Archive for William S Hart

Unhinged

Posted in FILM, MUSIC, Mythology with tags , , , , , , , , on March 20, 2015 by dcairns

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The Hippodrome Festival of Silent Film is well and truly up and running again — my first visit to Bo’ness’ century-old cinema this year resulted in a viewing of HELL’S HINGES (1916), starring William S. Hart in one of his archetypal “good bad man” roles, as a gunslinger called Blaze Tracy  who gets religion after falling in love with a preacher’s sister. Most intriguingly, Hart’s ascent is played parallel with the preacher’s fall from grace, since the man who has been “following the wrong trail” makes a great contrast with the “bad good man” who lacks the inner grit for the role he’s chosen in life.

Music was by Neil Brand and the Dodge Brothers, who did such a great job with BEGGAR’S OF LIFE last year — their skiffle/Americana approach suits the early western perfectly. I chatted with Neil afterwards and he was quietly pleased with the way the music, which is quite epic and powerful, soft-pedals the film’s hokier elements — it’s never religiose, saccharine, or melodramatic, despite the presence of a villain in a black fuzzy felt moustache. The semi-improvised score nods to Leone (whistling) and Ford (Shall We Gather at the River) and even evokes True Detective, without falling into pastiche — everything is taken seriously, and that’s enough to make you feel present at the birth of a genre, seeing all this stuff for the first time.

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Lead guitar/vocalist Mike Hammond mentioned THE SEARCHERS and HIGH PLAINS DRIFTER as favourite westerns in his intro, and the “town called Hell” aspect of the latter is actually fairly prominent in Hart’s film, which ends with what a contemporary reviewer called a “Gehenna-like” conflagration. Guess it was necessary to destroy the town in order to save it.

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Very florid, poetic, slightly racist intertitles (apparently producer Thomas Ince was a great one for the faintly purple prose), which worked well. I may well find myself quoting those some more on Sunday’s post… Also, the dialogue titles had a really strong western idiom to them, more so than the dialogue in most talking oaters.

Best place to read about Hart that I know of is Ann Harding’s Treasures. It’s in French, but we have computers for that now.

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Grauman’s Chinese Theater of Cruelty

Posted in FILM with tags , , , , , , , , , on August 1, 2014 by dcairns

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Sid Grauman immortalizes the already-immortal Gene Tierney.

Like Gary Oldman, I’ve been reading Neal Gabler’s excellent An Empire of Their Own: How the Jews Invented Hollywood, though possibly I have been drawing different conclusions from it. Attentive readers may recall me picking the tome up in one of Toronto’s many excellent bookstores. Being shallow, I am partly in it for the history but also for the funny stories. This one also contains a whiff of the horrific, so beware ~

Gabler’s study of Louis B Mayer also features quick portraits of the major exhibitors, including a vivid, even (necessarily) lurid description of Sid Grauman (he of the Chinese Theater) ~

“Like Roxy, Grauman loved size; his theaters were always capacious. But he was less a culture monger than a showman; where Roxy wore conservative suits to maintain an image of dignity, Grauman wore large hats rakishly tilted and parted his long curly hair down the middle, sweeping it back at the sides so that he looked as if he had stuck his finger in an electric socket. Throughout Hollywood he was famous for his elaborate pranks: convincing Paramount cowboy star William S. Hart to “ambush” a train Adolph Zukor was riding; inducing Jesse Lasky to give a speech to a group of exhibitors who turned out to be wax dummies; arriving at the cornerstone-laying ceremony of a rival theater in a hearse; dressing as a female escort to visiting star David Warfield and then crying, “Rape!” When he heard that director Ernst Lubitsch, who hated to fly, was forced to take a plane from Los Angeles to a preview in San Francisco, he hired two stuntmen to dress as pilots, run down the aisle, and then parachute during the flight. Lubitsch was so shaken that he suffered a minor heart attack.”

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Here is a picture of Lubitsch, much later, receiving a lifetime achievement Oscar. You’ll notice he doesn’t look that happy about it — the smile is sickly. That’s because he’s having an attack of angina at the same time. The two experiences don’t mix well. Lubitsch’s too-early death was no doubt greatly exacerbated by his cigar habit, and it was a post-coital attack that finally did him in, but I cannot think that Sid Grauman’s sense of humour helped. At least Lubitsch enjoyed his other causes of death.

Thanks a lot, Sid.

I’ve just written two essays on Lubitsch films, which can be pre-ordered as part of THIS —

MADAME DUBARRY [Masters of Cinema] (1919) [Blu-ray]

The Late Show

Posted in FILM with tags , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , on December 1, 2013 by dcairns

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I created this second banner because Fiona said the dead Santa one was “horrible.”

Welcome to the blogathon! I’m going to sellotape this post to the top of Shadowplay using science, so it will be the first thing you see this week. But the new posts will be immediately beneath it, so keep scrolling.

If participating in the blogathon, this is the post to link to. You can add a comment below to let me know about the post, if you don’t have my email.

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SUNDAY

And we have a first entry — David Ehrenstein applies his wits to F FOR FAKE, one of Orson Welles’ last movies as director, and another that is sometimes cited as his greatest film. Here.

My own first piece deals with a truly hard-to-see, unconsidered final film, from the wonderful Frank Borzage. Here.

Christine Leteux was our researcher on NATAN, is Kevin Brownlow’s translator, and in her own right she’s the author of the first book on Albert Capellani and the splendid French-language film blog Ann Harding’s Treasures. She’s traveling at present, researching her next book, but gave me permission to link to a relevant piece from AHT — TUMBLEWEEDS was William S. Hart’s last directorial gig and feature starring role. Ici.

Eddie Selover casts a not-unsympathetic eye over two swan songs from 1930s divas, Marlene Dietrich’s JUST A GIGOLO and Mae West’s jaw-dropping SEXTETTE. Here.

Marilyn Ferdinand at Ferdy on Films looks at a film I only just realized exists, the 1934 version of THE SCARLET LETTER, which was Colleen Moore’s last feature. Here.

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MONDAY

Every Shadowplay blogathon must contain an intertitle. Here.

Over at Mostly Film, Paul Duane raises the tone with an entry on EMMANUELLE V, tragically Walerian Borowczyk’s last gig, but finds some bizarre merit. Here.

Tim Hayes looks at SPAWN not as a naff superhero flick but as a late Nicol Williamson film and gets fascinating results. Here.

We have a scintillating line-up of guest Shadowplayers this year, and the first among them is Judy Dean, who looks at James Mason’s last screen appearance in THE SHOOTING PARTY. Here.

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TUESDAY

Imogen Smith, a regular star writer at The Chiseler, revisits Anthony Mann’s last western, which is also a late Gary Cooper, and elegiac as hell. Here.

Regular Shadowplayer Simon Kane waxes mysterious about Tom Schiller’s first, last and only theatrical feature, aptly titled NOTHING LASTS FOREVER, also the cinematic swan song of Sam (“Professor Knickerbocker”) Jaffe. Here.

My own Tuesday piece takes a brief look at Peckinpah’s THE OSTERMAN WEEKEND, both version. And there’s a song! Here.

Gareth McFeely looks at the final feature of the late Georges Lautner, in a particularly timely tribute. Here.

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WEDNESDAY

Filmmaker Matthew Wilder looks at Billy Wilder’s unloved BUDDY BUDDY and, uniquely, finds something to admire. Here.

From Scout Tafoya, a typically ruminative and emotive valediction to Raul Ruiz. Here.

My post deals with a late Richard Lester, the largely ignored/forgotten FINDERS KEEPERS, which actually has some great slapstick. Here.

Louis Wolheim’s last movie, the 193o railroad melodrama DANGER LIGHTS, is examined by The Man on the Flying Trapeze. Here.

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THURSDAY

Nobody Knows Anybody, the Spanish cine-blog, considers the career of Alfredo Landa in the light of his final work. Yonder.

As part of the ’68 Comeback Special, I consider a late film by Albert Finney, made early in his career. Confused? Now you know how CHARLIE BUBBLES feels. Here.

Critica Retro assesses the charms of Louise Brooks’ oddball last picture. In Portuguese — try auto-translate, or try reading Portuguese! Aquí.

Two from Jeremy Rizzo, on Howard Hawks last, RIO LOBO, and Kubrick’s semi-posthumous puzzle box, EYES WIDE SHUT. Here and here.

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FRIDAY

Michael Pattison on what MAY be Tsai Ming-Liang’s final movie. Here.

A tip of the hat to THAT OBSCURE OBJECT OF DESIRE at No Man’s Land. Here.

Our own David Melville Wingrove illuminates the trailing end of Rex Ingram’s mighty career. Down here.

John Greco tackles the knotty problem of William Wyler’s last work, a film I love unreasonably. Here.

Stacia at She Blogged By Night weighs in on HER TWELVE MEN and Douglas Shearer, brother of the more celebrated Norma. Here.

And Tony Dayoub offers a close reading of three scenes in GIANT, the last film of James Dean. Here!

Daniel Riccuito, editor of The Chiseler, considers Jean Epstein’s last short, LIGHTS THAT NEVER FAIL aka LES FEUX DE LA MER. Here.

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SATURDAY

Dennis Cozzalio of the legendary Sergio Leone and the Infield Fly Rule joins the blogathon for the first time with a joint look at the final films of two old masters: Altman and Penn. Here!

Seijun Suzuki’s wild, pop-art penultimate pic inspires this Shadowplay gallery. Here.

Guest Shadowplayer Ted Haycraft reflects on one of the biggest, boldest and bloodiest final films, ONCE UPON A TIME IN AMERICA. Here.

Grand Old Movies tips the hat to Marie Dressler. Here.

Late Bresson via Philip Tatler IV at Diary of a Country Pickpocket. Here.

The Girl with the White Parasol covers Frank Borzage’s second-last film, CHINA DOLL. Here.

EXTRA TIME

Unable to recognize too much of a good thing, I keep going with John Frankenheimer’s last theatrical release, REINDEER GAMES. Here.

Chandler Swain revisits Losey’s STEAMING. Here.

Scout Tafoya’s second blogathon post details the last film to end them all, PP Pasolini’s positively final SALO. Here.

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