Posted by R. Emmet Sweeney on September 24, 2013
In 2009 The New Zealand Project was initiated, a collaboration between the New Zealand Film Archive, the National Film Preservation Foundation and private collectors to preserve and distribute American films housed in the NZFA’s vaults. They had stacks of American nitrate prints that had gone untouched for years, since the NZFA had focused their efforts on preserving their local film history. In 2010 nitrate experts Leslie Lewis and Brian Meacham were sent to investigate their holdings and assess which titles were most in need of help. What they discovered was astonishing, a cache of presumably “lost” films, including John Ford’s Upstream and the first three reels of The White Shadow, for which Alfred Hitchcock was the assistant director, editor, scenarist and art director. In total 176 films were shipped to the U.S. for preservation. Many of these rescued titles are streaming on the National Film Preservation Foundation website, and today the NFPF released a DVD with some highlights of this trove. “Lost and Found: American Treasures From the New Zealand Film Archive” includes the Ford and Hitchcock features, as well as a selection of shorts and newsreels that haven’t been seen since their original release over 90 years ago. TCM will air a selection of these titles on November 17th and 24th.
Posted by David Kalat on September 21, 2013
From September and on for the next several months, on Mondays and Tuesdays TCM is airing a sprawling and ambitious multipart documentary called The Story of Film. As you have may have sussed out by now, this is a somewhat controversial program–in large measure because of its rather jaundiced view of classical Hollywood genre filmmaking. For an audience that watches TCM regularly, and finds leisure time to visit a TCM-sponsored classic movie blog like this, Story of Film‘s stance isn’t likely to find many happy supporters.
That being said, there’s a lot about Hollywood genres that is worth revisiting, challenging, and interrogating. There is too much received wisdom that has calcified around certain subjects, creating preconceptions that get in the way of being able to engage with these films in a fresh and clear-eyed way. And so, seen from that perspective, creator Mark Cousins’ approach represents an opportunity to explode some unhelpful conventional wisdom…
When it comes to silent comedy, though, he blows past that opportunity, managing to be simultaneously vaguely hostile to Hollywood’s classic era while also being uncritical about what it meant. Here’s what he says about silent comedy in the book version of Story of Film: “Silent American cinema’s greatest genre, comedy, had changed course at the beginning of the sound era and the fates of its director-stars were varied.” Yup, there it is again–that old canard about silent comedy being distinct from talkie comedy, and superior–treating 1928 as some kind of Rubicon.
Posted by R. Emmet Sweeney on September 17, 2013
It’s hard to conceive of Howard Hawks without sound. His films are focused on work and its downtime, and it is in spurts of chatter in which his characters define themselves. As physical as their occupations may be, it’s always their words that reveal their true selves. Which is why watching Hawks’ silent films are so disorienting. The Museum of the Moving Image is in the midst of a full retrospective of Hawks’ work, and this past weekend they screened many of his silents, including A Girl in Every Port (1928), which manages to set up many of the director’s pet themes before the arrival of sound allowed his talents to fully emerge.
Posted by Susan Doll on September 16, 2013
Along with Battleship Potemkin and Citizen Kane, Dr. Caligari is a staple in many introductory film courses, including mine. I am not exaggerating when I say that I have seen this story of a madman who manipulates a sleepwalker into killing for him well over 100 times. I was sad to discover that it is slated for 2:15am EST, forcing those who want to catch it to set their DV-Rs or other time-shifting devices. Given its importance, it deserves to kick off the evening’s programming.
Posted by R. Emmet Sweeney on September 10, 2013
Earlier this month Turner Classic Movies began airing The Story of Film, a 15-chapter documentary by Mark Cousins tracking the history of the moving image from 1895 – 2000s. Running from now through December, TCM will also air 52 movies that Cousins mentions in his work. To coincide with The Story of Film Chapter 2: 1918 – 1928, tonight TCM will air everything from Nanook of the North (1922, 8PM) to King Vidor’s silent masterpiece The Crowd (1928, 2AM). While Nanook was recently issued on Blu-Ray, The Crowd is only available on out-of-print VHS, so this airing is a rare opportunity to see it in a decent edition. George Feltenstein, the Senior Vice President of Theatrical Catalog Marketing at WB, recently wrote that the home video future of The Crowd depends on the sales of Vidor’s The Big Parade, which comes out on October 1st. It was originally because of the The Big Parade’s massive success that Vidor was allowed to make the smaller, artier The Crowd, so maybe it will have the same effect on WB executives today. Like Murnau’s Sunrise (’27) or Paul Fejos’ Lonesome (’28), The Crowd depicts the trials of the everyday with expressionistic intensity, proving that the working man is as worthy of tragedy as royalty.
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 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 Susan Doll on January 28, 2013
Recently, I showed Edwin S. Porter’s The Great Train Robbery to my film history class. Porter was known to base his flickers and one-reelers on the newspaper headlines of the day. As I explained that Porter likely got the idea for the film from the exploits of Butch Cassidy and the Sundance Kid, the oft-quoted line from The Man Who Shot Liberty Valance drifted through my mind: “When the legend becomes fact, print the legend.” But, during the heyday of the Wild West, fact was completely lost in the interweaving of history and myth.
The Great Train Robbery was released in 1903. By that time, the Wild Bunch had disbanded and Butch and Sundance were lost in the wilds of Argentina. But, the gang’s 1899 robbery of a Union Pacific train was already legendary. Newspapers carried wood engravings based on photos of the railroad cars destroyed by dynamite, while papers circulated the first-person accounts of mail clerk Robert Lawson, who was inside one of the cars. In 1900, members of the gang robbed another Union Pacific train in Wyoming, blasting the safes with dynamite. At the end of 1901, gang member Kid Curry was arrested, though he escaped in 1903—all of which played out in the pages of the newspapers. The dynamite, hapless mail clerk, and train uncoupling depicted in The Great Train Robbery were inspired by the Wild Bunch’s exploits, which in turn were perpetuated through the film.
Posted by Susan Doll on December 3, 2012
As a follow-up to last week’s commentary on movie presidents, I intended to devote this week’s post to Abraham Lincoln, wrapping up with a discussion of the recent cinematic odes to the 16thpresident, Steven Spielberg’s Lincoln and Tim Bekmambetov’s Abraham Lincoln Vampire Hunter. However, after sifting through sources and tracking down interesting asides, I discovered that there is way too much on Mr. Lincoln to fit into one post. Being such a movie-president enthusiast, especially when it comes to Lincoln, I just couldn’t bear to omit some of my favorite tantalizing tidbits, surprising suppositions, and ornery opinions. My two-part series on movie presidents has expanded into three parts. This week, I offer the unusual, the obscure, and the forgotten; next week, I will revisit the familiar, the celebrated, and the (in)famous.
Posted by Susan Doll on August 13, 2012
As an unabashed fan of movie stars from all eras, I am enjoying TCM’s marvelous lineup for this year’s Summer Under the Stars. And, no screen actor could be more deserving of a day than Lillian Gish, who is spotlighted on Wednesday, August 15. Gish , whose screen career began with An Unseen Enemy in 1912 and ended with The Whales of August in 1987, helped develop the art of screen acting while under the guidance of D.W. Griffith. It is a testament to her talent that she acted steadily throughout the silent era, survived the coming of sound to become a character actress during the Golden Age, costarred in one the 1950s most revered films, The Night of the Hunter, and then continued to work after the upheavals of the Film School Generation. Her career ended in what is generally considered to be the early modern era—quite a run for someone known as the “First Lady of the Silent Screen.”
Three of the films scheduled for Wednesday—Intolerance, Broken Blossoms, and Orphans of the Storm—were directed by D.W. Griffith, who was Gish’s mentor, colleague, and close friend. During their years together, Gish learned a great deal about filmmaking, and in 1919, he urged her to try her hand at directing. Griffith had just purchased the huge Henry Flagler mansion in Mamaroneck, New York, and was in the process of converting it into a movie studio. He wanted to keep his stock company of faithful actors and crew members happily occupied while developing new talent. Gish opted to direct sister Dorothy in a lighthearted romance titled Remodeling Her Husband. Gish’s little comedy became the first feature shot at Mamaroneck, because Griffith was busy shooting The Idol Dancer and The Love Flower on location in Florida. In addition to directing, Gish was also put in charge of the final renovations for the studio.
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