Tag Archives: Program Notes

William S. Hart, Repetition Compulsion, and Us

Every other week, we seem to get a new lament about the End of Cinema. Usually, the blame falls on modern Hollywood and its infantilizing comic book movies. Never before in the history of movies, claims David Denby in The New Republic, was so much attention and capital devoted to an endless succession of sequels aimed at ten-year-old boys. The eight-decade reign of Adult Movies is a distant memory. Continue reading

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The Old Way of Getting It Out: An Interview with Lucy Massie Phenix About You Got to Move

Everyone brings their own personal baggage to the movies, and I don’t think I’m alone in treating them too readily as literature. Much of the vocabulary we apply to film comes from long-ago high school English classes. We assume that every detail is a puzzle piece that leads inexorably to a deliberate display of thematic unity and artistic expression. Analyze this film, we’re asked, and we begin to point out a camera movement like it’s an enjambment in a poem. We’re blessed with a bag of critical tools but we apply them as if every work is a self-contained thing that we can understand without leaving the house. Continue reading

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IB, Therefore …

Between fuzzy adolescent memories and Amazing Dreamcoats, getting a real fix on Technicolor has always been difficult. A dizzying example of total branding supremacy, Technicolor was not just a process but cultural shorthand for a certain kind of overripe, retina-scarring engagement with the world around us. (It was a Hollywood fantasy, and an irresponsible one.) With the name used as adjective to describe anything from a candy store to a brilliant automobile, it’s time to husk away the shades of grey. Continue reading

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Early Talkies: A Primer

Acquired Tastes
If one wanted, for whatever reason, to sketch a dividing line between the casual movie fan and the serious cinephile, the early talkies are probably the place to do it.

Their stars are unfamiliar—flashes-in-the-pan whose popularity is more mysterious and unaccountable than those that came immediately before and after. (Modern audiences instinctively understand the magnetism and sexuality of Valentino and Garbo or Stanwyck and Gabin; not so El Brendel, whose narrow ethnic burlesque is such an acquired taste that it beggars belief he was ever accorded starring roles in big-budget specials.)

Too often, discussion of the earliest sound movies (say, between 1928 and 1932, but especially those made before the summer of 1930) is heavily laced with apology. It’s assumed that they’re successful in spite of incontrovertible deficiencies. Their music often comes across as a soupy, repetitive mess. The sets are sometimes barely dressed. The takes are long and the camera movement minimal. The dialogue is so heavy it’s no wonder they were called talkies. Continue reading

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Instant Cinema: Home Movies and the Avant-Garde

Since avant-garde movies first attracted a substantial audience in America under the auspices of indecency and subversion of established ideas about politics, art, society, and especially sexuality, many don’t expect that such films can also be exceedingly gentle, even reverential towards their subjects. Continue reading

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The Demon in the Machine: Approaching Tony Scott

“Sometimes miniature electric train cars simply will not stay coupled. At some crucial tunnel, curve, or grade, the locomotive charges forward, leaving uncoupled cars behind and possibly derailed. It often seems that extra exertion at switches, curves, and grades has something to do with the uncoupling.

“Much, perhaps most, of the film footage that you project is coupled into “trains.” Like those miniature trains, films must stay coupled and on track through something like tunnels, curves, and grades, and switches. Therefore, couplings—let’s, of course, call them splices or joins—are crucial. Making good splices is one of your key responsibilities as a film handler. ”

The Kodak Book of Film Care, 1st Edition, 1983 Continue reading

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Resurrecting Stage Struck

If a major American studio falls in the forest, does it make a sound?

To the average movie fan in 1956, probably not. For those who got their Hollywood news from Hedda Hopper’s syndicated newspaper column, RKO’s Stage Struck sounded like business as usual, with casting news and production leaks coming at regular intervals. Early chatter had pegged Jean Simmons for the starring role of ingénue actress Eva Lovelace, but Bill Dozier, Joan Fontaine’s ex-husband and producer of high-class fare like Letter from Unknown Woman, now held the reins at the newly restructured RKO and had his sights set on Susan Strasberg. The 18-year-old actress, daughter of legendary acting instructor and Method prophet Lee Strasberg, had already acquitted herself with supporting parts in Picnic and The Cobweb, but her profile had been raised immeasurably by the Broadway success of The Diary of Anne Frank, then in the midst of a run that would exceed 700 performances. Strasberg was signed. Cameras would roll in January 1957 in New York City.

Henry Fonda’s participation was announced in August 1956. That same month, Sidney Lumet was attached as director. This spoke to enormous confidence in the theater- and television-trained Lumet, whose feature debut 12 Angry Men had already been shot but would not be released by United Artists until the following spring. Herbert Marshall was added to the rolls in September and Christopher Plummer in December.

After the shoot began the following month, Walter Winchell fanned whispers that Strasberg had been romancing James MacArthur, her co-star in the upcoming Underdog. (The son of Helen Hayes, MacArthur suggested a parallel, irresistible case of theatrical royalty.) Another syndicated columnist, Leonard Lyons, noted that the Stage Struck crew had briefly rendezvoused with the FBI when the feds paid a visit to photograph the Commies assembling at the Chateau Garden next door. The Washington Post reported on Mrs. Lee Strasberg watching her daughter with “hawklike intentness” every day on the set. “Isn’t she amazing?,” the stage mother asked. “How her grandfather would have adored her. She just IS theater, isn’t she?” Talk about Method. Continue reading

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Moving Pictures That Move: House of Bamboo in CinemaScope

Would some films not exist at all but for their aspect ratios?

Put another way: although we tend now to think of aspect ratios as somewhat perfunctory aesthetic choices made during the preproduction process, the equation was almost exactly reversed at the dawn of the widescreen era. The shape of the screen was the engine that drove everything else and, in some cases, dictated the content before the cameras.

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Invasion of the Aspect Ratios

This week’s feature, Invasion of the Body Snatchers, has long been regarded as a political hot potato. Like High Noon, it’s either a preachment for vigilance in the face of a Communistic menace or a cautionary allegory of a conformist overreaction to that selfsame menace. But for a certain kind of cinephile, the aspect ratio of Invasion of the Body Snatchers is just as contested as its ideological underpinnings. Moviegoers shouldn’t be passive pods for received wisdom, so we thought it would be edifying to discuss the context of theatrical exhibitions in the 1950s and beyond. – Eds. 

The shape and configuration of theatrical film has been basically unchanged since the earliest days of the twentieth century—35mm in width, four uniform perforations per frame. The relative apportionment of image and sound within that frame has changed tremendously, however, and projectionists have long been expected to extract images of all shapes and sizes from the same old film strip. Through a combination of specialized lenses, lens attachments, aperture plates, and screen masking, they present a range of rectangular images known in industry parlance as aspect ratios.

These shapes are expressed in numeric terms, as a ratio of image width to image height. The common aspect ratio 1.37:1, for example, means that the image on screen is 1.37 times wider than it is high. Counterintuitively, many of the wider aspect ratios like 1.85:1 achieve this apparent horizontal superiority simply by artificially constricting the height of the frame; since we’re talking in ratios rather than absolutes, cropping the top and bottom from the frame does yield a wider image, albeit with some loss of clarity when blown up on an enormous theater screen. The ultra-wide Cinemascope—2.39:1—uses a two-piece lens to anamorphically stretch a heavily compressed image on a conventional film strip. Continue reading

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Radical Spinach: Wild Boys of the Road

Who was this movie made for?

Often the answer is obvious enough (housewives, teenage boys, the Friday night drive-in bumpkin, the half-conscious grindhouse denizen, etc.), but in some special cases, the interrogation itself opens up and deepens the mystery of the film in question. In those instances, the absence of a readily identifiable target audience makes the fact of a film’s production and release all the more beguiling.

Let’s talk about Wild Boys of the Road. It’s commonly reckoned an exemplar of the social problem film as developed by Warner Bros. in the 1930s. As Nick Roddick points out in his study of the studio corpus, A New Deal in Entertainment, such films were memorable and distinctive, but hardly plentiful. Warner Bros., like every other major studio, released a film a week in the 1930s, most of them bread-and-butter pictures that kidded campus life or military hijinks. The ambitious, socially-conscious pictures like Black Legion or They Won’t Forget were the exception to the surly, comfortable rule. Continue reading

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