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11 items from 2012
Ten silent super-stars facing the advent of 'talkies'
7 March 2012 7:02 AM, PST | Shadowlocked | See recent Shadowlocked news »
The great movie pioneer D.W. Griffiths once said “we do not want now and we shall never want the human voice with our films.” Shame he failed to realise that film-making is a technical medium that will always develop. In the last 100 years we have had the introduction of colour, trick photography, 3D and CGI, among other numerous innovations such as CinemaScope - and even Smellovision. But none of these compare to the most revolutionary of cinematic changes: sound.
The silent era of the twenties holds little more than curiosity-value for many modern film fans. Other than a few notable exceptions such as Nosferatu (1922) and The Phantom of the Opera (1925), it’s become a long-forgotten part of cinema history. But back then we had the Brad Pitts and Angelina Jolies of their day! Big stars and talented actors who sadly failed to survive the test of time.
The coming of sound was controversial, »
Honorary Oscars: Women Bypassed
17 February 2012 3:58 PM, PST | Alt Film Guide | See recent Alt Film Guide news »
Mary Pickford At the 1936 Academy Awards ceremony, D.W. Griffith, by then a veteran with more than 500 shorts and features to his credit, became the first individual to win the equivalent of an Honorary Award for his body of work. Seventy-six years and 86 (my count*) body-of-work Oscar winners later — including last year's James Earl Jones and Dick Smith — a mere nine women have been recognized for their cinematic oeuvre and/or for their pioneering film work. The chosen nine — eight of them actresses, including one actress-producer — are: Greta Garbo (at the 1955 ceremony), Lillian Gish (1971), actress-producer Mary Pickford (1976), editor Margaret Booth (1978), Barbara Stanwyck (1982), Myrna Loy (1991), Sophia Loren (1991), Deborah Kerr (1994), and Lauren Bacall (2009). Considering the amount of female talent that has gone un-honored these past seven and a half decades (see Doris Day, Danielle Darrieux, Joan Fontaine, Barbra Streisand: Honorary Oscars and Women), I find it impossible not to believe that the »
- Andre Soares
365 Days, 100 Films #94 - The Night of the Hunter (1955)
30 January 2012 12:17 PM, PST | Flickeringmyth | See recent Flickeringmyth news »
The Night of the Hunter, 1955.
Directed by Charles Laughton.
Starring Robert Mitchum, Shelley Winters, Lillian Gish, Billy Chapin and Sally Jane Bruce.
Synopsis:
Two children are chased down the river in West Virginia by a man who claims to be a Preacher.
“Beware of false prophets. They will come to you in sheep’s clothing,” Mrs Cooper (Lillian Gish, the muse of D.W. Griffith) warns the camera in the film’s prologue, her head superimposed upon a starry night sky. Mrs Cooper doesn’t return until the final third of the film, but her guiding presence is felt throughout.
She is presented as a guardian angel of children, a fairy godmother - a protector against the fake Preacher, Harry Powell (Robert Mitchum). Establishing shots often swoop aerially from the sky, as though Mrs Cooper’s watches from above, while Powell hunts the children through the night like a big, bad wolf. »
- flickeringmyth
The Whales Of August Review: d: Lindsay Anderson Powerful and Compelling Drama
27 January 2012 12:28 PM, PST | Alt Film Guide | See recent Alt Film Guide news »
Lillian Gish, Bette Davis in Lindsay Anderson's The Whales of August The Whales Of August Review Pt.1 Libby is also possessive of her sister, resenting the relationship between Sarah and Mr. Maranov. When Sarah invites the man to dinner, Libby scowls, "I will not eat his fish!" More cutting dialogue continues over dinner, during which Libby is rude to the point of insulting their guest. When the subject turns to the past, Libby emphatically insists, "Photographs fade. Memories live forever." Mr. Maranov, however, notes, "Alas, Mrs Strong. Memories can fade too." Libby snaps, "That has not been my experience!" The "whales" in the title refer to the women's lost youth. Sarah and Tisha are anxious to see them one more time, but blind Libby seems not to care. Anticipating her own death, she is unable to understand why her sister continues to relish life. Once again, the contrast between »
- Danny Fortune
The Whales Of August Review: Lillian Gish, Bette Davis, Vincent Price, Ann Sothern
27 January 2012 12:26 PM, PST | Alt Film Guide | See recent Alt Film Guide news »
The Whales Of August (1987) Direction: Lindsay Anderson Cast: Lillian Gish, Bette Davis, Vincent Price, Ann Sothern, Harry Carey Jr, Mary Steenburgen, Frank Grimes, Margaret Ladd, Tisha Sterling Screenplay: David Berry; from his own play Oscar Movies, Highly Recommended Bette Davis, Vincent Price, Lillian Gish, Ann Sothern, The Whales of August According to my math, the careers of the three leading ladies — Lillian Gish, Bette Davis, and Ann Sothern — in Lindsay Anderson's The Whales of August total 191 years. And that is without taking into consideration their co-stars, among them Vincent Price and Harry Carey Jr. That's an awful lot of acting experience for one film. The Whales of August begins with the leisurely, early morning routines of two sisters living together in a small cottage on the coast of Maine in late summer. Sarah Webber (Lillian Gish) greets the day by working in the garden, dusting the house, and fixing breakfast for her blind sister, »
- Danny Fortune
365 Days, 100 Films #92 - The Unforgiven (1960)
25 January 2012 11:42 AM, PST | Flickeringmyth | See recent Flickeringmyth news »
The Unforgiven, 1960.
Directed by John Huston.
Starring Burt Lancaster, Audrey Hepburn, Audie Murphy, Doug McClure, John Saxon, Charles Bickford and Lillian Gish.
Synopsis:
A strange old man and a local tribe of Indians start to bother the Zacharys. They claim the Zacharys have something of theirs – a baby girl snatched from them many years ago.
The grave of William Zachary sits in the family’s front yard – a small mound of soil with a modest, wooden cross at its top. At first it appears as a sign of pride, the family’s tribute to their father, a man slain by an Indian arrow. However, as their history unravels before the townsfolk and assorted cowboys, the cross becomes a constant reminder of the mess with which he left them, and the lurking presence of death.
It isn’t the only reminder of death. An old man (Joseph Wiseman) with a sabre »
- flickeringmyth
The ‘Blue Velvet’ Project, #70
24 January 2012 8:29 AM, PST | Filmmaker Magazine - Blog | See recent Filmmaker Magazine news »
Second #3290, 54:50
Sandy’s reaction, as she listens to Jeffrey’s theory about the significance of the severed ear. “I think she [Dorothy] wants to die,” he says. “I think Frank cut the ear I found off her husband as a warning to stay alive.” That’s a key sentence, almost lost in the film’s narrative momentum. The severed ear isn’t intended simply to secure a ransom, as might be expected, but rather as a message to Dorothy not to die. As the object of Frank’s furious desire, Dorothy is just another one of his addictions, his fascinations. Sandy’s face, softly lit and framed by the murky glow of the church’s stained glass windows, registers shock not so much at the content of what Jeffrey is telling her, but at how swiftly and deeply he cares about a woman he barely knows. Like a silent film actress, »
- Nicholas Rombes
The Forgotten: The One-Man Band
19 January 2012 5:59 AM, PST | MUBI | See recent MUBI news »
Ménilmontant (1926) was written, directed, produced, edited and co-photographed in Paris by Dimitri Kirsanoff. And it is, on any terms, a remarkable piece of writing, direction, production, editing and cinematography.
I'm not sure why Marcel L'Herbier and Jean Epstein seem to be regarded as almost marginal figures in cinema, important, but somehow off the beaten path. I think they're as major as you can get. But Kirsanoff is even more neglected: he barely has a toehold in film history at all. And he seems to me to be in their league, though as yet I've seen only a little of his work. I'd even say that for Ménilmontant alone he should be in the highest ranks of French silent filmmakers. His career includes short, experimental films, as well as low-life melodramas and a German mountain film with Dita Parlo. His last film dates from 1957, the year of his death.
Ménilmontant falls »
The history of MGM: the silent era
10 January 2012 3:25 AM, PST | Den of Geek | See recent Den of Geek news »
In the first part of a new series, Zoe takes a look back at the history of MGM, one of Hollywood’s oldest and most notable studios...
Studios have come and gone since the birth of cinema, and the film business is an unpredictable one, as the history of Metro-Goldwyn-Mayer reveals. Founded in 1924, its name conjures up images of lavish musicals, sweeping historical epics, glamorous stars and its mascot, Leo the lion.
It’s fair to say that MGM is one of the most famous and influential studios in Hollywood, and certainly one of the most iconic studios to come out of American film industry. But where did it all begin?
The story begins in the early 1920s. Vaudeville, previously one of the most popular forms of entertainment, is beginning to dwindle, as movies capture the public’s imagination. Enter Marcus Loew, a theatre chain owner. What Loew wanted was »
Frederica Sagor Maas, 1900 - 2012
8 January 2012 1:49 PM, PST | MUBI | See recent MUBI news »
"Frederica Sagor Maas, a pioneering female screenwriter who scored her first big success with The Plastic Age, a smash hit for 'It Girl' Clara Bow in 1925, died Jan 5." She was 111. Mike Barnes in the Hollywood Reporter: "Because she was a woman, Maas was typically assigned work on flapper comedies and light dramas. Her efforts includes such other Bow films as Dance Madness (1926), Hula (1927) and Red Hair (1928); two films featuring Norma Shearer, His Secretary (1925) and The Waning Sex (1926); the Greta Garbo drama Flesh and the Devil (1926); and the Louise Brooks film Rolled Stockings (1927)…. In 1927, she married Ernest Maas, a producer at Fox, and they wrote as a team but struggled to sell scripts…. The pair, interrogated by the FBI for allegedly Communist activities, were out of the business by the early 1950s. Ernest Mass died in 1986 at age 94. In 1999, at the urging of film historian Kevin Brownlow, Maas published her autobiography, »
Frederica Sagor Pt.2: Women Screenwriters in 1920s Hollywood
6 January 2012 7:03 PM, PST | Alt Film Guide | See recent Alt Film Guide news »
Screenwriter Frederica Sagor Dead at 111: Wrote Movies for Norma Shearer (photo), Clara Bow, Louise Brooks Now, whether Frederica Sagor's Hollywood Babylon-like tales bear any resemblance to what actually happened at studio parties and private soirees, I can't tell. But on the professional side, one problem with the information found in The Shocking Miss Pilgrim is that studios invariably used numerous writers, whether male or female, in their projects. Usually, in those pre-Writers Guild days, only two or three contributors received final credit, not because of the uncredited writer's gender but in large part because the final product oftentimes had little — if anything — in common with the original source. While doing research for my Ramon Novarro biography, I went through various drafts, written by various hands, of his movies. A Certain Young Man, for instance, went through so many changes (including director, cast, and title), that the final film »
- Andre Soares
2012 | 2011 | 2010 | 2009 | 2008 | 2007 | 2003 | 2001
11 items from 2012
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