Archive for Howard Hawks

Donald Crisp’s Invisible Dog

Posted in FILM with tags , , , , , , , , , , on July 16, 2021 by dcairns

(Now with FIXED SOUND)

Fiona immediately felt, on seeing the above scene from THE DAWN PATROL (1938), that I should excerpt it for Shadowplay. And, obviously, I agreed.

When did Donald Crisp go from the scary guy in BROKEN BLOSSOMS (and the scary portrait in THE NAVIGATOR) to the lovely cuddly guy in THE DAWN PATROL and GREYFRIARS BOBBY? Maybe it was when he started pretending to be Scottish. This obscuring Celtic veil got Crisp a few jobs — the above-mentioned pooch film, it’s alternate-universe version CHALLENGE TO LASSIE (what if Greyfriars Bobby was a collie?) and arguably HOW GREEN IS MY VALLEY (since in Hollywood terms, Scottish and Irish = Welsh) and MARY OF SCOTLAND and THE LITTLE MINISTER. But it’s not certain he couldn’t have grabbed those roles anyway just by his facility for doing a not-terrible Scottish accent (he’s one of the few actors trying to sound Welsh in HGIMV).

Anyway, this scene is adorable, as good as James Mason chasing his last pea round the plate in MURDER BY DECREE.

I ought to have more to say about this film soon, because we absolutely loved it. It’s much more Hawksian than the Hawks version.

Gutter Blossom

Posted in FILM with tags , , , , , , , , on May 5, 2021 by dcairns

THE WICKED DARLING (1919) is Tod Browning and Lon Chaney and so it’s of interest, but that interest mainly plays out in the trainspotting exercise of spotting the Browning motifs when they appear, as they do intermittently. And so we have —

GROTESQUERIE

The toothless pedlar, embedded in his wares, is a pure Browning touch, and entirely gratuitous. Chaney plays without any makeup gimmicks but manages to be terrifying and freakish with what nature gave him. And there’s a big role for Kalla Pasha, not so much an actor as a super-dense physical object, an asteroid of gristle with a head shaped like a rotary phone (a grid of metallic teeth in place of the dial).

VIOLENCE

Two big brawls and a shooting. The wonderfully named Wellington Playter (there’s also a Spottiswode Aitken in the cast) grapples with Chaney and also receives the bullet. The fights are dynamic and scary, which isn’t usually the case in that period. Actors hadn’t learned how to throw a punch and miss, while positioned so that the camera can’t see whether the impact is real. The “recipient” of the fake blow sells it by his reaction. But it really helps if you dub on a SMACK sound, which the silents were not in a position to do. Instead, silent film fighters had to pull their punches, which always looked weak. Supposedly it was John Wayne who invented the three-quarters-view punch, drawing back his fist slowly to pre-sell the haymaker (a practice mocked in Hawks’ THE BIG SKY, where the guy raising his fist slowly gets punched out before he can swing).

To get around this yet-unsolved problem, Chaney uses vigorous wrestling moves, contorting his body in a rapidly shifting set of holds, creating an impression of tremendous murderous aggression without relying on phony wallops.

Leading lady Priscilla Dean, discovered here behind Wellington’s couch, is lively and pert. She’s very good in the wicked scenes, playing a jewel thief in thrall to Chaney and his accomplices, but rather overdoes the sweetness once she;s redeemed by the love of a good Wellington. By 1927 her star had dimmed and she was acting at Hal Roach in an early Laurel & Hardy.

Chaney is introduced as a pair of shiny shoes. How did he do such amazing makeups with such tiny feet?

I had actually seen this film before, a fact I only discovered when preparing to write about it. So it’s not the most memorable entry in the Browning and Chaney oevres.

Outfoxed

Posted in FILM with tags , , , , on January 23, 2020 by dcairns

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For the second installment of Forgotten by Fox, I examine the tattered fragments of Howard Hawks’ THE CRADLE SNATCHERS, maybe his most Hawksian early work outside of A GIRL IN EVERY PORT.

There are three young guys in it: the wilting wallflower, the square joe, and the lecherous “sheik.” From the character name (Howard + bird) we may be able to guess with whom the director most closely identified.

Here you go.