Archive for Lilian Bond

Bad Cinephile

Posted in FILM, MUSIC with tags , , , , , , , , , , , , , , , , , , , , on June 27, 2017 by dcairns

I did get a lot watched on Monday at Il Cinema Ritrovato.

On Sunday there had been a discussion about whether to try the 1917 CALIGULA, since it partially overlapped a later screening I wanted to see, and a friend who shall remain nameless suggested just watching a bit. “You don’t need to see how it turns out,” he suggested. To another friend who had an overlap at the opposite end, he suggested, “You don’t need to see the beginning. What are you going to miss? The horse? You won’t miss the horse.” “Are you suggesting,” I asked, “that we treat CALIGULA like an installation?” But that is sort of what Monday felt like.

(In the event, CALIGULA was sold out to enthusiastic orgiasts before we got back from lunch.)

The day began with two by William K. Howard and one by Tod Browning, at the Cinema Jolly, which meant I could just take my seat and soak up three pre-code super-productions in as many hours. THE TRIAL OF VIVIENNE WARE was zippy (Lilian Bond, in her plummiest accent: “I’m going to show him how a warm momma gets hot!” Zasu Pitts: “I like horses, in a nice way of course.”), with rapid-fire patter and frequent whip pans, used to transport us across town, across a room, of back into flashback and out again. TRANSATLANTIC combined swank melodrama and crime with spectacular sets and camera moves. OUTSIDE THE LAW, the second film Tod Browning made under that title, had a strong story but, being a 1930 Browning, lacked pace. “Tod the Plod,” Andrew Moor Charlie Cockey called him. But it did have the bottomless man illusion, and a guest freak in the form of John George from TRAIL OF THE OCTOPUS, in the role of Humpy the hunchback. I’m a John George completist so this made me happy. This is likely also the first film in which Edward G. Robinson says “See?” a lot, as a threat.

Then I went to THE TECHNICAL REFERENCE COLLECTION SHOW after lunch — we saw Technicolor reels from BREAKFAST AT TIFFANY’S, THE JUNGLE BOOK, ROSEMARY’S BABY, THE GOOD THE BAD AND THE UGLY… quite a range. HERCULES AND THE SLAVE GIRLS featured the line “This day is dedicated to Uranus.” Reg Park didn’t look as pleased as you might hope. Each reel ended JUST as we were getting snared by the narrative, so it was a frustrating as well as beautiful experience.

But these extracts set me off on a regrettable pattern of incompletion. I went to a programme of Russian fragments and saw the surviving reel of KULISY EKRANI (BEHIND THE SCREEN) from 1917, which stars Ivan Mosjoukine, Russia’s top film star, in the challenging role of Ivan Mosjoukine, Russia’s top film star. But the fictional version has lost an arm. It was good to see a younger Ivan, though he looked older than in KEAN. Other than that, I couldn’t tell much.

I’ve been seeing the Helmut Kautner films religiously because Olaf Moller told me to, and he’s bigger than me. But the Mosjoukine fragment made me late for EPILOG – DAS GEHEIMNIS DER ORPLID and it was standing room only at the back. I stayed through the early subjective camera stuff, then the soft-titles disappeared just as Fritz Kortner showed up. I slipped away quietly —

— and into KEAN, where I wanted to see the new restorations tinting and toning, which was indeed lovely. But three hours of Mosjoukine seemed rather ambitious after five and a half hours in the dark, so I slipped silently off to TWO MONKS, the biggest challenge to wakefulness yet.

This early thirties Mexican melodrama has stunning sets, interesting camera moves and cutting, beautiful lighting and some Gothic horror hallucinations which are very striking, but it’s also slow to develop and tells a slightly dull story TWICE. So I did nod off a bit and found myself dreaming more exciting plot developments, which sadly were knocked out of my head by the real story when I awoke.

Then I dined with Neil McGlone and his lovely wife Justine, and hit the Piazza Maggiore, which proved to be ram-packed — no seats, so I sat on the warm stone and saw the prelude to Gance’s LA ROUE with Arthur Honegger’s newly discovered orchestral score played live for the first time in, what, ninety years? That was something. But it was another fragment. And I was too tired to watch more than ten mins of BATTLESHIP POTEMKIN afterwards.

A day in pieces. Leaving me feeling the same way, but happy.

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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.