Archive for Seven Chances

How Are We Doing?

Posted in FILM with tags , , , , , , on April 25, 2020 by dcairns

oldboy

Checking in with you guys. How’s lockdown treating you?

I can’t complain. A bunch of work has been coming in, which I’ll tell you about nearer release time, so I’ve been oddly busy, and Fiona’s joining in on a forthcoming one so, having finished her work for Edinburgh Film Festival, she’s got a new project to occupy her.

I hadn’t mentioned the appearance of Masters of Cinema’s Buster Keaton, 3 Films, Vol 2. (featuring BATTLING BUTLER, THE NAVIGATOR, SEVEN CHANCES) mostly because I don’t have a copy yet and forgot it was out. I did a video essay for this with Stephen Horne and Imogen Smith which is getting nice reviews. I’m very pleased with it myself.

Also out this week, KWAIDAN features Shadowings, a collaboration between myself, Fiona and Timo Langer, a 35-min video essay burrowing into the film’s origins and creation. If you liked Golem Time… you’ll also like Shadowings. Lots of research for Fiona on this one, and my friend Kiyoyuki Murakami provided invaluable background long-distance from Tokyo so the piece should break new ground in what’s known about Masaki Kobayashi’s masterpiece in the west.

I think both sets are pretty well compulsory viewing and owning for cinephages, or those who have the loot, anyway.

Buster Keaton: 3 Films (Volume 2) (The Navigator, Seven Chances, Battling Butler) Limited Edition Blu-ray

Kwaidan (Masters of Cinema) Limited Edition Blu-ray

The St Valentine’s Day Intertitle #2

Posted in FILM, Politics with tags , , , , , , on February 15, 2015 by dcairns

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Great pleasure in Portobello — Buster Keaton’s ONE WEEK and SEVEN CHANCES on the big screen (albeit via DVD) with live accompaniment by composer Jane Gardner on piano with Hazel Morrison on percussion. A nicely chosen Valentine’s Day double feature, with the short film playing out over the course of a week which, just like this one, includes a Friday the 13th, Saturday 14th, Sunday 15th…

Once again it was great to see so many kids in attendance — the front row was crammed with them, and they were in hysterics. One quacking cackle in particular was a joy to listen to. And at a key bit in SEVEN CHANCES, when it seems Buster is too late to win the day, a cry of “Awww!”

Over a drink afterwards, Hippodrome producer Shona Thomson, Jane, Fiona and I and some friends had a wide-ranging discussion which included our thought on the various troubling race gags in SEVEN CHANCES. Buster is so apolitical, basically accepting the world as it is, that it seems useless to get in a fuss about his more politically incorrect gags, which usually touch upon something unfortunately true (such as the female victim of domestic violence in OUR HOSPITALITY who turns on Buster when he tries to help her). While Chaplin had the sensitivity to see that minstrel-show humour was unacceptable, his response was to basically exclude black characters from his films altogether, which is far from a solution. Harold Lloyd has the occasional bit of the comedy manservant terrified of “spooks.” But Keaton made a Civil War film from the Southern perspective (ironically because, in a rare moment of political sensitivity, he felt you couldn’t cast the losers as antagonists); he blacks up in COLLEGE, and in SEVEN CHANCES …

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Firstly, there’s Jules Cowles in blackface as the hired hand. No excuse for this is really possible. There are actual black people in the film, but for the one major-ish role, a white actor is cast. It could be argued that the gags about this character being dull-witted are the same kind of jokes Keaton would make about his own characters in his short films, but it’s all very unfortunate.

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There’s a startling moment when Buster, puzzled by his inability to get any girl to agree to marry him, takes a look at his reflection to see what can be the matter with him. The mirror he chooses is set in a door, and as he checks his jacket front, the door opens, so that when Buster looks up, he sees a (very handsome) black man in place of his own reflection. He’s startled, as anyone might be (save the black man himself). This isn’t particularly offensive, I don’t think, though it may point towards a kind of racial panic more obvious elsewhere.

Buster proposes to every girl he meets, and there are a whole series of inappropriate/inadmissible woman jokes. There’s one who turns out to have a wedding band, one with a baby, one reading a Jewish newspaper who apparently doesn’t speak English (one hopes that’s the reason she’s ruled out), a drag artist, and one who turns out to be a schoolchild. No particular notice is taken of the lady in mannish attire panned past in THIS shot —

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And then there’s the black woman, whom Buster approaches from behind before reeling away in horror. Now, until 1948, if I have this right, a white man like Keaton would not have been able to marry a black woman in California, so the joke is merely taking notice of an existing fact, I guess. It’s just that the fact in question makes most modern audiences feel sad, and not able to laugh.

And then there’s the other black woman. When an advertisement for a bride brings rather too many hopefuls to the altar, among them is a middle-aged black lady (most of the unwanted aspirants are on the mature side) who either doesn’t know the anti-miscegenation laws or just isn’t going to let them stand between her and seven million dollars. It was Hazel the drummer who spotted the fact that another bride-to-bee is already sporting a prominent wedding ring, so evidently Keaton’s pursuers are desperate enough to throw off all society’s restrictions.

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Keaton is quite rightly beloved, and we generally agree to overlook his occasional lapses. At this historic distance, his willingness to make fun of terrorist bombings (in COPS) and hurricanes (in STEAMBOAT BILL JNR) seem kind of admirable. With the race gags, I kind of like the way we don’t get hysterical in either sense of the word. They just create slightly awkward gaps in the laughter before we can move on to the next bit of comic genius.

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“AWWW!”

The St. Valentine’s Day Intertitle #1

Posted in FILM, MUSIC with tags , , , , , on February 14, 2015 by dcairns

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Friday Night at the Wash House (Portobello Community Centre) for a screening of THE BLACK PIRATE with music by the Jane Gardner Trio. Seen it before, and with the same accompaniment (wildly romantic, witty), but that was at a bandstand in broad daylight with the film “projected” on two screens rather like scoreboards. The Wash House turns out to be a terrific venue, with good sound and projection and a fun audience — a genuine community (apart from us) with plenty of old folks and kids, who all got into it and laughed in the right places and also spontaneously cheered at the grand climaxes.

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Shona Thomson, introducing the show, also informed me that Donald Crisp, the comedy relief one-armed pirate sidekick (complete with tam-o-shanter and Scots dialect intertitles, was another BOGUS SCOTSMAN. There’s a plaque in his honour in Aberfeldy but he was actually born in East London, the swine. Just as with Chaplin’s hulking foe, Eric Campbell, we have a case of an actor who just liked the idea of being Scottish, and so reinvented himself.

(How different from Donald Sutherland, Canadian of Scots descent, who was mortified at the idea of being a Scot. “I thought, ‘If only I could be Irish or Jewish, that would at least be SOMETHING.'”)

Tonight, the Trio play once more, accompanying Buster Keaton’s ONE WEEK and SEVEN CHANCES — Fiona and I shall be there. What better way to celebrate romance than with a silent comedian being chased through Los Angeles by a hundred brides?

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Although, admittedly, Doug’s proposal (top) is better than Buster’s (above).