Archive for Robert Warwick

Hopalonging

Posted in FILM with tags , , , , , on September 15, 2017 by dcairns

“If you pandered to the public you’d still be living in the horse age.”

“You think we’re not? Look at Hopalong Cassidy.”

“YOU look at him.”

You probably know this one, if I know you. SULLIVAN’S TRAVELS. Joel McCrea (centre) is arguing with his bosses about the new picture he wants to make, O BROTHER, WHERE ART THOU? He has the first line and last line quoted, and Porter Hall (right) has the middle one.

The OTHER producer (left) is Robert Warwick, pictured below IN a Hopalong Cassidy picture. Sturges was hving a laugh, as was not unusual for him.

Ad you may have noticed, I’ve been watching a lot of trailers lately, otherwise I might never have discovered this in-jokery. I’ve never seen a Hopalong cassidy film (though I’ve seen a couple starring William Boyd, who played him). My dad, as an excited schoolboy, got to MEET Hopalong.

Warwick had an interesting life. Apart from being in the first HOPALONG CASSIDY, he had been a silent film star and for-real ran his own distribution company. As a jobbing actor in talkies, he would do literal walk-ons for Sturges as well as playing more substantial roles. In NIGHT LIFE OF THE GODS he plays Neptune in a toga and we discover that, My God, Robert Warwick is Really Buff.

Advertisements

William K. Howard

Posted in FILM, Radio with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , on July 5, 2017 by dcairns

One of the treats at Bologna was Dave Kehr’s retrospective of a sampling of the works of William K. Howard, a seriously neglected figure. On this evidence, perhaps a minor figure, but one who deserves to be remembered.

Howard made a good many silents, but the earliest title screened was ~

DON’T BET ON WOMEN

I liked this more than some people — it’s a creaky early talkie filmed play, starring Howard regular smoothie Edmund Lowe, tight-lipped mutterer Roland Young, smiley twinkly Jeanette MacDonald and croaking cracker Una Merkel. Some of the jokes are good, and it manages to triumph over its initial disagreeable sexism to end up with something like an empowering message. (The first people we meet are Lothario Lowe, who despises women, and bourgeoise Young, who patronises them — but when the women show up, things improve.)

Though the camera does move, it’s only to follow people about, and the most striking visual is the rogue appearance of a boom mic. U

It’s incredible that the same year, Lowe and Howard teamed up to make ~

TRANSATLANTIC

This one has a camera that swoops and sweeps around its vast ocean liner sets, craning around the engine rooms, transforming a sort of “GRAND HOTEL at sea meets The Saint” into something genuinely, excessively cinematic. We get to enjoy a young Myrna Loy, a heavily disguised Jean Hersholt, and a couple of obscure beauties — Lois Moran in the boring nice girl role and Greta Nissen as the much more exciting bad girl, dancing frenetically in a top hat. The film seems like a B-movie (perhaps a Saint one) made on a super-A budget, and the new restoration is gorgeous, all art deco white and sweep and dash.

THE TRIAL OF VIVIENNE WARE

Another B-type mystery plot, but with an even more interesting aesthetic. Firstly, Howard has thrown off all traces of the stodgy pacing of early sound and whips this thing along at a terrific pace. It anticipates Howard’s later Sturges-scripted THE POWER AND THE GLORY by using a series of flashbacks to tell its story, and anticipates nearly everything in its use of a dramatic score, a year before KING KONG. It’s based on a radio play, and so I guess you could argue that these innovations are really just radio techniques transposed, unthinkingly — but I don’t think so, and they would still count as historically important even if that were so.

Sturges liked to trumpet the “narratage” of TP&TG as his own invention, but this movie makes it feel as if Howard may have suggested it to him. Many of the flashbacks are literally “flashed” to by zip-pans, but in his zeal Howard also uses these to cross geographical space from scene to scene, or just to get from one side of the room to another. It’s a movie which could give you whiplash.

The music is maybe less effective and more annoying, but it’s a major step forward from the unscored early talkies — Howard uses it mainly to fill in during flashbacks, and you feel it may have been used that way in the radio version to distinguish different time zones. It behaves like a silent film score in these sequences — it’s just there all the time, until we zip back to present tense.

Fun perfs from Skeets Gallagher and Zasu Pitts as radio hosts commentating on the courtroom drama add to the overall sense of fast-paced entertainment delivered by one of those tennis-ball-launching machines.

SHERLOCK HOLMES

A complete farrago — as one friend said, if you introduce Holmes preparing for his upcoming nuptials while putting the finishing touches to a ray gun, while a “Canadian” boy assistant comments admiringly in an atrocious Cockney accent, you know what you’re in for. The film sports a fine Watson in Reginald Owen, who anticipates Nigel Bruce’s interp (“By Jove, Holmes, it’s a positive ambuscade!”) and a transcendent Moriarty in Ernest Torrence (also visible at Bolognia in STEAMBOAT BILL, JR.) The stagey talking scenes are one thing, but Howard shows his creativity BETWEEN scenes, as with a dazzling montage introducing a funfair straight out of Lynchland.

Also: Clive Brook in drag.

THE POWER AND THE GLORY

Maybe Howard’s best-known movie, but one spoken of in terms of Preston Sturges’ script and its structural anticipation of CITIZEN KANE rather than the skilled direction. Ralph Morgan, a Howard regular, narrates flashbacks exploring the life of railroad baron Spencer Tracy, who has just committed suicide. The Rosebud here is the motive, and the theme is the dog-eared “What shall it profit a man etc?” Morgan’s reminiscences anticipate the KANE flashbacks by including numerous scenes he didn’t witness, and follow two separate timelines, one dedicated to the hero’s business success (Sturges appears to find him admirable, even when his strike-breaking causes hundreds of deaths), the other to his disastrous personal life.

Stand-out performance is from Colleen Moore, whose last scene is absolutely devastating. Elsewhere in the fest we got to see one of her earliest roles, or part of it, in the incomplete Rupert Julian race-melo, THE SAVAGE, so watching her play a character who ages thirty or so years here, in one of her last roles, seemed apt.

Only appearance from a member of the future Sturges stock company? Robert Warwick, at the time a popular supporting player at Universal.

According to Kehr, there are quite a few more Howards of interest, and the man’s biography also seems fascinating. He was producer on Thornton Wilder’s Our Town until a week before it opened, at which point an argument with the author led to him taking his name off the show — a self-destructive move of unique proportions, but one which seems to find its echo elsewhere in his career, which may be partly why he hasn’t been better known.

Ye Gods!

Posted in FILM, literature, Mythology with tags , , , , , , on May 28, 2012 by dcairns

NIGHT LIFE OF THE GODS was watched for either the Forgotten Pre-Codes series at The Daily Notebook or the Late Show: Late Films Blogathon, but ended up missing both. A shame, because it’s weird as hell and twice as interesting.

It’s the last film of director Lowell Sherman, that suave and portly screen Lothario who helmed plenty of sophisticated affairs in the early thirties — he died shortly after completing it, and it finally opened in 1935, after the Production Code was fully established, but it still has a certain racy vibe to it — where else can you see the hero of a film wilfully petrify a fishmonger?

Let me back up slightly and explain. The movie is from Universal, part of that great swarm of movies never released on home video — Universal have been good about getting their 30s horror films out, but have left the whole rest of their back catalogue festering in a vault, somewhere, it would seem. The film begins with this warning / statement of intent / helpless shrug —

Thereafter we meet an eccentric family, living under a barrage of explosions caused by mad scientist Hunter Hawk (Alan Mowbry) and his crazy experiments. When Mowbry eventually achieves his goal, a magic ring which can turn things to stone, his first act is to use it on all his annoying relatives, save the glamorous Peggy Shannon, whom he likes.

All of this is fairly high-concept and understandable, but then Hawke meets a leprechaun, gets drunk with him, and starts a relationship with his daughter (the free-and-easy, strongly implied extra-marital sex seems bold for post-code). This, to me, falls under the heading of Double Voodoo — when a film contains more than one unrelated aberrant concept, it is in danger of disintegrating into a bag of bits. It seems valid , for instance, for Dracula to meet the Wolfman, since they’re both Mitteleuropean folkloric characters of supernatural origin, but if you throw in the Frankenstein monster, the product of electro-galvinism, you risk incohesion.

NIGHT LIFE OF THE GODS, it is fair to say, not only risks incohesion but pursues it relentlessly with slavering jaws. Hawke discovers that his ring can also transform stone into living flesh and blood, so he sneaks into the local art gallery after dark and brings to life all the Roman statues, who all turn out to have the personalities and powers of the mythic figures they represent. Soon, he and his leprechaun lover are running wild in the streets with Neptune (Robert Warwick, obsessed with fish), Hebe (Geneva Mitchell, obsessed with cups), Bacchus (George Hassell, unused to modern bootleg liquor) and too many others. Hawke casually petrifies anybody who gets in his way, behaving altogether more like a psychopath than one is used to seeing in a lead character of the period, outside of gangster films.

It’s very silly, mildly diverting and completely bananas — the early warning that most of the more insane parts are a dream is unfortunate, because it compromises the overall craziness which is the film’s chief merit and trait.

“He’s a hideous creature,” said Fiona of Mowbry, which is true, if a little unkind. But, as Hunter Hawk, his aristocratic bearing works well with his privileged, dreamy, inhumane character. No wonder his son Hudson turned out to be a burglar, forever trespassing in art galleries himself.