Archive for Jean Parker

The Sunday Intertitle: Velvet

Posted in FILM with tags , , on March 13, 2016 by dcairns

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Not quite an intertitle, arguably, more of a super. But a striking one, as it occurs forty minutes into SEQUOIA, an unusual 1934 MGM super-production which until this point hasn’t required any text on-screen, apart from the standard credit sequence at the start.

In SEQUOIA, perky Jean Parker adopts a lost deer calf and an orphaned puma cub on the same day, busy little abductress that she is. She then attempts to raise them as friends, proving her fathers’ crackpot theories that the whole animal kingdom would be chums were it not for the necessity of eating one another. Upon attaining menacehood, the two animals (especially the puma) arereleased back into the wild, but their friendship continues.

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This is all an excuse for some wonderful kitsch nature photography, slathered in soft-focus and Mendelssohn. Unusually, the animal stuff takes up most of the film, sidelining Parker and her C-list romantic interest. This exposes the film to the weakness of all those INCREDIBLE JOURNEY type things — we like looking at animals doing cute things, and we like dramatic stories, but faking up a dramatic story with trained animals makes us worry about the wellbeing of the furry actors and somehow loses the fascination of a good nature documentary without acquiring the excitement of a proper drama. It seems to disprove Hitchcock’s idea that pure montage is enough. We will watch animals, their actions cleverly staged and edited so they seem to act, but we’re not involved. If you animate the animals, even partially, so that they ACTUALLY act, you have BABE, or better, BABE: PIG IN THE CITY, and we can really get into it.

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Still, SEQUOIA looks sensational.

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Pre-code Unknown

Posted in FILM, Politics with tags , , , , , , , , , , , , , , , , , , , , , , , on July 30, 2011 by dcairns

In which I continue my slow spread across the internet. Picture one of those burning maps you’d get in the opening titles of Hollywood war or western pic: that’s me and the internet.

At The Daily Notebook, I contribute to the ongoing process of capsule-reviewing highlights of New York’s Film Forum pre-code series, along with Gina Telaroli, Ben Sachs, Craig Keller, Glenn Kenny, Zach Campbell and Jaime N. Christley. I’ve tackled THE PUBLIC ENEMY, THREE ON A MATCH (above), RED-HEADED WOMAN and CALL HER SAVAGE.

And at Electric Sheep, I chip in to the round-up of this year’s Edinburgh Film Festival, with pieces on TROLLHUNTER and TO HELL AND BACK AGAIN.

Been viewing a lot of pre-codes lately, because Fiona’s been unwell and pre-codes are perfect when you’re doped up on painkillers. Here are capsules of a few more we ran —

TWO ALONE

This is a really beautiful pre-code pastoral (was that even a thing?) in which unloved foster-child Jean Parker falls from juvie home runaway Tom Brown. Memorable nastiness from the foster family, but the movie isn’t overall about making you want the bad guys to suffer horrendous fates, although some of the time you do. In the end, this tender film satisfies you by rewarding the good characters instead.

Notable for Parker’s nude scene and the sympathetic view of pre-marital sex and extra-marital pregnancy, and taking the side of the despised outlaws over the nominal pillars of the community. Elliot Nugent directs, and it’s interesting to see small-town values being repeatedly trashed in these movies.

THE MATCH KING

We had David Wingrove to dinner with the plan to watch the ne plus ultra of Bad Cinema, Baz Luhrman’s emetic epic AUSTRALIA, but even he, who owns a copy of BOXING HELENA and watched WILD ORCHID four times, couldn’t make it through the antipodean hellscape (it’s like being injected into the mind of a ten-year-old with ADHD), and so a nice 80-minute pre-code seemed the ideal antidote.

Warren William — the starving lion — magnificent scoundrel — king of the pre-codes — the other Great Profile — is a Bernie Madoff-like Ponzi schemer who tries to dominate the world, starting with a humble match factory. He saves the family firm with money borrowed on holdings that don’t exist, which means he’ll always owe more money than he can pay back, “until I own everything in the world, and then I’ll only owe money to myself.” On the way to his inevitable fall, Glenda Farrell, Claire Dodd and Lily Damita become notches on his bedpost. Every now and then the screenwriters have WW do something truly rotten on a personal level, in case we find his massive-scale financial chicanery too endearing. “This is like a primer in capitalism,” our dinner guest remarked, awestruck.

HOT SATURDAY

Our new favourite Nancy Carroll is torn between rich playboy Cary Grant and homespun geologist Randolph Scott. Quite a choice. But meanwhile smalltown gossip threatens her future. Chief slanderer and hottie Lilian Bond makes malice seem almost sexy, and this is a useful rebuttal to Leo McCarey’s claim that he taught Cary Grant everything. Grant is stiff in his Mae West and Sternberg movies, but effective for Leisen and Walsh and, in this case, the less celebrated William A. Seiter.

BIG BROWN EYES

Grant again, paired with blonde Joan Bennett, who’s notably abrasive and snappy under Raoul Walsh’s rambunctious purview. She’s a manicurist-turned-crime-reporter (!), he’s a police detective, and they’re hot on the trail of a ring of burglars, fences and baby-killers. Walter Pidgeon makes an assured snake-in-the-grass, and the accidental assassination of a sleeping tot shows how pre-codes could turn reckless tonal inconsistency into some kind of demented virtue. Isn’t this supposed to be a comedy?

ME AND MY GAL

The best and pre-codiest pre-codes overall may be the Warners films, but the Fox films are the rarest, thanks to that library’s largely unexploited status (apart from the legendary Murnau & Borzage at Fox box set). This is Walsh again, and Bennett again (with a now-you-see-it-now-you-don’t beauty spot) and Spencer Tracy, during that part of his career where he played ostensibly lovable louts rather than patrician paterfamilias types. Here he rises through the police force and into Joan’s arms in a sweet, sassy romance that folds in a crime story and some alcoholic Irish shenanigans. Twice, Bennett’s father turns to the camera and invites us all to have a drink. Another character is paralyzed and communicates by blinking, allowing for some THERESE RAQUIN inspired plot twists, and the weirdest scene is cued by Tracy talking about a movie he just saw, “STRANGE INNERTUBE or something,” which leads to a series of internal monologues by himself and Bennett as they cuddle up on their date. Crazy stuff.

Walsh made a quasi-sequel, SAILOR’S LUCK, which has been getting a lot of attention in New York screenings and on the blogosphere, and which we’ll certainly be watching next.