othello… in a Late Show first, you can not only read about the film over at his place, but watch it too.

Brandon again (don’t stop, Brandon!) at Brandon’s Movie Memory explores Jimmy Stewart’s last theatrical feature, an odder-than-odd Japanese nature film shot in Africa.

Ed Howard at Only the Cinema takes on RIO LOBO, a sad note for Howard Hawks to end on, but certainly a recognizable variation on his usual themes and characters. Beautiful screen-shots, making me regret seeing it on an old VHS. A revisit might be in order: I remember enjoying Sherry Lansing’s unlikely turn as a vengeful Mexican.

C. Jerry Kutner writes for Bright Lights Film about James Whale’s difficult-to-see final project, HELLO OUT THERE. Anybody got a copy of that movie?

There’s a new post by yours truly, right below this one.

John McElwee’s Greenbriar Picture Shows examines THE LEFT HAND OF GOD, a late Bogart movie directed by Edward Dmytryk.

Pierre Fournier at Frankensteinia revisits FRANKENSTEIN AND THE MONSTER FROM HELL, the last film from Terence Fisher, the last Hammer Frankenstein, the last Peter Cushing appearance as the Baron, and one of the last Hammer releases altogether.

Brandon’s Movie Memory absorbs late works by Lindsay Anderson, Charlie Bowers, Buster Keaton, Osamu Tezuka (yay!), Norman McLaren and Joseph Barbera. Wouldn’t they make a houseful?

At Pussy Goes Grrr, an excellent analysis and appreciation of Eric Rohmer’s THE ROMANCE OF ASTREA AND CELADON can be found. A new discovery for me, this blog promises riches!

Jaime Grijalba looks at the last films of Bunuel and Ozu in a Spanish-language entry at Exodus 8:2. Thrilled to have something non-English-language here, even if I can’t read it myself!

At Deeper Into Movies, Brandon’s Movie Memory connects with COLD LAZARUS, the last teleplay of Dennis Potter, starring the frozen, severed head of Albert Finney, and executed “under the strictest writing deadline: to finish the story before his imminent death.” A terrific piece which exemplifies the virtues of this fun, intelligent blog — a sympathetic account which acknowledges the flaws in a film even while seeing beyond them to possibly hidden virtues.

At Boiling Sand, Doug Bonner delves into Herbert Wilcox’s THE LADY IS A SQUARE, exploring how a somewhat stilted film can nevertheless serve as a touching farewell to a star and director. A really beautiful piece.

Another Shadowplay entry by guest blogger and regular Shadowplayer Judy Dean can be found below ~

The Unexpected #3

Posted in FILM with tags , , on October 15, 2010 by dcairns

Dorothy Gish’s rack.

Well, it is unexpected, right? All the more so in a British picture (any part of a Gish sister is unexpected in such a picture), and one from Mr Respectable himself, Herbert Wilcox, whom I always associate with prestigious period pictures (yawn) — like this one, NELL GWYN.

But, owing to its subject, the orange-seller turned actress turned king’s consort — for which, read “prostitute turned prostitute turned prostitute” — and the movie has a certain racy tang. Which is fully reflected in its costume design.

And my DVD stops working at exactly this frame.