This is my contribution to the Film Preservation Blogathon, being hosted for its final day (May 17) by Sam and Allan at Wonders in the Dark. The blogathon aims to raise funds for the restoration of the intriguingly titled 1918 silent film Cupid in Quarantine, a Strand comedy which is centred on a couple trying to start a smallpox outbreak! To support this cause, please scroll down to the bottom for the donation button, and do visit Wonders and the other host blogs, Ferdy on Films and This Island Rod.
Science fiction is the loose theme of the Film Preservation Blogathon. In all honesty, the comedy-drama Trapped by Television, starring Mary Astor, Lyle Talbot and Nat Pendleton (all pre-Code veterans),doesn’t entirely fit the bill. However, this film does take off from the science fact of the time, as it focuses on efforts to develop the first TV sets. It also seemed an appropriate choice because it’s one of the many movies which have landed up in the public domain. This means they are freely available on the internet and on many cheap DVDs – but also usually means nobody is prepared to fund a restoration. Trapped by Television is actually in a better state than many of the films existing in this sad copyright limbo, but still suffers from a rather grey picture and some surface noise. Watching it is a reminder of why it’s so essential to preserve and restore our film heritage. I watched the movie at Archive.org, but I think the picture quality is slightly better at http://free-classic-movies.com/.
Katharine Hepburn in one of the amazing costumes created by Walter Plunkett
On paper, it ought to have been so good. A great director, John Ford, a great star, Katharine Hepburn, and a legendary story of rivalry between two queens. Yet somehow on the screen this historical spectacular doesn’t live up to its pedigree. It’s a slow and often boring film, despite its atmospheric, shadowy lighting, lavish art direction and evocative score by Nathaniel Shilkret, featuring snatches from many Scottish folk songs. There are some memorable patches, but the film as a whole doesn’t live up to its best scenes.
Ford famously “printed the legend” rather than worrying about historical accuracy, and that’s certainly the case here. The film turns Mary into a tragic heroine and her controversial relationship with Bothwell, played by Frederic March, into a picturesque romance. Of course, biopics and historical dramas always reshape events, and this one does that shaping from a pro-Stuart, anti-Tudor angle, editing out facts and speculation which work against its chosen story. Many dramas taking Elizabeth as the heroine have done just the opposite.
This is my contribution to the Pre-Code Blogathon, organised by Danny of Pre-Code.com and Karen of Shadows and Satin. Please take a look at the other postings – there’s a wide range of films being covered.
Marlene Dietrich’s series of films made with Josef von Sternberg are her most famous pre-Codes. As a result, The Song of Songs, made by another great director, Rouben Mamoulian, tends to be overlooked. However, here too she gives a powerful and varied performance, in a film which is packed with pre-Code content and really pushes the boundaries. I was lucky enough to see this film during the recent pre-Code season at the BFI in London, and Victor Milner’s cinematography makes a powerful impression on the big screen. It’s also available to watch on DVD – I have the standard DVD from Universal in the UK/region 2, which doesn’t feature any extras. In region 1 it’s been issued on a more expensive DVD-R from Universal and TCM.
The excellent cast includes Brian Aherne and Lionel Atwill as the two men in Dietrich’s life, but this is her film all the way, giving her a chance to put several different spins on her screen persona. She also sings two great songs, which encapsulate those different versions of her personality.
This is my contribution to the Russia in Classic Film blogathon, being organised by Movies Silently. Please take a look at the great range of posts on films, stars and directors with Russian links.
Anna Sten in Nana, from the Doctor Macro website
She’s known as ‘Goldwyn’s Folly’ – if she gets a mention at all, that is. But, after seeing a few of her films, I feel that actress Anna Sten deserves more recognition. The Russian star was a victim of over-hype by the studio – with failed attempts to turn her into the “new” Garbo or Dietrich, rather than creating an image around her own screen personality. She was also advertised as the “Passionate Peasant”, which didn’t sit well with the glamorous photos used to celebrate her beauty.
Either because of too much publicity, the studio’s choice of roles or for some other reason, Sten failed to set the box office alight. That’s not in doubt… but I do get fed up with the claims in reviews of some of her films that she “couldn’t act” or “lacked talent”. Her success before arriving in the US surely proves the opposite – and her acting ability also shines through in the films she did make in Hollywood.
Born in Kiev, probably in 1908 though records vary, Anna was half Ukrainian and half-Swedish. She attended theatre school and, after being discovered by legendary theatre director Stanislavsky, appeared on stage and in a number of Russian and German silent films. She went on to star in German talkies, including an acclaimed production of The Brothers Karamazov made in 1931 – I’ve just seen this and it’s a forgotten gem.
A blogathon in honour of actress Madeleine Carroll is currently running, to mark what would have been her 99th birthday. I’ve posted a review of her little-known British film Fascination from 1931, which has just been released on DVD in the UK, over at my other blog, British Film Classics, as my contribution. Please do take a look, and also visit the other websites taking part!
This is my contribution to the Miriam Hopkins Blogathon, which is running from January 22 to 25. Please do visit and read the other postings!
I’ll admit I expected a lot from Becky Sharp. It has a great star, Miriam Hopkins, in a powerful role giving her plenty of scope, and a great director – Mamoulian, who made such classic pre-Codes as Dr Jekyll and Mr Hyde and Love Me Tonight. It’s adapted from one of the best-known Victorian novels, Thackeray’s glittering satire Vanity Fair, set around the Battle of Waterloo. And, what’s more, it was the first full-length feature ever made in glorious three-strip Technicolor. What’s not to love?
The movie didn’t quite live up to my expectations, though it certainly has its moments and I’m very glad to have seen it. One problem is that it seems to be hard to get hold of a decent print. This film has fallen into the public domain, so many versions around on the net and on DVD are almost unwatchable – very sad, since early Technicolor can look fantastic if properly restored. There is a version restored by UCLA, but this isn’t available on DVD, although it is sometimes shown on TCM in the US.
A Happy New Year to all readers of my blog, and thanks very much for your support, visits, comments and ‘likes’ during 2014. I’m hoping to post a bit more regularly here over the coming 12 months, so watch this space.
A while back, I launched a series of mini-reviews mentioning 5 films on a particular theme – I’m now resurrecting the idea for a quick look at some movies about New Year, in no particular order.
1. Cavalcade (Frank Lloyd, 1933): I’ve just got round to watching this pre-Code, an adaptation of a stage play by Noel Coward which revolves around a series of tableaux centred on momentous events in British life. It begins with New Year’s Eve at the dawn of the 20th century, and runs through to New Year’s Eve 1933. The way it blends together the story of two families above and below stairs clearly shows the way forward to TV series such as Downton Abbey and Upstairs Downstairs, while the intensely-felt central performance of Diana Wynyard as an aristocratic mother at times reminded me of Celia Johnson in Coward’s later classic, Brief Encounter. I really enjoyed it, despite the fact that many people don’t. Anyway, yes, it is episodic, but what great episodes. Also, the music is excellent, especially Ursula Jeans’ performance of Coward’s song Twentieth Century Blues – even if you don’t want to see the whole film, just treat yourself to this clip!