Archive for The Goose Woman

The Sunday Intertitle: OK Boomers

Posted in FILM, Politics with tags , , , , , , , , , , , on April 18, 2021 by dcairns

Very weird double bill for our Saturday watch party — THE GOOSE WOMAN (Clarence Brown) and THE OKLAHOMA KID (Lloyd Bacon). Nothing really in common. The above was suggested as a very suitable Sunday intertitle, you can probably guess which film it’s from. Louise Dresser is speaking to Jack Pickford, America’s first rodent film star.

But OKLAHOMA KID is ram-packed with intertitles too, oddly since it’s a 1939 production. Felt good to be watching a Bacon film, since he keeps popping up in the Essanay Chaplins.

This one is famed for the surprise casting of Cagney and Bogart in a western. Shame it doesn’t have Allen Jenkins or Frank McHugh too. They basically play it like a gangster film, but since this is post-code it doesn’t have the bite and amorality: Jimmy enacts a William Hart “good bad man” arc, redemptive in nature.

The politics follow a slightly different arc: they at first seem very conventional — we’re shown Grover Cleveland (!) agreeing to (forcibly) buy Indian land he’d previously promised they could keep, but the movie seems to soft-pedal the injustice — no suggestion that the price isn’t going to be fair. But then…

CAGNEY: In the first place, the white people steal the land from the Indians, right?

CRISP: They get paid for it, don’t they?

CAGNEY: Pay for it? Yeah. A measly dollar and forty cents an acre, price agreed to at the point of a gun. Then the immigrants sweat and strain and break their hearts carving out a civilisation. Fine, great! And when they get all pretty and prosperous along come the grafters and land-grabbers and politicians, and with one hand skim off the cream and the other scoop up the gravy. Not for me. Listen, I learned this about human nature when I was but so high, and that is: that the strong take away from the weak, and the smart take it away from the strong.”

A primer in capitalism and empire-building, Warners style. Of course, Warners rarely follow through on their more radical impulses, but the movie does feature an attack on mob violence, before celebrating vigilantism of a more individualistic sort — Cagney announces he’s hauled in a wanted man. “Dead or alive?” he’s asked. “A little of each.”

And then Cagney is subsumed into civilisation and forcibly wed to Rosemary Lane (he has more luck with her than sister Priscilla). Is the film backing away from its earlier stance, or just admitting what happens to outlaws? Cagney himself went from leftist to self-described arch-conservative, so while it’s a disappointing ending it’s not necessarily dishonest, and the filmmakers probably hoped the ideas planted earlier might still germinate in moviegoers’ minds.

The Monday Intertitle: Moll Quiet

Posted in FILM, MUSIC with tags , , , , , , , , , , on March 17, 2014 by dcairns

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“I’m pretty influential as Lefty Hiroshi.”

Beautiful deco kanji in an intertitle from Ozu’s 1933 DRAGNET GIRL, screened at the Hippodrome Festival of Silent Cinema, Bo’ness. This may be becoming my favourite Ozu, but I have lots more still to see. I’m really an Ozu newbie. It was about ten years ago I saw a bunch of late ones screened on Film4, and made a point of catching up with TOKYO STORY, but the ones I’ve seen outside of those experiences mean more to me.

Chris Fujiwara, introducing the film, suggested that the large number of intertitles in the film may have been Ozu’s way of constraining the benshi, those sometimes-overzealous film describers who had a tendency to not just read out the titles for the benefit of non-readers, but to embellish the plots and elucidate the subtext and supply the thoughts of every character. They would scarcely have time in this movie.

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Image from here.

DRAGNET GIRL was screened with a live score by Jane Gardner, whose accompaniment of THE GOOSE WOMAN last year was a highlight. I found a couple of the scores on Saturday to be over-amplified — the venue is small and has excellent acoustics anyway. THE LAST LAUGH screened with a new arrangement of the original score, which was absolutely brilliant, but the violin and whistle could be a little piercing. Ozu is usually thought of as “restrained” and “minimalist” (not to mention “transcendent”) and if that were true of DRAGNET GIRL the piano, violin and percussion score would have been too lush, emotive and emphatic. But this middle period film is, as Chris said, very *free* — Ozu allows himself more camera movement, much of it lateral (the movie poster on the wall in the background for ALL QUIET ON THE WESTERN FRONT suggests where that may have come from; otherwise, Sternberg and UNDERWORLD and the lost DRAGNET are clearly influences) but one shot rotating slowly around a big white coffee pot (symbol of the decadent western influence, we are told) rather like a prototype for the cuts in later films which will pivot our perspective around an orienting object such as a red kettle.

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And this is a crime melodrama — albeit one which avoids most of the possible cues for melodramatic incidents, admittedly. What looks like being a hit by typist/moll Kinuyo Tanaka upon her romantic rival, is averted by a girl-on-girl kiss which has as much impact — and is presented with even more aversion of the camera eye to protect the innocent — as an assassination would in a conventional gangster flick. But things do eventually reach a pitch of high tension and jeopardy, as our heroes go on the lam after a heist (really the only bit of crime-for-profit glimpsed in the movie).

And so the score seemed an apt expression of the emotions lurking just beneath the polite surface of the characters. And it was absolutely beautiful, which is important, because so’s the film.

I must have a word with Jane to see if I can get copies of her stuff so I can walk around with it playing in my head.

The Sunday Intertitle: Mixed Signals

Posted in FILM with tags , , , , , , on May 12, 2013 by dcairns

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Clarence Brown’s THE SIGNAL TOWER seemed quite a bit more old-fashioned than THE GOOSE WOMAN, but this was almost certainly because I saw the former at the plush Hippodrome in Bo’ness with a well-dressed audience and a spiffing live accompaniment, whereas I saw THE SIGNAL TOWER as a ratty print telecined to VHS, transferred to AVI and then to DVD and screened on a tiny television at our friend Marvelous Mary’s house. A television that may be older than Brown’s film. One is aware that the slightly antique feeling has nothing to do with the film-making itself, but one can’t help but be influenced.

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In the days before the World Wide Web, intertitles had to be transmitted by telegraphy.

It’s not fair to judge under such circumstances, but I suspect the movie is not quite as good as THE GOOSE WOMAN, which has an unconventional heroine, a twisty plot, and twisty storytelling including flashbacks, one of them false. THE SIGNAL TOWER tells a very simple story, with Wallace Beery an obvious heavy from the start (we all admired the wisdom of dressing him in a stripey shirt, thus making his evil manifest), but it builds to an extremely exciting climax whereby the railroad employee hero must struggle to derail a runaway freight car in a thunderstorm to prevent a catastrophic crash, while his wife repels Beery’s vile advances a short distance away. Will our hero rescue his wife at the expense of his official duty? Or what? As the movie has been content to show us one thing happening at a time, and quite slowly, this parallel montage suspense sequence feels all the more exhilarating.

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It’s beautifully shot too, with big blasts of movie lightning smacking the scenery, the eerie sputter of signal flares, and scary POV shots from the oncoming train, hurtling along the tracks. The movie shows us a large-scale collision earlier in the story, just as a sort of illustration of what could happen — it’s arguably even more impressive than the bridge collapse in THE GENERAL, though it’s insubstantial context (a flashback as dad (the inspiringly-named Rockliffe Fellowes) tells kid about what happens when signalmen blunder) means it doesn’t carry the same impact.

Following in the size twelve footsteps of door-smashing pugilist Donald Crisp in BROKEN BLOSSOMS, Beery smashes through not one but two doors in an attempt to satiate his vile lusts upon the person of Virginia Valli (from Hitchcock’s THE PLEASURE GARDEN, made the following year).

“Here’s Wally!”

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Thanks to Christine of Ann Harding’s Treasures for recommending this one.