Cinecon 40 Review
ChaneyFan
Cinecon celebrated its 40th anniversary with another great collection of films.
I thought the film program was particularly strong this year, despite several
throw-away 50s films, and for the first time in memory, everything ran
essentially on time. Specific comments follow below with ratings from *
(worst) to **** (best). Everything was shown in 35mm except where indicated.
THE INTRUDER (1961, Film Group-Pathe America) I don't know what is more weird:
the fact that Cinecon ran a 1961 movie with William Shatner, or the fact that I
sat through it. Overall, quite a good film about an agitator (Shatner)
arriving in a Southern town to stir-up trouble over court-ordered integration
of schools. Certainly hard-hitting with brilliant direction by Roger Corman
(who also told great stories about it in the Q&A afterwards), but Shatner was
as hammy an actor in ‘61 as he is today. ***
AFTER MIDNIGHT (1927, MGM) I had seen this Monta Bell/Norma Shearer effort many
years ago and didn't care for it, but wanted to give it another chance. Alas,
it only fares slightly better, and pales next to LADY OF THE NIGHT or MAN,
WOMAN AND SIN. Norma is a good girl, but naughty sister Gwen Lee keeps
spending her hard-earned cash on new dresses. Lawrence Gray is the bad boy
gone straight that Norma falls for. Disappointing for Bell. (Jon Mirsalis on
piano) **½
SHARP SHOOTERS (1928, Fox) Yet another sailor on leave picture (I think this is
a recurring Cinecon theme) with George O'Brien, Noah Young, and Tom Dugan
dropping anchor in a port where O'Brien meets pretty and very naive Lois Moran,
who follows George to NYC, much to his chagrin. The interesting twist in this
is a very young William Demarest playing the heavy! Certainly entertaining,
though the nitrate print seemed to be assembled from several different (and
inferior) prints. ***
ROBIN HOOD (1922, Fairbanks) I was the one who pushed this and a big screen
presentation with live score is what this film desperately needs. I'm in the
minority in thinking that the first half is better than the second half, but
it's certainly an epic picture with eye-popping sets. (Jon Mirsalis on digital
keyboard) ***½
GIRL WITHOUT A ROOM (1933, Paramount) I had seen this in 16mm years ago, but a
35mm nitrate print enticed me to watch this again. Dumb cluck Charles Farrell
heads to Paris on an art scholarship where he falls in with a perpetually broke
artists colony and falls for the title character, Marguerite Churchill, who
likes him largely for his wallet. The obscene wrestling sequence between
Charlie Ruggles and Grace Bradley, as well as the painted body dance by
Joyzelle Joyner must have driven the 1933 censors nuts. Very pre-Code; a
little gem. ***
THE CAPTIVE (1915, Lasky) It was nice to get to see this early DeMille silent
with Blanche Sweet and House Peters. Very similar to BARBED WIRE, with Peters
a POW sent to work on Sweet's farm. A bit creaky, but a nice film and a lovely
print hand-tinted by LOC's Jim Cozart. (Phil Carli on piano) ***
THAT CERTAIN THING (1928, Columbia) Frank Capra's earliest surviving feature is
something that has been around for years, but the "new 35mm print" was simply a
poor blowup from 16mm that didn't look at all good. The film itself is a
delightful poor girl-rich boy comedy with Viola Dana and Ralph Graves going
into the box lunch business. Even in this crummy print it was a real charmer.
(Jon Mirsalis on piano) ***
SHE LOVES ME NOT (1934, Paramount) Miriam Hopkins flees after witnessing a
murder, and ends up at Princeton University in the dorm room of Bing Crosby.
Too complicated and frenetic to rationally explain, but this was one of the
highlights of the weekend for me. Kitty Carlisle was a knock-out as Bing's
aspiring girlfriend, and the nitrate print was radiant. ***½
SAN ANTONIO ROSE (1941, Universal) Jane Frazee and Eve Arden are broke singers
who land at a roadhouse just as gangsters (Shemp Howard and Lon Chaney Jr) have
scared off the original owner. With the help of The Merry Macs they reopen
with songs, dances, and utter mayhem. Too silly to be good, with one bad song
after another (I truly hate 40s music), but it was so quick, the print was so
gorgeous, and Frazee was so beautiful, it was impossible not to like this one.
***
K THE UNKNOWN (1924, Universal) This was on my "Lost Films" list so I was
astounded to hear that UCLA had turned up a Dutch print, and their restoration
job is stunning. A small town melodrama about a woman (Virginia Valli) and the
four men in her life: two young local suitors, a wealthy doctor, and a
mysterious boarder who seems to have a past he can't discuss. Silly to be
sure, but quite fun. And what *is* that "Edwards Operation" the surgeons kept
doing?? (Phil Carli on piano) ***
THE LETTER (1929, Paramount) This has been on my Want to See list for over 25
years, so this rare Jeanne Eagles version of the Somerset Maugham play was a
highlight for me. Having said that, the film is definitely creaky, and this
appeared to be a work print with no music or effects added. You can see how
Eagles probably lit up the Broadway stage, but she's a little too shrill for
this film version. Still a most interesting early talkie. **½
THE CAT AND THE CANARY (1927, Universal) This would be another ho-hum rerun
except that this was a stunning new 35mm print courtesy of Patrick Stanbury and
Kevin Brownlow. Pieced together from several sources, this has a few short
pieces of mediocre footage, but it is 98% drop-dead gorgeous and makes it a
completely different picture than what we have all seen. Neil Brand's new
score for orchestra and Theramin was also superb. ***½
TRANSATLANTIC (1931, Fox) This is another title I had seen before; I was going
to watch the first 5 min then got hooked and sat through it all again. Sort-of
a GRAND HOTEL at sea, with an all star cast (Edmund Lowe, Greta Nissen, Myrna
Loy, Jean Hersholt, Lois Moran, etc.) on an Atlantic crossing where everyone
seems to be interconnected in some way. Nissen is terrific as John Halliday's
Swedish mistress, and Loy is equally good as the (stupidly) loyal wife of the
cheating scumbag. ***
THE CARDBOARD LOVER (1928, MGM) A charming Marion Davies comedy, not quite on
par with THE PATSY or SHOW PEOPLE, but pretty darn close. Marion is an
autograph collector who fixes on tennis pro Nils Asther who hires her to help
him break free of parasitic lover Jetta Goudal. One scene with the camera
focused solely on the actors legs is brilliant. Quite a treat. (Jon Mirsalis
on piano) ***
RICHARD ROBERTS' COMEDY CAVALCADE #6 was a collection of the usually tasteless
and funny shorts we are used to seeing from this collector of high art. CHICKEN
FEATHERS (1927; ***), a Christie with Jack Duffy, was the best, with a
hysterical search for a pillow full of cash, and a very funny
starch-and-feathers sequence. SOLD AT AUCTION (1923; ***) was a funny Snub
Pollard, HAM AND THE SAUSAGE FACTORY (1915; **½) was a tasteless but funny Ham
and Bud about dog foie gras, and JONAH JONES (1925; **½) was a later Lloyd
Hamilton to get the taste out of our mouths. BRIDGE WIVES (1931; **) was a Wm
Goodrich (aka/Roscoe Arbuckle) directed talkie with Al St. John and was way too
over the top to actually be enjoyable as St. John is perpetually berserk for 2
reels. Finally, two very funny Ernie Kovaks trailers were thrown into the mix.
Only gripe...after a weekend of 35mm nitrates, these 16mm dupes really didn't
look good at all. (16mm; Phil Carli on piano)
THE HOODLUM (1919, Pickford) had spoiled rich girl Mary Pickford moving in with
her father in a slum and she gets a new perspective on life. Not a great
classic, but a very pleasant little drama with Mary as charming as ever. (Jon
Mirsalis on piano) **½
NICE WOMEN (1931, Universal) was a lovely way for me to end Cinecon (I left at
noon). A mature, Pre-Code drama, with Frances Dee reluctantly agreeing to
marry wealthy Alan Mowbray solely to benefit her family. Sidney Fox is
terrific as Frances' know-it-all younger sister and Carmel Myers is sensational
as Mowbray's over-the-hill mistress. (And I *loved* that see-it-all-
showing-through dress Myers wore in the final scene.) ***
Many misc. shorts were run throughout the program as well. IT'S THE CAT (2004;
***) was the most recent film run...a 3-min cartoon done in the style of a
classic Hollywood cartoon of the 30s and it was quite entertaining. LIBERTY
(Universal, 1916; Phil Carli piano; ***) was a fragment of an early serial and
YOUNG DEER'S BRAVERY (Bison, 1909; Phil Carli piano; **½) was a nearly
complete drama of an Indian-white woman romance. We were treated to Chapter 3
of the spine-tingling serial, THE IRON CLAW (1941; **½), which we will
hopefully be done with in only 12 more years. SCRAPPY'S TELEVISION (1934; ***)
was a fun b/w Scrappy cartoon about primitive television broadcasts. THE
HOLLYWOOD YOU NEVER SEE (1934; ***) was another of those ridiculous Cecil B.
DeMille promos about how realistic a film CLEOPATRA is. Very silly, but quite
fun. WAR MAMAS (1931; ***) was a very funny Thelma Todd-Zasu Pitts comedy
about the girls going behind the lines in WWI. The strip poker sequence was
the funniest bit, though I must register my disappointment that Thelma Todd
didn't once appear in her underwear. NERVOUS SHAKEDOWN (1947; ***) had Hugh
Herbert going to a sanitarium for his nerves, only to discover it taken over by
escaping cons. The usual scare- him-out-of-the-house antics ensue. WHEN DO WE
EAT (1934; **½) was an odd comedy with Lou Holtz deciding to open a nudist
restaurant. Alas, there was little to see here. A BURGLAR TO THE RESCUE
(1931; ***) is the earliest surviving appearance of any kind (movie or radio)
for The Shadow; a slick little crime drama all packed into 20 min. RUNT PAGE
(1932; **) was a lame version of THE FRONT PAGE, but done with little kids with
adult voice-overs; notable only as the first screen appearance of Shirley
Temple, and even a topless Shirley doesn't help this turkey. ONE A.M. (1916;
***) has always been one of my least favorite Chaplin Mutuals (people who are
falling down drunk are generally pathetic rather than funny), but this extended
version with new footage certainly improves the continuity.
Overall, really a fine weekend. Several real surprise treats (SHE LOVES ME
NOT, THE CARDBOARD LOVER), lovely repeat classics (ROBIN HOOD, CAT & CANARY),
new discoveries (K THE UNKNOWN, THE CAPTIVE), and all that lovely nitrate!
Kudos to Bob, Mike, Stan, and everyone else was worked so hard to pull this
weekend off.
===============================
Jon Mirsalis
e-mail: Chan...@aol.com
Lon Chaney Home Page: http://members.aol.com/ChaneyFan
Jon's Film Sites: http://members.aol.com/ChaneyFan/jonfilm.htm
Loungeophonic
favorite film shown this year (After Midnight and Cardboard Lover are
2 and 3). A story which is strangely fresh and contemporary about a
gubernatorial candidate by the name of Hicks (Guy Kibbee) who is a man
of the people, but doesn’t have the intelligence for the job, as the
great Warren William (who makes Richard Nixon look like a saint) pulls
every dirty trick in the world to get this boob elected. With it’s
cracker-jack dialog and fantastic cast, THE DARK HORSE is a must-see.
4 Stars!!!!
THE LETTER, in my view, the most over hyped film on the program. Yes,
I know it's rare and I'm happy to see it after all of these years, but
it wasn't very good. Many found it mesmerizing, I found it to be a
bore....and don’t get me started about the whole mongoose and cobra
scene either! UGH! Jeanne Eagles performance was uninspired and far
from “powerful†---more like pedestrian. Now, if you judge her
performance by the last four minutes of the film (which I feel
everyone has), she was marvelous, shocking and dynamic...it’s her
other 61 minutes which I have a problem with. Judge for yourself--this
version of THE LETTER will be paired with the far superior Bette Davis
remake in an upcoming DVD release. The first 61 minutes: 1 star. The
last 4 minutes: 4-stars......then again, I loved SAN ANTONIO ROSE and
want to publicly thank Stan Taffel for getting this GREAT title on
the program!
Cinecon had a fantastic line-up of features, which I got to see 14.
Hats off to the staff and volunteers for putting the show together!
Just one gripe---next year, could we get the projectionist to focus
the films a hair better? Almost every title was soft in the center of
the screen---even the newer prints had the same problem from the
balcony.
Jayson
chan...@aol.com (ChaneyFan) wrote in message news:<20040907024427...@mb-m03.aol.com>...
> ON'S CINECON 40 REVIEW
>
> Cinecon celebrated its 40th anniversary with another great collection of films.
> I thought the film program was particularly strong this year, despite several
> throw-away 50s films, and for the first time in memory, everything ran
> essentially on time. Specific comments follow below with ratings from *
> (worst) to **** (best). Everything was shown in 35mm except where indicated.
>
> THE INTRUDER (1961, Film Group-Pathe America) I don't know what is more weird:
> the fact that Cinecon ran a 1961 movie with William Shatner, or the fact that I
> sat through it. Overall, quite a good film about an agitator (Shatner)
> arriving in a Southern town to stir-up trouble over court-ordered integration
> of schools. Certainly hard-hitting with brilliant direction by Roger Corman
> (who also told great stories about it in the Q&A afterwards), but Shatner was
> as hammy an actor in ‘61 as he is today. ***
>
> AFTER MIDNIGHT (1927, MGM) I had seen this Monta Bell/Norma Shearer effort many
> years ago and didn't care for it, but wanted to give it another chance. Alas,
> it only fares slightly better, and pales next to LADY OF THE NIGHT or MAN,
> WOMAN AND SIN. Norma is a good girl, but naughty sister Gwen Lee keeps
> spending her hard-earned cash on new dresses. Lawrence Gray is the bad boy
> gone straight that Norma falls for. Disappointing for Bell. (Jon Mirsalis on
> piano) **1â „2
>
> SHARP SHOOTERS (1928, Fox) Yet another sailor on leave picture (I think this is
> a recurring Cinecon theme) with George O'Brien, Noah Young, and Tom Dugan
> dropping anchor in a port where O'Brien meets pretty and very naive Lois Moran,
> who follows George to NYC, much to his chagrin. The interesting twist in this
> is a very young William Demarest playing the heavy! Certainly entertaining,
> though the nitrate print seemed to be assembled from several different (and
> inferior) prints. ***
>
> ROBIN HOOD (1922, Fairbanks) I was the one who pushed this and a big screen
> presentation with live score is what this film desperately needs. I'm in the
> minority in thinking that the first half is better than the second half, but
> it's certainly an epic picture with eye-popping sets. (Jon Mirsalis on digital
> keyboard) ***1â „2
>
> GIRL WITHOUT A ROOM (1933, Paramount) I had seen this in 16mm years ago, but a
> 35mm nitrate print enticed me to watch this again. Dumb cluck Charles Farrell
> heads to Paris on an art scholarship where he falls in with a perpetually broke
> artists colony and falls for the title character, Marguerite Churchill, who
> likes him largely for his wallet. The obscene wrestling sequence between
> Charlie Ruggles and Grace Bradley, as well as the painted body dance by
> Joyzelle Joyner must have driven the 1933 censors nuts. Very pre-Code; a
> little gem. ***
>
> THE CAPTIVE (1915, Lasky) It was nice to get to see this early DeMille silent
> with Blanche Sweet and House Peters. Very similar to BARBED WIRE, with Peters
> a POW sent to work on Sweet's farm. A bit creaky, but a nice film and a lovely
> print hand-tinted by LOC's Jim Cozart. (Phil Carli on piano) ***
>
> THAT CERTAIN THING (1928, Columbia) Frank Capra's earliest surviving feature is
> something that has been around for years, but the "new 35mm print" was simply a
> poor blowup from 16mm that didn't look at all good. The film itself is a
> delightful poor girl-rich boy comedy with Viola Dana and Ralph Graves going
> into the box lunch business. Even in this crummy print it was a real charmer.
> (Jon Mirsalis on piano) ***
>
> SHE LOVES ME NOT (1934, Paramount) Miriam Hopkins flees after witnessing a
> murder, and ends up at Princeton University in the dorm room of Bing Crosby.
> Too complicated and frenetic to rationally explain, but this was one of the
> highlights of the weekend for me. Kitty Carlisle was a knock-out as Bing's
> aspiring girlfriend, and the nitrate print was radiant. ***1â „2
>
> SAN ANTONIO ROSE (1941, Universal) Jane Frazee and Eve Arden are broke singers
> who land at a roadhouse just as gangsters (Shemp Howard and Lon Chaney Jr) have
> scared off the original owner. With the help of The Merry Macs they reopen
> with songs, dances, and utter mayhem. Too silly to be good, with one bad song
> after another (I truly hate 40s music), but it was so quick, the print was so
> gorgeous, and Frazee was so beautiful, it was impossible not to like this one.
> ***
>
> K THE UNKNOWN (1924, Universal) This was on my "Lost Films" list so I was
> astounded to hear that UCLA had turned up a Dutch print, and their restoration
> job is stunning. A small town melodrama about a woman (Virginia Valli) and the
> four men in her life: two young local suitors, a wealthy doctor, and a
> mysterious boarder who seems to have a past he can't discuss. Silly to be
> sure, but quite fun. And what *is* that "Edwards Operation" the surgeons kept
> doing?? (Phil Carli on piano) ***
>
> THE LETTER (1929, Paramount) This has been on my Want to See list for over 25
> years, so this rare Jeanne Eagles version of the Somerset Maugham play was a
> highlight for me. Having said that, the film is definitely creaky, and this
> appeared to be a work print with no music or effects added. You can see how
> Eagles probably lit up the Broadway stage, but she's a little too shrill for
> this film version. Still a most interesting early talkie. **1â „2
>
> THE CAT AND THE CANARY (1927, Universal) This would be another ho-hum rerun
> except that this was a stunning new 35mm print courtesy of Patrick Stanbury and
> Kevin Brownlow. Pieced together from several sources, this has a few short
> pieces of mediocre footage, but it is 98% drop-dead gorgeous and makes it a
> completely different picture than what we have all seen. Neil Brand's new
> score for orchestra and Theramin was also superb. ***1â „2
>
> TRANSATLANTIC (1931, Fox) This is another title I had seen before; I was going
> to watch the first 5 min then got hooked and sat through it all again. Sort-of
> a GRAND HOTEL at sea, with an all star cast (Edmund Lowe, Greta Nissen, Myrna
> Loy, Jean Hersholt, Lois Moran, etc.) on an Atlantic crossing where everyone
> seems to be interconnected in some way. Nissen is terrific as John Halliday's
> Swedish mistress, and Loy is equally good as the (stupidly) loyal wife of the
> cheating scumbag. ***
>
> THE CARDBOARD LOVER (1928, MGM) A charming Marion Davies comedy, not quite on
> par with THE PATSY or SHOW PEOPLE, but pretty darn close. Marion is an
> autograph collector who fixes on tennis pro Nils Asther who hires her to help
> him break free of parasitic lover Jetta Goudal. One scene with the camera
> focused solely on the actors legs is brilliant. Quite a treat. (Jon Mirsalis
> on piano) ***
>
> RICHARD ROBERTS' COMEDY CAVALCADE #6 was a collection of the usually tasteless
> and funny shorts we are used to seeing from this collector of high art. CHICKEN
> FEATHERS (1927; ***), a Christie with Jack Duffy, was the best, with a
> hysterical search for a pillow full of cash, and a very funny
> starch-and-feathers sequence. SOLD AT AUCTION (1923; ***) was a funny Snub
> Pollard, HAM AND THE SAUSAGE FACTORY (1915; **1â „2) was a tasteless but funny Ham
> and Bud about dog foie gras, and JONAH JONES (1925; **1â „2) was a later Lloyd
> Hamilton to get the taste out of our mouths. BRIDGE WIVES (1931; **) was a Wm
> Goodrich (aka/Roscoe Arbuckle) directed talkie with Al St. John and was way too
> over the top to actually be enjoyable as St. John is perpetually berserk for 2
> reels. Finally, two very funny Ernie Kovaks trailers were thrown into the mix.
> Only gripe...after a weekend of 35mm nitrates, these 16mm dupes really didn't
> look good at all. (16mm; Phil Carli on piano)
>
> THE HOODLUM (1919, Pickford) had spoiled rich girl Mary Pickford moving in with
> her father in a slum and she gets a new perspective on life. Not a great
> classic, but a very pleasant little drama with Mary as charming as ever. (Jon
> Mirsalis on piano) **1â „2
>
> NICE WOMEN (1931, Universal) was a lovely way for me to end Cinecon (I left at
> noon). A mature, Pre-Code drama, with Frances Dee reluctantly agreeing to
> marry wealthy Alan Mowbray solely to benefit her family. Sidney Fox is
> terrific as Frances' know-it-all younger sister and Carmel Myers is sensational
> as Mowbray's over-the-hill mistress. (And I *loved* that see-it-all-
> showing-through dress Myers wore in the final scene.) ***
>
> Many misc. shorts were run throughout the program as well. IT'S THE CAT (2004;
> ***) was the most recent film run...a 3-min cartoon done in the style of a
> classic Hollywood cartoon of the 30s and it was quite entertaining. LIBERTY
> (Universal, 1916; Phil Carli piano; ***) was a fragment of an early serial and
> YOUNG DEER'S BRAVERY (Bison, 1909; Phil Carli piano; **1â „2) was a nearly
> complete drama of an Indian-white woman romance. We were treated to Chapter 3
> of the spine-tingling serial, THE IRON CLAW (1941; **1â „2), which we will
> hopefully be done with in only 12 more years. SCRAPPY'S TELEVISION (1934; ***)
> was a fun b/w Scrappy cartoon about primitive television broadcasts. THE
> HOLLYWOOD YOU NEVER SEE (1934; ***) was another of those ridiculous Cecil B.
> DeMille promos about how realistic a film CLEOPATRA is. Very silly, but quite
> fun. WAR MAMAS (1931; ***) was a very funny Thelma Todd-Zasu Pitts comedy
> about the girls going behind the lines in WWI. The strip poker sequence was
> the funniest bit, though I must register my disappointment that Thelma Todd
> didn't once appear in her underwear. NERVOUS SHAKEDOWN (1947; ***) had Hugh
> Herbert going to a sanitarium for his nerves, only to discover it taken over by
> escaping cons. The usual scare- him-out-of-the-house antics ensue. WHEN DO WE
> EAT (1934; **1â „2) was an odd comedy with Lou Holtz deciding to open a nudist
Brent Walker
brain capacity back yet to give reviews on the films, but I did want
to mention the following recurring themes:
Number of films with duels: 3.
Number of films with games of strip poker: 2.
Number of films featuring Guinn "Big Boy" Williams in which the phrase
"Remember the Maine" was shouted: 2.
Number of films in which the fact that the last reel was missing came
as a relief: 1.
I also enjoyed the Saturday "Crosby" trifecta: 1) SHE LOVES ME NOT
with Bing Crosby; 2) THE LETTER, with Jeanne Eagels as "Mrs. Crosbie";
3) THE CAT AND THE CANARY, with Tully Marshall as "Mr. Crosby."
Brent Walker
Precode
>
> something that has been around for years, but the "new 35mm print" was simply a
> poor blowup from 16mm that didn't look at all good. The film itself is a
> delightful poor girl-rich boy comedy with Viola Dana and Ralph Graves going
> into the box lunch business. Even in this crummy print it was a real charmer.
> (Jon Mirsalis on piano) ***
I specifically noted in the program notes that this is a
work-in-progess. When Grover is finally done with it, it'll look
better, but we felt it was watchable enough to program now--it wasn't
THAT crummy!
>
> THE LETTER (1929, Paramount) This has been on my Want to See list for over 25
> years, so this rare Jeanne Eagles version of the Somerset Maugham play was a
> highlight for me. Having said that, the film is definitely creaky, and this
> appeared to be a work print with no music or effects added. You can see how
> Eagles probably lit up the Broadway stage, but she's a little too shrill for
> this film version. Still a most interesting early talkie. **½
One would indeed think it was a work print, but David Stenn has found
six contemporaneous reviews that confirm this is indeed the release
version. The only difference is that the cobra/mongoose footage ran on
much longer, but Dick May felt 20 or so seconds got the point across
without bringing the film to a dead halt.
>
> THE CARDBOARD LOVER (1928, MGM) A charming Marion Davies comedy, not quite on
> par with THE PATSY or SHOW PEOPLE, but pretty darn close. Marion is an
> autograph collector who fixes on tennis pro Nils Asther who hires her to help
> him break free of parasitic lover Jetta Goudal. One scene with the camera
> focused solely on the actors legs is brilliant. Quite a treat. (Jon Mirsalis
> on piano) ***
And you didn't have a problem with all the decomp in this print?
>
> Overall, really a fine weekend. Several real surprise treats (SHE LOVES ME
> NOT, THE CARDBOARD LOVER), lovely repeat classics (ROBIN HOOD, CAT & CANARY),
> new discoveries (K THE UNKNOWN, THE CAPTIVE), and all that lovely nitrate!
> Kudos to Bob, Mike, Stan, and everyone else was worked so hard to pull this
> weekend off.
Thanks. We did indeed receive far fewer complaints this year than
usual. The oddest was one of the surveys: under "What did you like
least?" someone wrote "The Westerns"--and we didn't show any!!
Mike S.
"Well, I do need a bartender."
"That's me, lady. I spent the best years of my life behind bars."
--Eve Arden and Shemp Howard in SAN ANTONIO ROSE
Jim Harwood
IT'S THE CAT (***) A fun, colorful cartoon in the tradition of early 1930's
animation.
LIFE BEGINS AT FORTY (***) A delightful Will Rogers Fox feature and a really
nice looking print.
SCRAPPY'S TELEVISION (**1/2) As with most of the Scrappy shorts, kind of
ho-hum, though still nice to see on a big screen, where it belongs.
GIRL WITHOUT A ROOM (***) One of the better films of the weekend. Charles
Farrell is the least interesting person in the film though. Charlie Ruggles
shines, as usual. A great looking nitrate print too.
HOLLYWOOD YOU NEVER SEE (***) As stated by someone else, the typical DeMille
PR hokum, though it's great to see some of the behind the scenes footage from
CLEOPATRA. A lot of fun.
THE CAPTIVE (**) DeMille feature with Blanche Sweet. This one did not hold my
interest. Glad it's preserved though, and the print looked quite nice.
MY SISTER EILEEN (**1/2) I guess this was Cinecon's first CinemaScope and
stereo film. The print was great, the film though was about 20 minutes too
long and, in my opinion, none of the songs were memorable. It was pleasant,
but that's about it. I definitely prefer the 1942 version.
WAR MAMAS (**1/2) An absolutely wonderful looking 35mm print. I want more Hal
Roach 2 reelers in future schedules! As with most of the Todd/Pitts comedies,
this short was just OK. It would have been improved dramatically if Billy
Gilbert had been one of the German generals. Still, great to see on the big
screen.
THAT CERTAIN THING (**1/2) Not as good as THE MATINEE IDOL but it still had
charm. The print does need some TLC.
THE DARK HORSE (**1/2) Certainly not as good as BEAUTY AND THE BOSS or
EMPLOYEE'S ENTRANCE, but Warren William is always a delight. Bette Davis could
have used a few more scenes.
NERVOUS SHAKEDOWN (**1/2) Typical Hugh Herbert Columbia 2-reeler. All it
needed was a gorilla on the loose. Dudley Dickerson was fun, as always, though
the identical final gag was much funnier in the Andy Clyde short HOST TO A
GHOST.
SHE LOVES ME NOT (***) Another highlight of the Cinecon, though Kitty
Carlisle's charm has always escaped me. Miriam Hopkins was fun and the film
moved very fast.
SAN ANTONIO ROSE (***) A "piffle" but a fun piffle. The whole thing takes
place on a couple of sets, though it moved and the songs were pleasant.
Another gorgeous new print.
K - THE UNKNOWN (**1/2) An OK programmer. I can't remember ever seeing any
other Virginia Valli films. I did like her performance and look forward to
other films of hers (provided any exist).
THE LETTER (**1/2) I don't care what the original reviews stated, this thing
had to come from a work print, with all the sound drop outs and lack of music.
The production values were too high for me to believe that Paramount released
something that had a track that was this choppy. I don't care if it was 1928.
The ONLY other talkie of the period I can think of that had as bad a soundtrack
as this was the Our Gang 2-reeler BOXING GLOVES. Good performances and I hope
they turn up Jeanne Eagles other talkie. The Davis remake is much better
though.
WHEN DO WE EAT (**) I've never seen Lou Holtz before, now I understand why.
This short played like a large budget Educational 2-reeler and was just about
as funny. A nice try though.
CAT AND THE CANARY (***1/2) I was thrilled to finally see a beautiful print of
this title. It's even better with all (or most) of it's visuals restored. I
also really liked the score. A highlight of the convention.
BURGLAR TO THE RESCUE (**) "The Shadow" comes to film in this Universal
2-reeler. A nice print, but kind of blah. Thurston Hall is the perfect
crooked bank president, but the short is too static and uninspired.
TRANSATLANTIC (***) Yet another fascinating Fox film that barely exists. Poor
pre-print materials can't disguise the outstanding photography and script of
this Edmund Lowe feature. It'll never happen, but I wish Fox would digitally
clean up all the wear and tear and fix the contrast. I want this one on DVD.
Yeah, that'll happen.
THE RUNT PAGE (*1/2) "The Front Page" for pedifiles. A very creepy short and
Shirley Temple is wasted.
THE CARDBOARD LOVER (***) When TCM ran this I thought it was kind of creaky.
The film comes to life with an audience though and is a delight. The "legs"
and "chest plaster" sequences were great. It looks as though that if they had
waited another month or two, the film would have decomposed beyond the point of
saving. Definitely caught in the nick of time.
WOMEN'S PRISON (**1/2) Ida Lupino plays a good slimeball and, for once,
Howard Duff's the good guy. Audrey Totter gave a good performance, though
there wasn't enough of her. An OK film and another great print. Audrey wasn't
exactly a well of information in her talk after the film. Still, it's nice
she's still with us.
RICHARD ROBERTS COMEDY CAVALCADE (***) Snub Pollard's SOLD AT AUCTION was
definitely the highlight. I'm sorry Richard, but Ham and Bud have worn out
their welcome.
POPEYE MEETS SINBAD (***) Finally, a gorgeous print for this title. A
highlight, though I prefer POPEYE MEETS ALI BABA of his three Technicolor
2-reelers. Please, Warner Bros, put this out on DVD!!
OKAY, AMERICA (***1/2) Next to CAT AND THE CANARY, my favorite film of the
weekend. Though Lew Ayers is no Lee Tracy, he did quite well with the part.
Fast and snappy and another absolutely stunning new print from the Universal
vaults.
THE OLD FASHIONED WAY (***1/2) What a great way to end the Cinecon. One of
W.C. Field's greatest films and a beautiful nitrate print to boot. The
audience loved it and so did I.
Overall, one of the top Cinecons and I think peppering the schedule with great
old war horses like CAT AND THE CANARY and THE OLD FASHIONED WAY is the way to
go. A fun weekend all around. Great job guys!
Jim Harwood
Max Nineteennineteen
> An above average Cinecon is now in the books! I don't have the full
> brain capacity back yet to give reviews on the films, but I did want
> to mention the following recurring themes:
>
> Number of films with duels: 3.
Which you'll notice was about the same number as at the last Cinevent,
per my report on that...
Christopher Snowden
LIFE BEGINS AT FORTY - It had been so long since I'd seen a Will
Rogers picture that I'd forgotten what a great talent he was. Before
the first reel was over, I was wishing for a Will Rogers Film
Festival. ***1/2
LIBERTY, A DAUGHTER OF THE USA (fragments) - These clips looked pretty
primitive, but the action kept drawing me in. And just when things
would really get interesting, the footage would run out! **
YOUNG DEER'S BRAVERY - Further proof that D. W. Griffith wasn't the
only guy making better-than-adequate dramas in the early nickelodeon
period. The all-outdoor settings gave this a little boost. **
AFTER MIDNIGHT - I'd seen this before, so I was already prepared for a
dud. I've seen at least half a dozen Norma Shearer silents, and this
was the only one I didn't love. Norma's all right, but when your plot
involves a woman falling in love with the guy who mugged her, you're
just not going to end up with a very good movie. There were some good
touches by Monta Bell, though, (especially the bits involving William
Austin and Gwen Lee), and about a reel's worth of beautiful Norma
close-ups. **1/2
ROBIN HOOD - Another of those early-'20s overblown spectacles, this
would've been a dynamite picture if two or three reels of fat had been
trimmed out of it. It's still a good show, and Jon's score really
suited it. Great print, too. (Why doesn't Fairbanks ever get any
credit for his screen stories? This one was dense and complex, without
ever losing its way as a drama... but it might've worked better as a
novel than as a movie.) **1/2
SCRAPPY'S TELEVISION - Part of me wonders why we keep getting these
indifferent Scrappy cartoons... the larger part of me is glad to be
seeing vintage animation I'd never get to see otherwise. **
GIRL WITHOUT A ROOM - A fun and frisky picture, featuring Charlie
Ruggles in what must have been his 1000th appearance in an early
Paramount talkie. The sequences with all-rhyming dialogue were
interesting, even though they appeared and disappeared inexplicably.
Someday, someone will make the definitive documentary on pre-Codes,
and the Charlie Ruggles-Grace Bradley wrestling scene will be in it!
(Isn't Grace Bradley still alive? She would've been a perfect guest
for this year's Cinecon.) ***
THE HOLLYWOOD YOU NEVER SEE - This was a good little behind-the-scenes
featurette. The scene with C.B. complaining about the studio's cheesy
swords and shields was classic... almost as good as the scene in
HOLLYWOOD EXTRA GIRL where he yells at all the extras. Who smiled
on-screen less: Buster Keaton or Cecil B. DeMille? ***
THE CAPTIVE - A good early DeMille feature, set in the Balkan
countryside. Evidently a lot of attention was paid to little details
in sets and costumes, and it paid off. Surprisingly, Blanche Sweet's
performance didn't seem like anything special, but everything else
about the film was better than I was expecting, and the print was
absolutely stunning. My favorite Phil Carli score of the weekend. ***
WAR MAMAS - A disjointed but fun Thelma Todd-ZaSu Pitts comedy.
Beautiful print, too. (What happened to Big Boy Williams? He
disappears half-way through the film and we never see him again!) ***
THAT CERTAIN THING - Somehow I was expecting to see THE MATINEE IDOL
instead, which is the other Capra silent that's undergone a
restoration. THAT CERTAIN THING is the better film but this print was
pretty bad. I can't imagine what can be done to make it look better
than it does, but it's the quality of the movie that I really cared
about. This film starts out as a retread of ORCHIDS AND ERMINE but
ends up a delightful original, with nice work by Capra and by Viola
Dana. ***1/2
THE DARK HORSE - By contrast, this film started out extremely strong,
and lost some steam along the way; the political satire in the early
reels was so good, and so smart, that it seemed a shame when the
storyline took a left turn and followed Warren William's ex-wife
around, for scene after scene after scene. Who cared? Still, it's a
terrific film and the print was dynamite. ***1/2
NERVOUS SHAKEDOWN - I'll watch Hugh Herbert in anything, even this.
(The ending gag was good, though.) *1/2
SHE LOVES ME NOT - This was released just after enforcement of the
Production Code, but it still had the feel of a pre-Code picture,
thanks mainly to Miriam Hopkins. The Gordon & Revel songs were great
and the young Bing Crosby was terrific (strange that a Cinecon crowd
that applauded everyone from Warren Hymer to Clarence Wilson sat on
its hands when Bing appeared). The whole cast was great, including
Kitty Carlisle, who did a nice job in spite of the giant stick up her
a-- (No... I won't say it...) ***
SAN ANTONIO ROSE - For entertainment value, this was the greatest
unexpected treat of the weekend. Jane Frazee and Eve Arden were
actually less appealing than the rest of the cast, which featured the
Merry Macs and the comedy stylings of Chaney & Howard. I thought they
could've just sent Frazee and Arden home and let Mary Lou Cook carry
the lead in this picture; as talented as they were, she blew them off
the screen. A snappy script and Charles Lamont's direction also helped
make this programmer something special. ***
K - THE UNKNOWN - A nice but ordinary silent about love and secrets in
a small town. It's gotta be a *really* small town when the most
eligible bachelor around is Percy Marmont. The plot was a snooze and
there wasn't a Cinephile in the house who hadn't guessed the climactic
plot twists ahead of time. But I always say that the mark of a true
silent film buff is the ability to enjoy these perfectly
undistinguished '20s programmers. I was glad to see Margarita "Don't
Call Me 'Fischer'" Fisher, and Virginia Valli did a nice job too.
Director Harry Pollard made the most of some pretty weak material.
**1/2
THE LETTER - I'm glad to see I wasn't the only person who was
underwhelmed by this over-hyped movie. Yes, Jeanne Eagels has such
presence that you can't take your eyes off her, and she's beautiful
too. But this didn't seem like much of a film to me. It has less plot
than a Biograph one-reeler, and every bit as much melodrama. Eagels'
performance is very good, but it belongs to the old-time eye-rolling,
fist-shaking school of dramatics, and it just doesn't play very well
anymore. She does a great job of it, but a more subtle, naturalistic
approach would've served her better. ***
A BURGLAR TO THE RESCUE - I love 1930s-1940s radio, so this two-reeler
based on the early "Shadow" series was a must-see for me. Speaking
objectively, this was a very hammy, very silly little crime melodrama.
But speaking as an OTR fan, it was sheer heaven. The film plays
*exactly* like a picturization of a typical 1930s radio crime program,
complete with occasional interruptions where the narrator makes his
comments and foretells doom for the crook. (Liz McLeod, where were
you?!? You would have LOVED this short!) Yes, this was hammy and
silly, but it was a lot of fun, too. I sure hope there are more of
these out there. ***
TRANSATLANTIC - I don't get to see a lot of early Fox talkies, so this
was another treat for me. It had a great cast, an interesting story
and great art direction and cinematography (the camera crane's shadow
sweeps across the screen in the first minute or so, but never mind).
William K. Howard really did a nice job directing this, showing a lot
of style. You get all of this AND a nice turn by Billy Bevan as a
yackety ship steward, so this movie was a Cinephile's dream. The print
wasn't quite pristine, but I didn't mind. The make-up artist was
apparently trying to kill Myrna Loy with an eyeliner overdose, though.
***
THE RUNT PAGE - Every Cinecon has to have one purely awful film, and
luckily this year's stinker was only one reel long. Even so, it was
worth seeing (once!) for Shirley Temple's debut. *
THE CARDBOARD LOVER - Seems like everyone loves Marion Davies...
everyone but me. But even I loved this film, so that's really saying
something. M-G-M was famously inept at handling comedy, but this
picture bucked the trend bigtime. Even Nils Asther was funny in this!
Great performances, great direction and a sheer delight all the way
through. And even though Jon's score for ROBIN HOOD got all the
attention, his music for this was by far my favorite score of the
weekend. ***1/2
RICHARD ROBERTS' COMEDY CAVALCADE - Another mixed bag, but well worth
seeing. CHICKEN FEATHERS was a lot of fun. Jack Duffy was great as
always but I also enjoyed seeing Anne Cornwall. SOLD AT AUCTION may
indeed be Snub Pollard's best film after IT'S A GIFT; looks like Roach
was trying to turn him into Snub Semon in this, and most of the time
it worked. I liked the effect in which a shot of Snub "melts" into a
runny mess of black and white goo: if that shot had been in a Keaton
film, Walter Kerr and the rest of the comedy intelligentsia would
never stop talking about it; but since it's in a Snub Pollard film
instead, no one ever mentions it! HAM AND THE SAUSAGE FACTORY was
built around one tasteless and funny premise, but it disappointed me
by not offering anything more. JONAH JONES was better, and the gag in
which a guy slips on a banana peel, falls against Ham's car and knocks
it right into the middle of the street was beautiful. The Ernie Kovacs
promo shorts were good (especially the second one), but I thought our
host was opposed to showing 1950s films at Cinecon? (Not that I'm
complaining!) Finally, BRIDGE WIVES was pretty bad, though even here
there were one or two good ideas in it.
THE HOUSTON STORY - Like most people, I don't think 1950s-1960s films
really belong at Cinecon, guest or not. I was willing to give this one
a try, though, but it bored me from the start and I walked out after
20 minutes.
PAPER MOON - Okay, Cinecon didn't show it, HBO did. But since Cinecon
abandons you on Sunday evening unless you go to the banquet, you have
to hunt down good films on your own at that time. Apart from Ryan
O'Neal, this is a magnificent film, with some of the best
cinematography I've ever seen. ****
ONE A.M. - Yes, this is one of the weakest Chaplin Mutuals, but there
was rarely-seen footage in this, and the 35mm print was gorgeous. I
would like to have seen it projected a bit faster, though. It never
really came to life like it should have (but then, what comedy does at
nine in the morning?). **1/2
THE HOODLUM - This late 1910s Mary Pickford silent reminded me so much
of THROUGH THE BACK DOOR: the plot developed only in fits and starts,
and finally settled on a storyline that was so ridiculous that only a
nine-year-old would've bought it. Also, the film just ran on too long.
Still, Mary herself is always a delight to watch, and there were a lot
of good little scenes that came and went without having enough impact
to rescue the film. It was good to see Max Davidson, though, and I'm
glad Mary had the courage to play a character who's a fairly
unappealing brat most of the time, at least in the early reels. This
is another case of a silent that I'm very, very happy I had a chance
to see (especially in a nice print on the big screen with good
music)... but I don't need to ever see it again. **1/2
NICE WOMEN - We had a handful of really gorgeous Universal rarities
from the early 1930s, and this one was a little gem. Again, it's a
case where you really have to be a Cinephile to enjoy it, because the
story is hard to swallow and the movie creaks from start to finish.
But it's so much fun! Sidney Fox got top billing but to me this was
Frances Dee's time to shine, though Carmel Myers owned this film
whenever *she* appeared. The storyline was very conventional, other
than a fast detour through Precodeland about halfway through the
picure. The women were all so interesting in this film, and the men
all so dull, that you'd guess this was a George Cukor picture, or at
least a Dorothy Arzner. ***
POPEYE THE SAILOR MEETS SINDBAD THE SAILOR - This one was so familiar
that I was surprised people weren't reciting dialogue along with the
characters, but it deserved to be shown on the big screen, in a
beautiful sharp print. Actually, I hadn't seen this in many years, so
it was a nostalgic treat for me... and for a lot of other people, I'll
bet. ***
OKAY, AMERICA - This was another terrific Universal, probably the best
of the bunch. It was a wise-cracking, streetwise newspaper picture
that cried out for the Warner Bros. treatment, yet it was handled so
well by Universal and director Tay Garnett that it stood tall on its
own. I do think Lew Ayres was essentially miscast in this film, and I
can only imagine the fire that a James Cagney or a Lee Tracy would've
brought to the role. Yet, he did do a fine job, so I can't complain.
The folks that left the convention early really missed out: this was a
great picure. ****
A VILLAGE TALE - After seeing a few films about idealized small-town
life, where everybody's folksy and charming, it was a real contrast to
see this, where nearly all the small-town folks are vicious creeps! It
was a really unpleasant film that reaches an uncomfortable low when
Donald Meek is vividly beaten half to death. Yet director John
Cromwell was really in command of his material, making this a very
gripping story, and the audience was left in agony when we found that
the last reel was missing and we didn't get to see the ending! I
didn't *like* this film, but it packed quite a punch. ***
THE OLD-FASHIONED WAY - This was the one we were all waiting to see,
and it didn't disappoint. I'd only seen some highlights before, in
comp films like W.C. FIELDS: STRAIGHT UP. Still, there were a lot of
bits that were new to me, and the whole film was terrific. It did sag
just a bit during the "Drunkard" scenes, but otherwise it really
hummed from start to finish. It even had a great song that I'd
forgotten about. I'd heard Russ Columbo sing it on a radio broadcast,
but I'd never heard it as it's done in the movie. Lots and lots of
stuff to love in this movie. And even though I'd seen it before,
Field's juggling/balancing routine on stage was the highlight of the
film... and (for me) the whole weekend. Cinecon couldn't have possibly
ended on a better note. ****
...and other Cinecon highlights:
** Best new dealer's room items: HOLLYWOOD: NOW AND THEN, GRIFFITHIANA
#73/74, and Bob's Cecil B. DeMille book.
** Best Cinecon cuisine: the new salmon burger at Hamburger Hamlet
** Best poster auction moment: watching the bidding for a ratty
DOUGHBOYS insert go from $500 to $1500 in literally two seconds
** This year's Hollywood Moment: every year, there comes a moment that
is singularly and often ludicrously pure Hollywood. Last year, it was
the concierge who told me I look just like Charlie Chaplin (mind you,
I'm six foot six). This year, the Hollywood Moment was a scene of true
life entirely too sad to report here. I don't want to bring everybody
down, so I will draw the curtain of charity across the scene of this
year's Hollywood Moment. Sorry.
** Best Cinecon character: I don't want to embarrass him in case he's
reading this, but he was the guy with the jet black pompadour and Max
Fleischer moustache, who looked like a drug dealer in a Dwain Esper
movie
** Queen of the Convention: the girl helping Morris Everett's son
display stuff at the poster auction, a true rockabilly filly and more
gorgeous than Frances Dee on her best day
** Best Cinecon conversation: (for me, anyway; you guys weren't there)
Chatting with Frederica and hearing about the great Virgiia Rappe
research she's been doing
** Best Cinecon intros: Stan Taffel, who ought to introduce ALL the
films next year
Chris Snowden
Bob Birchard
I can think of a couple of other recurring themes:
Small Town Intolerance: 3
Bank robberies: 2
--
Bob Birchard
Now available from the University Press of Kentucky
“Cecil B. DeMille’s Hollywood”
by Robert S. Birchard
I.S.B.N. # 0-8131-2324-0
http://kentuckypress.com/viewbook.cfm?Category_ID=1&Group=42&ID=1113
Burbank74
<< RICHARD ROBERTS' COMEDY CAVALCADE #6 >>
<< SOLD AT AUCTION (1923; ***) was a funny Snub
Pollard, >>
....and was directed with sheer manic brilliance by Charles (Chase) Parrott.
The recent availability of this rare and inventive comedy is thanks to Mark
Roth (Reelclassicdvd.com - who has also made this title available on DVD.)
<< JONAH JONES (1925; **x) was a later Lloyd
Hamilton >>
For which we have Golden Era Films to thank for recently uncovering and
striking a new 16mm negative.
<< BRIDGE WIVES (1931; **) was a Wm Goodrich (aka/Roscoe Arbuckle) directed
talkie with Al St. John and was way too over the top to actually be enjoyable
as St. John is perpetually berserk for 2 reels. >>
Actually it's only one (full) reel and plays like gangbusters everywhere I've
shown it. We have comedy historian maestro Paul Gierucki to thank for
generously allowing a 16mm negative to be struck from his original print (and
for which brand new prints are available through Filmclassic.com). For those
not in the know, Paul is the gentleman behind Laughsmith Entertainment - the
people who'll be bringing you an onslaught of wonderful Arbuckle material
(which will do the fat man proud) in the near future.
<< Finally, two very funny Ernie Kovaks trailers were thrown into the mix. >>
For which we need to heartily thank the always generous to a fault Eric Grayson
- who allowed his originals to be copied so that they could be shared with
Kovacsphiles everywhere.
"My mantra with the editors was, We've got to make a movie where on the way out
of the theater people are going to ask the ushers if they have any torches." -
Michael Moore to Film Comment on the making of his film, FAHRENHEIT 9/11
Stephen Cooke
On 7 Sep 2004, Christopher Snowden wrote:
> ** Best Cinecon character: I don't want to embarrass him in case he's
> reading this, but he was the guy with the jet black pompadour and Max
> Fleischer moustache, who looked like a drug dealer in a Dwain Esper
> movie
Could it be the Fripper, unmasked at last?
swac
Harlett O'Dowd
"ChaneyFan" <chan...@aol.com> wrote in message
news:20040907024427...@mb-m03.aol.com...
> SHARP SHOOTERS (1928, Fox) Yet another sailor on leave picture (I think
this is
> a recurring Cinecon theme) with George O'Brien, Noah Young, and Tom Dugan
> dropping anchor in a port where O'Brien meets pretty and very naive Lois
Moran,
> who follows George to NYC, much to his chagrin.
> GIRL WITHOUT A ROOM (1933, Paramount) as well as the painted body dance by
> Joyzelle Joyner must have driven the 1933 censors nuts.
>
> THAT CERTAIN THING (1928, Columbia) The film itself is a
> delightful poor girl-rich boy comedy with Viola Dana and Ralph Graves
going
> into the box lunch business.
George O'Brien, Joyzelle Joyner AND Ralph Graves at a Cinecon I can NOT
attend????!!!!!
Damn you, Evil Bob!
Christopher Jacobs
real world again, unfortunately. Here's my rundown on Cinecon 40 (and
I watched every single scheduled film over the weekend, and more!) It
was indeed a very good lineup of films, with a good variety of years
and of rare/obscure vs. familiar classic, and almost everything a
good, solidly entertaining picture. I didn't really think there were
any super standout discoveries, but there weren't really any total
bombs, either (except for one pre-convention short I was able to see).
Everything was worth seeing at least once, and I'd love to get many of
them on DVD (or real film if I were a millionaire). Unfortunately
there was no "unknown fragments" presentation this year.
Like the schedule, features are in CAPS, shorts are in Upper & Lower
Case.
Hollywood: 2004 Cinecon, plus pre- & post-convention private
screenings
-----------------------------------------------------------------------
Wed. Sept 1 -- warming up for the Cinecon schedule with some
Preservation Festival titles in 35mm...
Night Court (1927) * Wm Demarest in a Vitaphone comedy short with
extremely low production values, little rehearsal time, and no retakes
(hammer falls off judge's gavel and they keep on going like nothing
happened)! Not bad enough to be camp and not good enough to bother
with a second time.
Shaw & Lee "The Beau Brummels" (1928) ** 1/2 amusing Vitaphone
vaudeville act starts slow but moves into some fun dialogue cracks,
puns, and one-liners
THE SECOND FLOOR MYSTERY (1930) *** Clever if predictable
comedy-romance-mystery with Grant Withers and Loretta Young trying to
impress each other and getting more than they bargained for when a
murder enters the picture
UP THE ROAD WITH SALLIE (1918) *** Very entertaining Constance
Talmadge comedy-romance in which she takes her recently widowed aunt
out to live it up, breaks into a house to take shelter in the rain,
inadvertently runs into Norman Kerry shortly after their own house is
robbed, and naturally both Talmadge and Kerry think the other is a
thief and want to reform him/her.
Thu. Sept 2
It's the Cat! (2004) *** 1/2 great cartoon with the flavor of early
30s, set to a great old recording
LIFE BEGINS AT FORTY (1935) *** classic Will Rogers with always-timely
one-liners and political insights
THE INTRUDER (1961) *** 1/2 uncharacteristically powerful Corman
social drama, probably William Shatner's best performance
Liberty (1916) ** interesting if frustrating fragments from a few
episodes, indicating it would have been a pretty good action
Young Deer's Bravery (1909) * 1/2 interesting historical curiosity but
as primitive as its low budget and early date imply
AFTER MIDNIGHT (1927) *** good Norma Shearer formula picture with
slick MGM production values and unexpectedly grim plot twists
Fri. Sept 3
The Iron Claw (1941) ch. 3 ** 1/2 always amusing action-packed high
melodrama
SHARPSHOOTERS (1928) ** 1/2 nitrate but still a bit grayish!
extremely rare but only okay sailor romance formula, pleasant but
forgettable
ROBIN HOOD (1922) *** impressive epic production and solid action
adventure with a better-constructed plot than the later remakes which
ignore the political background and jump straight to the action; just
as promised, Jon Mirsalis' best score, but looked like an okay blowup
from 16mm, a bit contrasty
Scrappy's Television (1934) *** clever hi-tech farce, best Scrappy
title I've seen
GIRL WITHOUT A ROOM (1933) *** nitrate! delightful and extremely
precode starving artists romance with great ensemble performances
The Hollywood You Never See (1934) *** fun look at DeMille behind the
scenes
THE CAPTIVE (1915) ** 1/2 long shots, long takes, but subtle acting,
characterizations, cross-cutting climax make this a strong early
DeMille from his formative period (helped by the razor-sharp
hand-tinted 35mm print!)
MY SISTER EILEEN (1955) *** highly entertaining musical romance
w/great color, scope, & stereo! Just a story of everyday life in
Greenwich Village, right? Although I prefer features from the mid
teens through the early 30s, this is the kind of 1950s feature that
really does belong at conventions like Cinecon, especially in 35mm and
stereo on a huge screen. It's definitely a part of the big studio era
in both story and style.
War Mamas (1931) ** 1/2 slow WWI comedy has its moments w/Thelma Todd
& ZaSu Pitts (including a strip poker scene!), but seems more like the
first two reels of an abandoned feature
THAT CERTAIN THING (1928) ** 1/2 solid Capra tale of American
capitalism at work (slice the ham thick!) mixed into a typical rich
boy/poor girl romance.
THE DARK HORSE (1932) *** 1/2 the must-see political comedy of the
20th Century or any other! gorgeous print!
Sat. Sept 4
Nervous Shakedown (1947) ** nitrate! occasionally amusing comedy of
two convicts taking over a sanitarium
SHE LOVES ME NOT (1934) *** nitrate! fun and very pre-code (despite
having code approval seal no. 17) Bing Crosby, Kitty Carlisle, &
Miriam Hopkins musical romance with great lines and nice music and
Hopkins rarin' to rip her clothes off!
SAN ANTONIO ROSE (1941) ** 1/2 music, music, music, with the Merry
Macs, and just enough plot to make it feature length and keep it fun
Here Comes Flossie (1933) * 1/2 a couple of funny bits with Shemp on
the farm, a mail-order bride & cow with the same name
MARK OF THE RENEGADE (1951) ** slick period melodrama looks nice in
Technicolor, but with uninspired plot and performances
Swing You Sinners (1930) *** 1/2 one of the most bizarre Fleischer
cartoons ever, guaranteed to give kiddies nightmares! (Now, if only it
had Betty Boop in it it would top just about all the others!) A
wonderful unannounced bonus film to fill a gap after a schedule
change!
K--THE UNKNOWN (1924) ** 1/2 interesting if leisurely small town
romantic drama
THE LETTER (1929) *** 1/2 missing music & effects in MOS scenes;
powerful performances overcome staginess and technical limitations
When Do We Eat (1934) ** moderately amusing comedy of starving actors
THE CAT & THE CANARY (1927) *** gorgeous restored 35mm print, nice
orchestra score, classic fun mystery-comedy with the alternate
European takes (hallway drapes don't billow!)
A Burglar to the Rescue (1931) ** The Shadow narrates a predictable
but interesting mystery short
TRANSATLANTIC (1931) ** 1/2 well-done if standard
Grand-Hotel-on-a-ship romantic melodrama/murder mystery, with great
Germanic look to sets, photography, and editing.
Sun. Sept 5
The Runt Page (1932) ** curious Shirley Temple parody of THE FRONT
PAGE for all those fans of toddlers playing adult characters in
diapers (this time with dubbed adult voices!)
THE CARDBOARD LOVER (1927) *** 1/2 Marion Davies at her best with
neglected comedian Nils Asther!
WOMEN'S PRISON (1955) ** 1/2 nicely mounted, well-acted melodrama
that manages a few unexpected twists among the clichés
Chicken Feathers (1927) ** 1/2 Jack Duffy comedy chase for money in
pillow, precursor to the more elegant LE MILLION
Sold at Auction (1923) ** Snub Pollard auctions Jimmy Finlayson's
possessions by mistake and has to buy them back
Ham and the Sausage Factory (1915) *** How do you make hot dogs? First
you need some dogs... oh yes! The best Ham & Bud comedy to show at a
Cinecon yet!
Jonah Jones (1925) ** Lloyd Hamilton, Babe London, and Dick Sutherland
Bridge Wives (1931) ** 1/2 amusing if broad for a talkie, Al St. John
dir. by Roscoe "Wm. Goodrich" Arbuckle
Ernie Kovacs promo shorts for "Operation Mad Ball" (1957) *** If only
they still made trailers like this, featurettes that stand on their
own and poke fun at the whole "prevue" concept using random and
minuscule clips from the actual feature.
THE HOUSTON STORY (1956) *** quite strong noir thriller, good
performances all around with Barry perfect as the doomed good bad guy.
----
Banquet alternative hotel room 16mm screenings:
SHOOT THE WORKS (1934) ** 1/2 Entertaining romantic comedy-drama with
carnival-barker would-be promoter Jack Oakie hoping to impress Dorothy
Dell and messing it up every time while she finally goes off to make
it on her own and...
70,000 WITNESSES (1932) ** 1/2 Phillips Holmes, Johnny Mack Brown,
and Charlie Ruggles in a tight precode murder mystery with a college
football background
CARNIVAL (1935) ** Lee Tracy manages to make this sentimental
melodrama work, as a marionette-show owner trying to raise his baby
boy with sidekick Jimmy Durante, completely unaware that his partner
Sally Eilers is in love with him.
Mon. Sept 6
One A.M. (1916) **** The most complete version yet of one of
Chaplin's best shorts, the better continuity giving a much stronger
feeling for how his live stage performances must have played
THE HOODLUM (1919) *** good Pickford message picture with a few plot
gaps, but a fine showcase for Pickford's talent at doing different
characters (this time in the same person)
NICE WOMEN (1931) *** 1/2 outstanding precode (extremely!) romantic
melodrama that turns a standard story of love & money into a
delightfully satiric look at society's standards and mores (despite
Cinebooks' scathing review of it!), helped tremendously by gorgeous
Frances Dee, precocious and incredibly blunt Sidney Fox, unflappable
Alan Mowbray, and long-suffering but big-hearted Carmel Myers
Popeye the Sailor Meets SIndbad the Sailor (1936) *** beautiful print
of first Technicolor Popeye cartoon
OKAY, AMERICA (1932) *** 1/2 powerful newspaper crime drama has Lew
Ayres as a powerful columnist with inside connections that can make or
break the rich and powerful; more of an early Warners feel than
Universal
A VILLAGE TALE (1935) *** interesting if grim and moody small town
melodrama of feuds, hypocrites and gossips is the "anti-Capra" but has
a powerful edge; reasonable resolution despite missing final reel
THE OLD FASHIONED WAY (1934) *** nitrate! classic Fields may not be
a perfect film as a whole, but contains many of his best bits and
one-liners, and is the perfect showcase for his mastery of the
reaction and brilliant timing.
----
After-dinner hotel room 16mm screenings, winding down to ease the
withdrawal symptoms:
SLIGHTLY SCARLET (1930) ** 1/2 enjoyable if predictable precode crime
comedy with Evelyn Brent and Clive Brook as competing jewel thieves
trying to relieve nouveau-riche Eugene Pallette, Helen Ware and
Virginia Bruce of a valuable necklace before they retire from the
racket.
SILENT WITNESS (1932) ** 1/2 A bit stagy but entertaining courtroom
murder mystery with Lionel Atwill trying to shield son Bramwell
Fletcher, who choked cynical mistress Greta Nissen then returns to
cute fiancee Helen Mack; surprise witness Billy Bevan finally ties up
all the loose ends!
-------------------
More multi-film themes that surfaced over the weekend...
small-town bigots, hypocrites, and secrets:
LIFE BEGINS AT FORTY, THE INTRUDER, A VILLAGE TALE, K THE UNKNOWN, THE
OLD FASHIONED WAY
marrying for love instead of money, also good sister/"bad" sister with
the first two
AFTER MIDNIGHT, NICE WOMEN, THAT CERTAIN THING
struggling artist-types in a friendly apartment building:
GIRL WITHOUT A ROOM, MY SISTER EILEEN
girls disguising themselves as boys
SHE LOVES ME NOT, THE CARDBOARD LOVER, War Mamas
topless scenes (actual or implied)
GIRL WITHOUT A ROOM (not to mention bottomless and ever so briefly
full frontal!), The Runt Page (okay, so they're 3 years old!), THE
CARDBOARD LOVER (okay, she's behind a screen), When Do We Eat (okay
they're not really, but the restaurant customers are supposed to think
they're not wearing anything, at any rate)
men with mistresses and/or switching girlfriends
SHARPSHOOTERS, AFTER MIDNIGHT, THE CARDBOARD LOVER, TRANSATLANTIC,
NICE WOMEN, SHE LOVES ME NOT, A Burglar to the Rescue, SILENT WITNESS,
SHOOT THE WORKS
--Chris Jacobs
http://www.und.edu/instruct/cjacobs/Website/MissMystic-homepage.htm
http://www.und.nodak.edu/instruct/cjacobs/Website/DarkHighways-home.htm
http://www.und.nodak.edu/instruct/cjacobs/
http://www.hpr1.com/movies.htm
http://www.nyfilmvideo.com
http://www.ruralroutefilms.com
http://www.und.edu/instruct/cjacobs/Website/DigitalMovies.htm
George Shelps
>MY SISTER EILEEN (1955) *** highly
>entertaining musical romance w/great
>color, scope, & stereo! Just a story of
>everyday life in Greenwich Village, right?
>Although I prefer features from the mid
>teens through the early 30s, this is the
>kind of 1950s feature that really does
>belong at conventions like Cinecon,
>especially in 35mm and stereo on a
>huge screen. It's definitely a part of the
>big studio era in both story and style.
You are correct, sir. The capability of
the Egyptian to play 50s scope and
stereo films should be further exploited
by Cinecon. That whole wonderful era
with its expressive use of wide screen
space (compared to today's video-centric visuals and Super 35 cropping)
and the richness of its sound deserves re-evaluation and an honored
place at Cinecon.
__________________________________
"The past is never dead. It's not even past."
__William Faulkner
Brent Walker
It's the Cat! (2004) and LIFE BEGINS AT FORTY (1935): Came in late
Thursday so I missed these, but I've seen both before, one a couple
months ago and the other in the last year. It's the Cat! is a great
homage to early cartoon styles and ...AT FORTY is probably my favorite
Will Rogers.
THE INTRUDER (1961): Saw it on USA Night Flight in the 80's, thought
it was good then, but it was even better this time with original
titles and on the big screen. A testament to Roger Corman's casting
abilities...I knew the cast was mostly local non-professionals, so I
assumed the two most violent racists in the film were well chosen
locals. Turned out both were in the audience for the
screening...writers William Clayton Johnson and William F. Nolan who
later wrote "Logan's Run."
Liberty (1916): Enjoyed the surviving snippets from this serial. Jack
Holt is like Leo White...he looked the same in 1916 as he did in the
40's!
Young Deer's Bravery (1909): I always enjoy seeing an early Bison, or
any early nickelodeon era films at Cinecon.
AFTER MIDNIGHT (1927): Better than I was expecting. Philip Sleeman,
who played the rich playboy, had some truly bizarre lumps and lines on
his face!
The Iron Claw (1941): I already forgot what the cliffhanging ending
was this time, but I'm sure I'll get a minute or two update at the
beginning of Chapter 4 next year.
SHARPSHOOTERS (1928): George O'Brien. SHARP SHOOTERS. I was expecting
a western, and was pleasantly surprised to find a post-McLaglen/Lowe
sailor buddy picture, with a rare large non-Harold Lloyd/Hal Roach
part for Noah Young. Also fun seeing William Demerest cast against
future type as the sleazy club owner. Running battle cry for the film
and 2004 Cinecon: "Hoist pants for action!"
ROBIN HOOD (1922): Jon's one man orchestra was tremendous! Another
observation: nobody who every did an satire/imitation of Douglas
Fairbanks body movements from ROBIN HOOD ever exaggerated a thing.
Scrappy's Television (1934): Not one of the better Scrappy's, also
light on the cameo appearances.
GIRL WITHOUT A ROOM (1933): This, along with THE CARDBOARD LOVER, tied
for my two favorite "new" (i.e. previously unseen by me) films at this
year's Cinecon. This got comparisons to Lubitsch, but it was way
wackier than Lubitsch could ever thing of being with the same
material...which for me was a good thing.
THE CAPTIVE (1915): Was glad to have seen this, though I didn't enjoy
it nearly as much as the more derivative THE GIRL OF THE GOLDEN WEST
from the same year, which Bob showed at the Broncho Billy Festival
earlier this year.
MY SISTER EILEEN (1955): Seeing and hearing Cinemascope and
Stereophonic sound at the Egyptian took me back to late last year and
the glorious 3D festival. An enjoyable musical if not a classic, and
nice to see Betty Garrett in a lead.
War Mamas (1931): A Hal Roach nitrate on the big screen is never a bad
thing. This wasn't one of the better Pitts & Todds though...wonder if
it would have been funnier if James Parrott had directed rather than
Mickey Neilan. (By the way...regarding Big Boy Williams'
"disappearance", he and Rocky Lane actually discuss that one of them
needs to go back over the lines for help and the other needs to stay
with the girls. They draw lots and Big Boy leaves.)
THAT CERTAIN THING (1928): Enjoyed this Capra comedy quite a bit.
Remember, always slice the ham thick!
THE DARK HORSE (1932): Loads of fun, with Warren William and the WB
stock co. in a fast moving political satire that was definitely
timely.
Nervous Shakedown (1947): Hugh Herbert Columbia had some laughs. It
probably didn't need to end with the remake of the gag from
SUPER-HOOPER-DYNE LIZZIES with Dudley Dickerson turning to dust after
seeing a skeleton...but it does, so what are you gonna do?
SHE LOVES ME NOT (1934): I enjoyed this, but I guess I didn't find it
as outstanding as many other Cinecon attendees did. I usually like
Miriam Hopkins but she annoyed me a little here, and Bing was still in
his Paramount "straight-jacket" period. I did like his duets with
Kitty Carlisle, though it always is strange to see the "streamlined"
Bing (with his ears glued back).
SAN ANTONIO ROSE (1941): I'd love to see more of these early Forties
Universal musicals at Cinecon! Nothing earthshattering, and don't
expect any shot that wasn't filmed inside a soundstage, but they can
be a very pleasant way to spend and hour - hour and a half.
Here Comes Flossie (1933): Why is it that I can enjoy Ben Blues from
the 1940's through the 1970's (when he was doing vaudeville routines
with Jack Albertson on TV), but in the Thirties (when he was in his
pasty Harry Langdon imitation guise) he annoys the heck out of me!
MARK OF THE RENEGADE (1951): Wish this one and TRANSATLANTIC had
switched places on the schedule.
Swing You Sinners (1930): Usually bizarre Fleischer cartoon.
K--THE UNKNOWN (1924): Nice to see this Universal melodrama, though
the plot twists became evident very early on.
THE LETTER (1929): One I had wanted to see for years. It didn't
disappoint because I was expecting a creaky 1928-29 Astoria studios
job. Jeanne Eagels was indeed fascinating, and I actually enjoyed the
abruptness of the ending (and how Eagels ramps up her performance
then). Loved the early tracking shot.
When Do We Eat (1934): Missed the first couple minutes--not as good as
the other Columbia musical shorts we've seen, but still fun. "Ah, a
fellow Filipino!"
THE CAT & THE CANARY (1927): Terrific resoration by Photoplay of a
great film.
A Burglar to the Rescue (1931): Enjoyed this early Shadow short.
TRANSATLANTIC (1931): At this point in the Cinecon, having driven
30-35 miles each way back home each night to get a little sleep and
then drive back, I was so conked by this point Saturday that I had to
leave. Wish this and MARK OF THE VIGILANTE had been in opposite
slots.
The Runt Page (1932): A Dogville comedy with kids.
THE CARDBOARD LOVER (1927): My other favorite "new" film of the
weekend. The "legs" scene, and the revelation of Nils Asther's comedy
abilities during the "mustard plaster sequence" (and don't forget
Tenen Holtz's performance) were the highlights. Not quite as good as
THE PATSY or SHOW PEOPLE, but really close.
WOMEN'S PRISON (1955): recorded it off the Mystery Channel so opted to
skip it for an early lunch.
Chicken Feathers (1927): Probably the best Anne Cornwall-Jack Duffy
short I've seen.
Sold at Auction (1923): I've had an 8mm print of this since the 70's,
and its always been one of my two favorite Snubs. It was great seeing
it in a very nice 16mm.
Ham and the Sausage Factory (1915): As bizarre as always.
Jonah Jones (1925): Saw this at Slapsticon and again here. Like a lot
of these mid to late 20's Lloyd Hamilton's, it's all over the place.
Having seen THE VAGRANT at Slapsticon, and several other earlier 20's
Hamiltons, which are all gems, I long to see more of early 20's Lloyd
when he was really on top of his game.
Bridge Wives (1931): What is it about bridge that drove people so
crazy? There are several Sennett talkies that also address the game,
but nothing as bonkers as Al St. John is in this one.
THE HOUSTON STORY (1956): Saw it 15 years ago but couldn't remember a
thing about it. Seeing it again, I saw why. Not the greatest
Columbia 50's crime drama (and there are MANY--NIGHTFALL, THE SNIPER,
MURDER BY CONTRACT, THE LINEUP, etc.) nor the greatest William Castle,
but Gene Barry does a good job and I'm glad he got to see it again
(even if he didn't remember making it).
Banquet: I still enjoy the banquet immensely. Especially so this
time, since I got to sit next to Beverly Garland, who is as sharp and
sassy in real life as the characters she usually played in Roger
Corman's films. At the end of the night she also gave the highlight
presentation speech.
One A.M. (1916): Great to see the new footage, including the
mountaineering sequence.
THE HOODLUM (1919): Not the greatest Pickford, but it definitely had a
lot of great moments, particularly in the early part a great showcase
of Pickford's abilities as a comedienne. Would've liked more from Max
Davidson and Andrew Arbuckle as the battling Jewish-Irish neighbors.
NICE WOMEN (1931): Started slow, but picked up and turned out to be a
quite racy precode.
Popeye the Sailor Meets Sindbad the Sailor (1936): Wow! Terrific to
see this restored. The 3D plane effects really come to life on the
big screen.
OKAY, AMERICA (1932): I really liked this one, even if--as some people
say--Lee Tracy would've been better than Lew Ayres. I liked the
surprising ending.
A VILLAGE TALE (1935): I've commented elsewhere on this one. I didn't
care much for it (and don't think the last reel would've saved it for
me).
THE OLD FASHIONED WAY (1934): Probably the 15th or 20th time I've seen
it over the years, but the first in nitrate on the big screen. What a
wonderful capsule of the 1890's vaudeville life.
All in all, one of the best Cinecons I've attended. Being able to see
all these films in a technically advanced theater, and adding both
nitrate and Cinemascope this year, really keeps Cinecon as an
important yearly event. Keep up the good work, all you
volunteers--and it's important to remember that they are volunteers (I
saw some very ugly and unneeded anti-social behavior on Thursday night
on the part of a couple people--getting ridiculously irate because the
program books were just slightly late arriving. Get a grip on life,
people, and a little perspective.).
Brent Walker
Lokke Heiss
> MY SISTER EILEEN (1955): Seeing and hearing Cinemascope and
> Stereophonic sound at the Egyptian took me back to late last year and
> the glorious 3D festival. An enjoyable musical if not a classic, and
> nice to see Betty Garrett in a lead.
A good point about the the pleasure of a wide screen, color film.
Cinecon tends to be a black and white world, but we might as well take
advantage of the Egyptian theater screen.
> THAT CERTAIN THING (1928): Enjoyed this Capra comedy quite a bit.
> Remember, always slice the ham thick!
>
In Capra's bio, he talks about making That Certain Thing on the cheap.
They were so cheap that the box lunches we see were real, that is,
they were the food that was given to the crew. Where else but
Columbia would you figure out how to eat your own props?
Highlights for me:
San Antonia Rose--Discovering the new comedy team of Chaney and
Howard. Shemp and Wolfie? Who knew?
OK America--If you can't beat 'em, shoot 'em.
Nice Women--why we all love Pre-Codes...watch out for those afternoon
trips to your boyfriend's apartment.
My Sister Eileen--Best scene? Forget the challenge dance with Fosse
and Rall. I'll go with Jack Lemmon's hilarious seduction song with
Betty Garrett.
Mark of the Renegade--it quickly became apparent the point of this
Zorro without the "Z" story was Ricardo Montalban as Object, and how
many
changes of clothes could the script put him in? I counted six (we
must include his buff barechested scene when he jumps out of his
bedroom onto a horse. Nice to see Man As Cheesecake for a change.)
The scene when he breaks his arm is very strange. Anyone know if he
could have really hurt his arm?
K the Unknown--about a man named K, a story about what would have
happened to Franz Joseph Kafka if he'd been a brilliant but
misunderstood surgeon instead of a brilliant but misunderstood
cockroach.
The Intruder--one of those times when a guest really added to the
film, as Roger Corman talked of his problems of making the movie in
Missouri.
The Dark Horse--can a film ever be "too topical"? Seventy-five
minutes of recogition cringing.
Girl Without a Room--a little too obvious to be faux Lubitsch, but I
did enjoy the amazing wrestling scene. Boy, that scene must have been
fun to do.
The great old favorites, Robin Hood and Cat and Canary (although each
was two reels too long)....
And the most amazing film of the weekend, The Letter. How often does
all that hype really come through? How amazing is it to strike gold,
on basically, one's first attempt to do a sound film? The sound is
primitive, but I think the movie works almost better because it is so
primitive; it gives it a raw, uncensored feel to it. And Jeanne
Eagels. Holy smoke, what a performance! How many Oscars would she
have piled up if she'd been able to throw the monkey off her back? Of
course that begs the question of how much her monkey was part of her
performance. (To exlain: Eagels died of a heroin overdose in 1929.)
Stephen Cooke
On 10 Sep 2004, Lokke Heiss wrote:
> >
> In Capra's bio, he talks about making That Certain Thing on the cheap.
> They were so cheap that the box lunches we see were real, that is,
> they were the food that was given to the crew. Where else but
> Columbia would you figure out how to eat your own props?
In a Chaz Chase short?
swac
Not to be confused with the porno star Chaz Chase...
Precode
Who certainly ate some strange things herself...
Mike S.
Stephen Cooke
I've heard her films promote a lot of mastication.
swac