Fallout

Nov. 25th, 2012 08:45 am
onyxlynx: BxW F. Lang & T. von Harbou each reading. (Fritz Lang Thea von Harbou)
[personal profile] onyxlynx
Film prints, digital cinema, and preservation.
But studios and archives are also reluctant to loan films because projecting them eventually destroys them. Each pass through a projector, no matter how well maintained, leads to scratching and fading. When I tried to screen 35mm materials at the Library of Congress, Mike Mashon, head of the moving image section at the Library's Packard Campus for Audio Visual Conservation in Culpeper, Virginia, told me that, "Every 35mm print now has to be considered an archival print." In other words, they can't run through a machine.
"El lenguaje del cine" is going to have some stretches of hieroglyphics, cuneiform, and Linear B at this rate.
onyxlynx: BxW F. Lang & T. von Harbou each reading. (Fritz Lang Thea von Harbou)
[personal profile] onyxlynx
 The US National Film Preservation Foundation is streaming footage from The White Shadow (non-Ken Howard), for which Alfred Hitchcock wrote and edited, and was assistant director and art director.  The footage will be available for two months (approximately until January 16) at the link.  (Mentioned here last year.)

Via the CBC, which has a bit of information.
onyxlynx: BxW F. Lang & T. von Harbou each reading. (Fritz Lang Thea von Harbou)
[personal profile] onyxlynx
Yes, I know, it's been a while.

All of Alfred Hitchcock's cameos
(a video on Roger Ebert's blog) including his early movies. I mentioned Hitchcock's little penchant at someone once. So.

I missed Ghostbusters and Frankenstein.  If I need a Christmas movie fix, it will have to be Miracle on 34th Street.  No, the real one.
laughingrat: Damn the Man! (Babel)
[personal profile] laughingrat
Recovered 1927 Metropolis Film Program Goes Behind the Scenes of a Sci-Fi Masterpiece
Now, a remarkable 32-page theater program from Metropolis’ 1927 debut has surfaced at a well-known rare book shop in London, which scanned it and shared some pages with Wired. The program was created for the premiere of Metropolis at London’s Marble Arch Pavilion, and it’s packed with firsthand anecdotes from the making of the movie, and some stunning photographs. Only three surviving copies of this program are known to exist, according to the Peter Harrington rare book shop, which has its copy on sale for 2,750 pounds ($4,244).
onyxlynx: BxW F. Lang & T. von Harbou each reading. (Fritz Lang Thea von Harbou)
[personal profile] onyxlynx
 Paramount Theatre's current slate of "classic" films a mere 35 or fewer years old.  (They will still be shown with newsreel and cartoon and previews, but we know that by the late '70s newsreels were of the past.)

I'll probably still go to see Ghostbusters, though.
kareila: (Default)
[personal profile] kareila
http://www.imdb.com/title/tt0038348/

I sought this out at my local library because I saw a review online claiming this was the best cinematic adaptation of a fairy tale yet to be filmed. I don't quite agree with that, but there is a great deal here of interest.

This is a black and white, French language film. The subtitles are adequate but fail to capture certain subtleties of the dialogue, such as the delightful moment when Beauty switches from calling Beast "la bête" (the beast) to "ma bête" (my beast). Both are simply subtitled as "Beast!" in the version I watched.

The special effects are impressive. Unseen hands tend to Beauty. Statues come to life. The Beast's hands smoke whenever he kills. And the ending... I don't want to spoil it, but it is lovely.

If you want to spend an hour and a half on some old-fashioned character development and cinematic sleight of hand, this is a good pick.

Recreation

Jan. 21st, 2012 08:43 am
onyxlynx: BxW F. Lang & T. von Harbou each reading. (Fritz Lang Thea von Harbou)
[personal profile] onyxlynx
Anne of Green Gables (the silent) recreated, sort of, by Canadian collectors (the video plays two [2] commercials before the story, which is annoying) from 21 stills and a score.
laughingrat: A detail of leaping rats from an original movie poster for the first film of Nosferatu (Default)
[personal profile] laughingrat
Normally I wouldn't post what amounts to an ad in here (at least not an ad for Amazon.com), but this pre-Code set, which I've watched before and which is legitimately excellent-quality, is on huge sale right now. Normally $50, now $13. Probably limited time, as these things are. I snapped up a copy and wanted to give fellow film peeps a heads-up.
ar: Lady Mary Crawley facing away from the camera in a red dress, walking towards an unknown destination. (downton abbey - mary wandering)
[personal profile] ar
It's always fun to hear what people have watched and what they thought about it! Maybe we can get some ideas from each other. Tell us about a couple of movies you've been thinking about lately--either because you just watched them or because you've been meaning to.

This morning, I finally got around to watching the 1966 A Man for All Seasons, which I taped off TCM back in February. And I loved it to pieces. The performances were great--Orson Welles was so good as Cardinal Wolsey, and Paul Scofield just owned St. Thomas More--and I really enjoyed the writing a lot. It was funnier than I was expecting it to be, and even though I knew what was going to happen, I was still really engrossed in seeing it all unfold. (And, speaking as a Catholic, it was nice to see the story of someone so principled and stalwart when facing the dangers he did.)

Meanwhile, I've been meaning to watch more of the films from a collection of 50 musicals on DVD that I bought a while back. It's all B-musicals, which are basically my favourite, and while the stories are incredibly slight, they feature performances of some incredibly talented musicians. I found the collection for $10, which works out to something like twenty cents a movie--and at a price like that, I can highly recommend the collection to anyone interested in the more disposable pictures Hollywood put out in the 40s and 50s. (I'm getting to be a big fan of boxfuls of movies like this one--I've also got one of horror and monster movies from the first half of the 20th century. They're bare-bones collections, but you're getting one heck of a bang for your buck! And sometimes the films can be near-impossible to find outside them.)
onyxlynx: BxW F. Lang & T. von Harbou each reading. (Fritz Lang Thea von Harbou)
[personal profile] onyxlynx
I like watching people fall in love onscreen so much that I can suspend my disbelief in the contrived situations that occur only in the heightened world of romantic comedies. I have come to enjoy the moment when the male lead, say, slips and falls right on top of the expensive wedding cake. I actually feel robbed when the female lead’s dress doesn’t get torn open at a baseball game while the JumboTron camera is on her. I regard romantic comedies as a subgenre of sci-fi, in which the world operates according to different rules than my regular human world. For me, there is no difference between Ripley from “Alien” and any Katherine Heigl character. They are equally implausible.
--Mindy Kaling, The New Yorker.  

With list of "implausible" female staples of romantic comedy, some of which go all the way back to the silents, although she doesn't mention that (it is a humor piece, after all), several postdating the screwball comedy.  

I had not seen quite so much dominant narrative all in one place.
laughingrat: Buster in a diving suit, from "The Navigator" (Goin to the Moon--Keaton)
[personal profile] laughingrat
I was really happy to see info in the new Criterion newsletter about this! Apparently they've restored the 1925 version, rather than the 1942 re-release that had an added narration track with several scenes cut. For a lot of folks, the narration track is like nails on a blackboard, and it definitely reduces the ambiguity that makes silent comedy so interesting and funny. This blurb talks a little about the restoration and has info about a NYC screening during the New York Film Festival.
glinda: I want everything I've ever seen in the movies (movies)
[personal profile] glinda
So during my hosting week back in August, I promised to do a couple of posts on silent film. And then had to run away to Wales for work stuff and never posted them...literally, I opened the file I was writing this one in and it cuts off half-way through a sentence. Who knows what the end of that sentence was originally going to be...

The film I’ve chosen to write about is The Great White Silence (1924), which is a documentary of the Scott Expedition to the South Pole. Recently restored by the BFI. The film’s director was the expedition’s photographer, so the film has more in common with what modern viewers would associate with the term ‘documentary’ than many other surviving films of the period.

The early passages of the film contain several typical staged for camera events, with the crew performing some dances and sea shanties, along with a boxing match, that would not have looked out in many other early non-fiction films. However, as the film develops, it becomes increasingly a document of the journey, as though the photographer has taken over from the film-maker and though there are certainly staged moments they are largely more of the ‘stand still while I take this photograph kind’ than anything else. In fact there is a large section in the middle of the film where it essentially becomes a nature documentary.

A lifetime of documentaries on penguins assures me that a great deal of his assumptions about gendered penguin behaviour is wrong, but nonetheless, it remains pretty pioneering nature documentary, especially with regard to the seals. In fact his references to techniques for filming them (pretty much setting up near a blow hole and waiting for something interesting to happen) would probably be quite recognisable to modern nature documentary makers.

There’s even a really surreal moment where a couple of the crew of the ship (clearly very bored by this point) are herding a group of penguins around on the ice. The behaviour veers from being like a couple of sheep dogs herding some sheep to that of a couple of small kids let loose amongst a flock of pigeons. Unfortunately for the penguins they cannot fly away.

Part of the restoration process has involved the recreation of the original tinting of sections of the film. Which is the main follow pretty simple conventions – sections in the warmth of New Zealand are yellow, those in the Antarctic are blue – but others are a little more artistic. For example at one point a title card appears with its text in vivid magenta, which seems unlikely until the shot resolves into the sun setting behind an icy mountain and we understand that the director was recreating the colour of the sunset and how that helps to ground the audience in the place. Giving a hint at the majesty and unreality of being in such a place.

I would like to be able to put this film in context with contemporaneous British documentaries, but unfortunately while there are lots of books on the documentary tradition in Britain; they all have a tendency to start with Grierson and co and work forward from there. Without really giving much attention to any documentary/proto-documentary makers who happened to make films prior to 1926. Though I did discover that, unlike in many other countries, fiction and factual film developed almost entirely separately in that period with little crossover between and entirely separate/different economic models.
laughingrat: Carole Lombard and William Powell exchange a glance in "My Man Godfrey" (Godfrey)
[personal profile] laughingrat
Every so often I'll hear someone say, "That movie would have been so much better if X was cast in it instead." I'll admit it, though: I'm terrible at envisioning that sort of thing (although I am pretty happy that George Raft turned down The Maltese Falcon), although it's always interesting to hear others' thoughts about it. Are there any classic films you think would have been better with a different cast?
kareila: (Default)
[personal profile] kareila
Today is Alfred Hitchcock's 112th birthday, and to celebrate, Mental Floss has posted a list of 13 Hitchcock Films That Were Never Made. Someone posted a link to the screenplay for "Mary Rose" in the comments, for the curious.
glinda: I want everything I've ever seen in the movies (movies)
[personal profile] glinda
Hello! I'm [personal profile] glinda and I'll be your host this week. I'm planning on posting about silent cinema tomorrow so I thought I'd garner your thoughts on the subject.

How do you feel about cinemas doing live musical accompaniments to silent film showings? An essential part of the proceedings? Take it or leave it? Utterly pretentious and off-putting?

Also restoration of silent films, which films are you longing to see restored to their former glory and which should have been left to moulder? Should they try to restore the original colour choices (tinting and toning etc) or is early colour experimentation best forgotten in favour for a crisp black and white?

Half Hitch

Aug. 3rd, 2011 11:39 pm
onyxlynx: The words "Onyx" and "Lynx" with x superimposed (Default)
[personal profile] onyxlynx
Three reels of a six-reel feature thought to be earliest Alfred Hitchcock movie have turned up in New Zealand.
themis: Two cups of coffee. (m: coffee)
[personal profile] themis
Hi! I'm [personal profile] themis, and I'm your host for this week. I'm coming in a bit late because when I said "sure, the week of the 31st should be fine!" I didn't remember that this was also the week I would take the GRE. So, a lot of good decision making there. Anyway, I'm here now, and I thought I'd start a discussion on tracking down harder to find films/people.

I'm a completist with a short attention span. When I see someone I like, I try to track them down to other films, but I do get distracted. Almost inevitably, the actor's worked either primarily in silents or in foreign film. Has Gunnar Bjornstrand been in movies by people other than Ingmar Bergman? Probably. Have I managed to see any of these movies? Ah, well - no. (Luckily, Bjornstrand's in a whole bunch of Bergman movies.)

It's a lot easier to track down movies starring Anna May Wong than it was even three or four years ago. It's a lot easier to find information on her generally, too, which is great.

But then, of course, there's a really good reason many of these movies have been lost, or haven't transferred over to the US. That reason is, naturally, that they are terrible. (And a lot of the surviving ones are too, of course.)

Watching the terrible movies is always sort of a weird contradictory experience. On the one hand, you're thrilled you've managed to locate this new movie, that shows you another facet of whomever it is - Anton Walbrook, Sessue Hayakawa - and on the other hand, it's not really enjoyable at all. But I don't think I've ever been willing to give this process up, however many disappointments there are.

So, who are you willing to sacrifice hours of enjoyment for? Do you drag other people along with you?
onyxlynx: The words "Onyx" and "Lynx" with x superimposed (Default)
[personal profile] onyxlynx
I am on record in several places as giving movie remakes the hairy eyeball. Whenever I hear that some beloved but less than 15-years-old movie is being remade, I reach for my revolver weep for the lack of creative mojo that privileges remakes and sequels over new stories, or at least narratives with the serial numbers filed off and repainted.

The current worst offender in this regard is the upcoming The Amazing Spider-Man, which is coming out in 2012, a mere 10 years after Spider-Man (yes, I know it's called a "re-boot" rather than a remake and it uses a different villain, but retelling the origin story? Please), for no apparent reason other than to rake in loose cash from people who can't deal with Netflix or the local video store.

That said, there are (1) good reasons to remake a movie and (2) remakes/reboots that don't stink.

  1. "Good" reasons to remake a film include:
    • "Doing it right." The Maltese Falcon we all know and love? Had been made twice before. The classic version sticks pretty close to the book.
    • Telling the story free of censorship issues. Yes, I know that hidden subtext makes a work more interesting, but it's not really necessary anymore.
    • Taking a movie problematic for various social issues and scripting it so that it, um, isn't. (This doesn't actually happen too often.)
    • A couple of generations have passed since the last version. This requires that:
      • The film in question is not ICONIC. There is no acceptable reason to remake certain movies.
      • The source material for the film in question retains enough interest on its own. ("Jaaaaaane...!")
      • The film in question has already been remade and possibly parodied as well, but not recently. Captain Blood might be remade. The Three Musketeers has been in continuous remake since 1903.
      • The earlier version is a silent but has some relevance.
      I don't by this mean either "but funny costumes to the young" or "no recognizable names."
  2. Having mentioned The Three Musketeers: I don't think I've ever seen a bad version (I haven't seen the current one only because it hasn't opened yet).  (Just because the modern sensibility is heavy-handedness does not mean that the occasional light touch doesn't happen.)
    • A Fistful of Dollars.
    • Batman Begins/The Dark Knight.
    • The current Jane Eyre, oddly enough.
    • The 1995 Pride and Prejudice. (There's been one since. If they must film English literature, couldn't someone untangle Wuthering Heights? Depressing though it is?)
    • The Thing. Which seems to be un-ruin-able.
As usual, feel free to add your own items to either list, or dispute mine.  I'm not proud.  
onyxlynx: BxW F. Lang & T. von Harbou each reading. (Fritz Lang Thea von Harbou)
[personal profile] onyxlynx
As I mentioned a day or two or possibly six ago, there was a post by [personal profile] laughingrat , mostly about a movie about LARPers. I think I have in fact seen the trailer. Eh. Anyway, toward the end of the post, Rat mused:
"You know, the thing about movies from 1900ish to 1950 is that they're full of sexism and racism. But somehow, with only a few exceptions, they didn't manage to be nearly as full of shit as the movies full of sexism and racism being put out today."
I noticed this because with a few exceptions there are no "screwball" comedies after the late '40s, and I've long suspected there is a connection.

Mind you, I don't necessarily know where or what that connection is.

(The least likely reason is that Cary Grant took roles more befitting his age and acting chops, and there was only one Cary Grant.)

Comedy is a deeply conservative art (damnit, I need footnotes!); some of the things that trigger laughter are perceived incongruity (something not as it should be), sudden misfortunes of others, and people digging themselves more deeply into trouble.  Comedy is a safe way of upending the universe because it dictates that the universe be restored at end.  In "proper" order.  Remember all those happy ending marriages in Shakespearean comedy?  

I do not believe there is a conscious massive conspiracy to reinforce and strengthen what would be considered hierarchic social structure.  Most of the action on that front is unconscious, subconscious, and "the way we've always done things."  The way this kind of social structure perpetuates itself is through constant repetition.  Media--literature, music, performance art, radio, TV, newspapers--do the job of repetition.

Aaaaannnnnddd...  this will require plagiarism research.  I am pretty sure World War II had an effect on visible and invisible racism and sexism.  Also, the process of recycling and remaking had already begun back in the silent era.  The late '40s saw (middle and upper-class, and in some cases working class) women being forced into domesticity strongly discouraged from working outside the home.  One of the possibilities, paradoxically, is that naming behavior patterns as sexism and racism makes them more visible and more obvious,  I'm going to hope that that's not it.  But my brain is shutting down at intervals, including during the noisy game I was playing to distract myself.  Oooops.
onyxlynx: BxW F. Lang & T. von Harbou each reading. (Fritz Lang Thea von Harbou)
[personal profile] onyxlynx
Hello, I'm onyxlynx, occasional contributor to this forum, and I'll be your host for this week.

What I had planned on being boring about dissecting in a wide-ranging essay was remakes. This is not a new subject here (June 2009, anyone?), but I wanted to get at good reasons for remaking a movie, as opposed to "Somewhere somebody still has a nickel."

Unfortunately, that will have to wait; [personal profile] laughingrat posted on patriarchist tropes having infected even non-major-studio filmmaking, and there was a (mercifully) brief outbreak elseweb of people in countries not Norway claiming to know What They Would Do if faced with a gunman while unarmed and on an island. And that last reminded me a lot of Roger Ebert's Movie Glossary, which features a daily poke at cinematic cliché, as submitted by his readers. Which brought up *sigh* Flick Physics, or the Laws of Improbability.

Cartoons of course obey the Laws of Improbability; they're supposed to. Cartoons that restrict themselves to reality aren't funny. The whole point of a cartoon is the violation of physical possibility. Where I get antsy is action-fantasy movies where people do things like outrun fireballs.

There are certain givens of movie plotting that are probably not dispensable. If the assassin from the Sekrit Conspiracy hits the Spy with Amnesia with the first bullet, the movie is over. We get that. There have to be at least 2 acts of total stupidity in a romantic comedy before the designated couple can be together. We get that (we may not like it, but we get it). If the protagonists don't outrun the fireball in the disaster movie, it's too downbeat and realistic to make money. We get that. We get it even though we know the fireball has sucked up all the oxygen and is going rather faster than 5 mph.

This is why I have to believe that hobbits have very different biology from humans: They can survive high heat and toxic gases.

No scriptwriter has ever heard of concussions. Philip Marlowe at the end of his career must have been punchy from being hit in the head that often; football players at least had helmets, not that that helped much.

No set designer believes in railings and barriers to prevent people from accidentally falling from high places. Of course, this just heightens suspense if there's a swordfight going on, but what about the rest of the time? Aren't there children and sleepwalkers and blind people and drunk/drugged people and folks who are just there hanging out in the towers? (And why encourage suicide?)

There are other examples, which I'm going to let you provide, because I bought the deluxe edition of A Hard Day's Night, and now I can't find it.



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