Archive for Snub Pollard

The Sunday Intertitle: Snubbed

Posted in FILM with tags , , , , , , , , , , , , on March 12, 2017 by dcairns

Snub Pollard (and unidentified frail) in YOUNG MR. JAZZ, a Harold Lloyd-Bebe Daniels comedy from 1919. Very nice, slightly disposable sort of film. To be really memorable, Harold needs more at stake, and he needs to suffer more. In this one he’s beset by an entire bar-room full of plug-uglies, and it just isn’t enough.

But Snub turning up like this reminded me of his surprise appearance in 1960’s WHO WAS THAT LADY?, playing a terrifying illustrated man. He has the job of tattooing the sole of Tony Curtis’ foot for plot reasons, which he sets about with grim relish.

Wasn’t going to write about WWTL? because we really couldn’t get on with it. It’s full of the sexism of that era, courtesy of scribe Norman Krasna. George Sidney directs with appropriate vulgarity, but the whole thing is too sinister, Snub’s alarming appearance being an early symptom.

New York chemistry professor Tony Curtis (!) is caught kissing or, as he argues it, being kissed by, a foreign exchange student. The one who catches him is Mrs. Curtis, AKA Janet Leigh. Curtis turns to TV scenarist friend Dean Martin to invent an alibi. Dino proposes that Tony is in reality and FBI agent and that he was kissing the girl as part of a mission. Of course, this pretense leads to real spy stuff (eventually) and lots of stress for the real FBI, who are all presented as chronically dyspeptic and long-suffering schmoes.

The main interests, in the absence of laughs, are the strange inverted resemblance to TRUE LIES (in which Arnie really IS a secret agent but his wife thinks he’s cheating on him, if memory serves, and she’s played by Janet & Tony’s daughter) and the deeply unpleasant nature of Dino’s character, which of course he plays to the hilt while apparently thinking he’s being charming. Having invented the foolproof cover story for infidelity, he then blackmails Tony into joining him on a double date (with the pneumatic Joi Lansing and her wobbleganger). Dino’s unseemly interest in forcing his best friend to have extramarital sex leads Tony to denounce him, quite accurately so far as we can see, as a psychopath. Superficial charm, pathological lying, complete lack of moral compass… yep, that’s Dino, or at any rate his screen persona in so many films one starts to wonder.

The whole thing ends with a kind of mushroom cloud hovering over the Empire State Building — just as the comedy terrorists in TRUE LIES are probably part of the reason that movie seems to have been written out of James Cameron’s CV, this lively yet ugly entry from George Sidney seems unfortunate whenever it’s interesting, and boring whenever it’s on track. Need to watch his SHOWBOAT or something as a palate cleanser.

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The Sunday Intertitle: Boy Meets Girl

Posted in FILM with tags , , , , , , , , , , , on August 7, 2016 by dcairns

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I had started feeling like I was neglecting Harold Lloyd a bit — you know, that feeling you get when you’ve been neglecting Harold Lloyd a bit — so I watched two shorts from 1919, BUMPING INTO BROADWAY and BILLY BLAZES ESQ. Both films co-star Bebe Daniels, whose comic gifts are somewhat underexploited, and Snub Pollard is a second, backup banana. The latter is a western parody with some great things in it, notably super–cowboy Harold’s way of rolling a cigarette: paper placed flat in hand, tobacco poured wantonly over it, whole lot crunched up in fist and furiously smushed about — palm opens, revealing one perfectly rolled ciggie.

But BUMPING INTO BROADWAY has the best intertitles so I thought I’d just reproduce a bunch here. Not only are they reasonably witty, every one of them has a bit of cute artwork.

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Some very funny stuff in this one, too, though it’s pretty brash and violent by Lloyd’s standards. The Harold of a few years later probably wouldn’t have clobbered so many policemen for so little reason. The best bit of violence is Noah Young, a popular thug player of the day, beating up a defaulting boarder (Mark Jones). This demonstration of savagery is a plot point to show Harold the terrible fate awaiting him if he doesn’t pay the rent, and this idea is borrowed from Chaplin’s THE IMMIGRANT, where Eric Campbell mangled a restaurant customer who couldn’t pay for his meal, as the hero watched in alarm. But the Young/Jones fight is even more impressive and startlingly acrobatic: the massive Young (Buster Keaton’s rival in ONE WEEK) had been a circus weightlifter, which explains why he has a neck with the circumference of Delaware, while Jones was a Lloyd/Hal Roach regular, often playing drunks.

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Good work! And Harold’s mortified expression in the background really ices that comedy cake of inhuman brutality.

A Year-Long Short

Posted in FILM with tags , , , , , on February 9, 2016 by dcairns

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Damned odd. I couldn’t work out what was the point of this strange, expensive-looking Snub Pollard comedy from 1922 until I realised it was a riff on Buster Keaton’s ONE WEEK. It has house built from kits, one of which ends up on a railway line, just as in the Keaton, and so it also has a time-based title and structure — for it was originally released as 365 DAYS. (home-cine print has been retitled for some damned reason.) It even has the same actor, Noah Young, playing the villain, only here they neglect to give him any real villainy.

Lots of things get neglected here — the plot hinges, somewhat creakily, upon the idea of a bunch of relatives living together for a year, but the action we see could easily be completed in a day. The magnificent setting, all those houses built from kits stacked on top of one another, seems ripe for comedy spectacle, and fairly boggles the mind, even with the fairly crude special effects balloon trip, but the gags don’t really exploit the large-scale potential.

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Still, Snub gets a bathing scene, and we are disconcerted to discover that the mustachioed funnyman has a body like Arnold Schwartzenegger. “A body like Arnold with a Snub Pollard face,” as Salt ‘n’ Peppa didn’t sing. Future comedy star Charley Chase directs. Although the set-up is, nominally, domestic, and Chase would be the champ of dom-com, everything is too elaborately fantastical to allow him to stretch his nascent situation comedy skills.

But there are some good gags, especially the accordion, and the whole thing’s odd enough to be worth watching.