Archive for Rudolph Valentino

The Sunday Intertitle: The Last Intertitle of Rudolph Valentino

Posted in FILM with tags , , on December 9, 2018 by dcairns

The last intertitle to emerge from Rudy Valentino’s lips ~

The film is Valentino’s SON OF THE SHEIK, directed by George Fitzmaurice. Which climaxes with an exciting chase and then a chaste kiss ~

 

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The Sunday Intertitle: Bull!

Posted in FILM, Sport with tags , , , , , , , on September 17, 2017 by dcairns

One last Stan Laurel solo film, then we can move on. MUD AND SAND is Stan’s epic denunciation of Rudolph Valentino (here, Rhubarb Vaseline). All the intertitles, or nearly all, rely on bull-based humour.

Hey, I’m not knocking it.

Visual gags are little more varied, depending largely on the deflation of Dorothy Arzner’s melodrama with pratfalls, but Stan’s first, successful corrida, shot from outside the arena walls, is impressively silly. As the other matadors-to-be anxiously wait for Stan to be carried out arrayed on a stretcher with limbs akimbo, like his predecessors, a stuffed cow flies over the wall, crashing unconvincingly to the ground. And then it all happens again.

The repetition of gags is an interesting phenomenon. Buster Keaton didn’t go in for it, unless he could play a variation on the gag to surprise the audience. I suspect this proud refusal to be predictable was a big part of why he was less popular than Chaplin and Lloyd.

Chaplin repeats incessantly, and the recurring arse-kicks or pratfalls become part of a structured dance. Stan just repeats where it seems likely to get another laugh. It’s been suggested that Laurel & Hardy relied more on predictability than surprise: showing the audience the banana peel before it’s slipped on. The comedy coming from the expected gag happening right on cue. But that doesn’t seem quite right. Everybody shows the banana peel first. But only Buster has characters walk over it without slipping — outsmarting or “double-crossing” the audience.

I want to try to analyse L&H’s approach more closely. I do think they’re the funniest, in terms of intensity and volume and duration and frequency of laughs, of any classic era comedians. It doesn’t matter if you personally like them or not — I think their success is measurable and would be borne out by any laffometer. And they seem to use both jokes of predictability and jokes of surprise — the former making the latter more surprising. And of course there’s the measured pace. They jettison entirely the myriad advantages of pace, to concentrate on getting the most out of every joke by worrying it to death. But there’s even more going on than that, and I want to explore it.

This will mean looking at talkies, since I think the talkies are their funniest films. But maybe a silent or two also…

Jiggety-Jig

Posted in FILM, Sport with tags , , , , , , , , , , , , , , on July 4, 2016 by dcairns

Laughter_Hell_1933_1@2xLAUGHTER IN HELL: Pat O’Brien, Clarence Muse, Noel Madison

Home from Bologna, caught up on at least some of my missed sleep, and buzzing (in a bleary way) to write up in more details some of the wonders witnessed. 32 screenings in all, many of them containing more than one (short) film. 26 of them marvelous, and the others merely delightful.

By the way, Fiona came too. She didn’t want me to announce it on social media because she’s seen THE BLING RING and didn’t want Hermione from HARRY POTTER magicking her way into our vacant property and stealing all our bling crap.

Here’s the rundown of our last day’s viewing, a fairly light one —

entdeckung-mars-landung

9.00 a.m. I had been enjoying Mariann Lewinsky’s curation of the Krazy Serial, and wanted to see how it turned out. Bologna always has a 100-year-old serial, and this year the centenary of Dada was celebrated with an eccentric collection of episodes from incomplete serials, standalone shorts and scratch-assemblies of found footage. The last show memorialized WWI, with DIE ENTDECKUNG DEUTSCHLANDS DIE MARSBEWOHNER, a German sci-fi film in which Martians visit Munich (they are greatly impressed by the lid action on beer steiners); CAMP OF GOUDA, a newsreel study of a Belgian refugee camp in Holland (lacework and brush-making, the start of occupational therapy); NAPOLEON AND SALLY, in which the war is reenacted by two chimpanzees in fancy dress with ghastly, wraithlike shaved faces.

I congratulated Mariann on the serial’s climax: “It all came together beautifully.”

10.15. LIFE’S HARMONY, a very early Borzage. A sweet, naively ridiculous plot about rival church organists in a small town. Manages to pack amnesia and an evil twin into its denouement. Some beautiful shots in darkened rooms lit by source light including a fireplace. Borzage is already spreading his wings.

11.30. LAUGHTER IN HELL, a Universal pre-code which is everything everyone has already said it is since its New York screening.

14.30. (long lunch to recover from previous) THE PALEFACE (Fiona was knocked unconscious by the heat and missed most of this); MAIDS AND MUSLIN, a wearisome Monte Banks comedy with some interest raised by Oliver “Babe” Hardy as villain, and some animated explosions and impacts scratched into the living celluloid; MONSIEUR DON’T CARE, a seven-minute fragment of one of Stan Laurel’s hilarious Valentino parodies. Stan plays Rhubarb Vaselino, fleeing the court of Louis IV in a world which features yellow cabs and giant safety razors. Also Stan in drag. Produced by Joe Rock, who later gave us EDGE OF THE WORLD. Even in fractured, flickering and fragmentary form, this laid them in the aisles, and made up for Fiona’s lapse into unconsciousness. A Keaton film like THE PALEFACE unfolds with measured logic in a way that can lull the sleepy viewer, but Mr. Laurel’s loopy spoofs (or perhaps spooves?) keep everyone caffeinated.

And then I was going to see FAT CITY in the Piazza Maggiore, a film I love, but it was late, I was drunk, the film was delayed, the pubs were roaring with football, and I drifted home.

But there was more to follow, on the very day of our leaving…