Posted by R. Emmet Sweeney on July 2, 2013
The 400 or so films that Allan Dwan directed are playgrounds for their actors, sandboxes of freewheeling experiment. Trained as an electrical engineer, Dwan was a technical innovator, but his flourishes were always in service to the specific talents of his performers. In his self-effacing style, elaborate tracking and dolly shots never call attention to themselves, but only to the characters on-screen. Whether its suave Franchot Tone swinging off a saloon chandelier in Trail of the Vigilantes (1940) or glamour queen Gloria Swanson fighting through a packed subway car in Manhandled (1924), Dwan found hidden reserves of athleticism and wit in his stars. They would need it to motor through the scenarios of borders, doublings and makeshift families that Dwan was assigned, which he treated as complex logic problems that are always solved, from institutional separation (political or geographic) into personal bonds (lovers, friends). He oils these Hollywood mechanics through his attention to character detail and penchant for parody, able to pack pathos and the madcap into his unstable, gleefully entertaining concoctions.
Dwan has never had the name recognition of some of his classical Hollywood contemporaries, and aside from Peter Bogdanovich’s essential interview book The Last Pioneer (1971), has had precious little written about his inexhaustible career. Some of this has to do print scarcity, as much of his silent one-reelers are lost, and his Republic Pictures films might as well have been due to rights limbo. That has all changed this year, with two major retrospectives (at MoMA in NYC and Il Cinema Ritrovato in Bologna), and a flood of writing, from Frederic Lombardi’s critical biography Allan Dwan and the Rise and Decline of the Hollywood Studios to the massive (free) dossier published by Gina Telaroli and David Phelps, a labor of love with contributors from around the world (including yours truly). After viewing twenty-some of his films over the past month, I’m about to add more to the pile.
Posted by David Kalat on June 29, 2013
I used to say that Slapsticon was the most wonderful time of the year—but then last year it didn’t happen at all.
It’s like Christmas was canceled. So its return this year is doubly sweet—it’s the most wonderful time of two years!
For the uninitiated, Slapsticon is a putatively-annual four-day classic film convention dedicated to slapstick (mostly silent) comedy. But that doesn’t properly describe it—it’s unlike any other classic film fest I’ve ever encountered. For one thing, it’s all movies. Other fests are mostly dealers’ rooms with an ancillary screening room attached. Slapsticon allows its luminaries to hawk their own books and DVDs, but 99% of the thing is a bunch of film geeks packed into a screening room.
Posted by Susan Doll on May 27, 2013
In Part 2 of my excursion into Hollywood Forever Cemetery in search of the myth and romanticism of Old Hollywood, I focus on the great stars whose final resting places are indicative of their larger-than-life status. If Old Hollywood is a combination of glamor, marvel, illusion, and a touch of scandal, then the stars did not disappoint me.
Established in 1899 as the Hollywood Memorial Park, the cemetery itself is a story of glamor and scandal. The glamor is obviously represented by the stars interred there; the scandal is in the form of a character named Jules Roth, a convicted felon who purchased the cemetery in 1939. Roth lived a life in luxury, while the cemetery fell into disrepair, because he was using the profits from Hollywood Memorial to support his lifestyle. By 1997, Roth was bankrupt, and the deteriorating cemetery was looking decrepit. The old con man died in 1998, and the following year, the cemetery was purchased by Tyler and Brent Cassity, whose Missouri-based family had been in the funerary business for 25 years. Tyler Cassity had a new vision for the cemetery, capitalizing on its history and glamor. The Cassitys renamed it Hollywood Forever and spent millions refurbishing it to its former glory—perhaps even surpassing it. While I was visiting the cemetery, I spoke with a Hollywood native and movie lover who visits regularly. He had nothing but praise for the new owner for bringing this landmark. . . well, back from the dead.
Posted by David Kalat on May 25, 2013
This past week TCM debuted a package of rare Harold Lloyd films from 1917-1919, including one especially eye-opening treat, The Marathon. Of all the thrilling discoveries shown that night, this was the one that quickened my pulse the most.
For those who missed it, let me show you a clip to set the stage for the discussion that follows:
Yup, it’s the mirror gag, made famous by the Marx Brothers in Leo McCarey’s Duck Soup:
Posted by David Kalat on May 18, 2013
This week TCM debuts some super-rare Harold Lloyd shorts from the early years of his career. I cannot overstate the significance of this find.
I was asked by TCM to write some material for the web site to introduce Harold Lloyd in general and some of these shorts in particular, but the specific remit of that assignment was kind of limiting, so I have a lot else to say about these films that didn’t fit into the website content. But hey—I have a blog!
Posted by David Kalat on May 11, 2013
Later this month, TCM is unveiling a package of Harold Lloyd films, which will include debut screenings of some rarities from the early end of his career. I was asked to contribute some material to the website to help promote and document this Lloyd festival, and in the course of fulfilling that assignment I found myself writing a lot of material that just didn’t fit the specific needs of TCM’s website, so I’ll be letting the excess Lloyd stuff spill over here to Movie Morlocks over the next several weeks.
This week concerns Safety Last, which will be screening on May 23 and is coming out imminently as a deluxe Criterion Collection Blu Ray. It is of course the film from that image comes, the most famous icon of all silent comedy:
And, as it happens, there’s a story behind that image.
Posted by David Kalat on February 9, 2013
While we’re on the topic of great animators, it’s well past time I got around to saying a few words about Winsor McCay.
He’s rightly hailed as one of the early pioneers of animated cartoons. You can’t call him the creator of cartoons–not only did others get there a little before he did, but really, every single movie ever made is animation. Real life proceeds seamlessly, continuously, while movies sample intermittent fragments. Live action takes samples at the same rate at which the resulting sequence of stills is going to replayed–the interstitial moments can be safely ignored. But anytime you extend that interstitial gap, and replay the footage at a different rate than that at which it was taken, you are invoking the principle of animation. This is the gimmick that underlies Melies’ trickery as much as it is the way that drawings can come to life.
But that didn’t stop McCay from staking out a claim for himself as the first cartoonist in his 1911 movie debut, Winsor McCay the Famous Cartoonist of the NY Herald and His Moving Comics.
Posted by R. Emmet Sweeney on November 20, 2012
The 2012 holiday season is also Alfred Hitchcock season, as studios have been looking for various ways to earn your master of suspense dollar. Universal released a brick of new Blu-Rays, HBO aired The Girl, a drama about the Hitch-Tippi Hedren relationship, and Hitchcock, the dubious-looking fiction about the production of Psycho, opens in a limited theatrical release this Friday. The most exciting Hitch development won’t cost you a thing, however, as the three extant reels of The White Shadow (1924) are now free to stream on the National Film Preservation Foundation website. Part of the cache of rarities discovered in the New Zealand Film Archives in 2010, along with John Ford’s Upstream, The White Shadow is the earliest surviving film that Hitchcock worked on. He was assistant director, editor, scenarist and art director, the second of five films on which he was the jack of all trades for director Graham Cutts. The White Shadow was a critical and box office failure, even leading to the dissolution of its production company, but what remains is an essential document of Hitchcock’s artistic maturation, containing themes of doubling and mistaken identity that would re-emerge and deepen throughout his career. Along with The National Film Preservation Foundation, great thanks are also due to David Sterritt for his informative film notes and Marilyn Ferdinand, Farran Smith Nehme and Roderick Heath, whose For The Love Of Film Blogathon funded the recording of the fine score by Michael Mortilla.
Posted by David Kalat on September 15, 2012
Charley Chase was one of the funniest, most widely talented, most important, and most influential comedians of the early 20th century. I’m not even going to bother to argue that statement, it is simply a fact—the way that 2+2=4 is a fact. However, Charely Chase did his work in shorts, not features. With one exception, he did not star in a feature-length comedy, despite a career in movies that spanned over a quarter century. The film critical establishment has historically held a pronounced bias in favor of features, which has meant that by definition Charley Chase’s extraordinary accomplishments and legacy are seen as secondary in stature.
Posted by David Kalat on September 1, 2012
Alone among the great silent comics, Harold Lloyd stood at the exact intersection of slapstick and screwball, at the intersection of physical comedy and dialogue. Harold Lloyd, you see, made a film with Preston Sturges. It was neither man’s greatest hour, but the mere fact of its existence is breathtaking. It’s like finding Ernst Lubitsch directing Charlie Chaplin, or Blake Edwards directing Laurel and Hardy.
Let’s take stock of this for a minute: we have one of the greatest physical comedians of the entire silent era—a man whose work bequeathed to posterity one of the most enduring icons of what silent comedy was all about—yet who is also preternaturally comfortable with the world of talkies. He is paired with a visionary of the new dialogue school of comedy—yet one who has an enduring appreciation of the values of silent comedy. They are going to collaborate as equals on a film that will be made without studio interference. If there is ever going to be a moment when the old guard of silent comedians are going to function uncompromised in this new world of screwball, then there could be no better opportunity than this.
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