World

EARLY WOMEN FILMMAKERS New Release Contest!

Early Women Filmmakers Cover

Flicker Alley, a boutique distributor of classic and rare films, contacted me about another great contest they’re running. Of course, I said yes to spread the word of their brand new release I thoroughly believe in, and I’m going to give you a chance to win a copy. It’s called EARLY WOMEN FILMMAKERS: AN INTERNATIONAL ANTHOLOGY.

Projects like #52FilmsByWomen and TCM‘s TRAILBLAZING WOMEN have drawn attention to the often forgotten, neglected, underpromoted, and underseen works of women directors. These are contemporary problems. Women were involved in every aspect of the nascent film industry. Early women filmmakers made product intended to be consumed by an audience comprised largely of female peers, and stars of their movies were usually women, who were paid higher salaries than their male acting counterparts.

Despite their achievements, many early women filmmakers have been written out of film history, and their contributions have been undervalued or misattributed. As in the case of Alice Guy-Blaché, their “firsts” may have been given away to now more famous males. Flicker Alley’s new release EARLY WOMEN FILMMAKERS: AN INTERNATIONAL ANTHOLOGY will be a resource for those wanting to learn more about the talented women of world cinema. New audiences, no matter where they live, will have a way to see and experience these movies, which is much better than possessing only academic knowledge of them. Restoring films to the canon requires accessibility.

On May 9, Flicker Alley releases EARLY WOMEN FILMMAKERS: AN INTERNATIONAL ANTHOLOGY on dual-Format edition Blu-ray/DVD. The set showcases fourteen of early cinema’s most innovative and influential women directors, rewriting and celebrating their rightful place in film history. The directors are Alice Guy-Blaché, Lois Weber, Mabel Normand, Madeline Brandeis, Germaine Dulac, Olga Preobrazhenskaia, Marie-Louise Iribe, Lotte Reiniger, Claire Parker, Mrs. Wallace Reid (Dorothy Davenport), Leni Riefenstahl, Mary Ellen Bute, Dorothy Arzner, and Maya Deren.

The directors are represented by ten hours of material restored to high definition. Their twenty-five films span four decades (1902-1943). Many are rare titles not widely available until now. Expect shorts to feature films, live-action to animation, and commercial narratives to experimental works. These women’s technical and stylistic innovations pushed boundaries of subject matter, narrative, aesthetics, and genre. For a complete list of films included on the set, please visit Flicker Alley here.

Bonus Materials include:

  1. New Scores by Sergei Dreznin, Frederick Hodges, Tamar Muskal, Judith Rosenberg, and Rodney Sauer and the Mont Alto Motion Picture Orchestra.
  2. Booklet Essay by film scholar and Women Film Pioneers Project Manager Kate Saccone.
  3. Audio Commentary For Lois Weber’s THE BLOT (1921) by author, professor, and expert on women and early film culture Shelley Stamp, courtesy of Milestone Film and Video.

One lucky winner will receive a copy of EARLY WOMEN FILMMAKERS: AN INTERNATIONAL ANTHOLOGY from Flicker Alley! The giveaway is open to residents of US and Canada, and the contest ends on May 22, 2017. To enter, comment on this post and then fill-out the form below. Tell me which early woman filmmaker you admire or want to learn more about!

 

In case you don’t want to gamble on winning the set, note Flicker Alley is offering a prerelease discount. If you order now through May 16, you will receive $20 off the $69.95 set.

Good luck!

Leave or Read Comments.

The Silent Film Fanatic TCM Film Festival Preview!

TCMCFF 2015 Steamboat Bill Jr Poster

Classic film circles are abuzz about March’s Turner Classic Movies Film Festival. This year’s theme is History According to Hollywood, and many movie buffs are guessing what film favorites fitting that theme will screen. While the festival is only about a month away, its full schedule has not been announced yet. I’ve gone over what titles have been released to create a silent film fanatic preview.

The Grim Game Harry Houdini Fight Still

Harry Houdini in The Grim Game from the Kevin Connolly Collection

Rumored as lost, the Harry Houdini vehicle The Grim Game (1919) is another silent film with a strange-but-true rescue story. A retired juggler named Larry Weeks bought a complete print of the film back in 1947 from the Harry Houdini estate. He had shown it a few times, and he had been unwilling to sell it to any inquirers. In 2014 film scholar and preservationist Rick Schmidlin got a tip that Weeks owned the movie and successfully negotiated for TCM its purchase. Schmidlin oversaw the restoration, and it will make its world premiere at the festival.

The Grim Game is notable for being one of Houdini’s few feature films. Houdini stars as Harvey Hanford, who gets framed for murder. As if the stakes of clearing his name were not high enough, he must rescue his kidnapped fiancée, too. Like a number of Douglas Fairbanks‘s a films were designed to demonstrate his athleticism, Houdini’s movie offers him plenty of opportunities to showcase his skills as an illusionist, escape artist, and stuntman. There’s a dramatic airplane sequence that draws on his reputation as an aviator. The film sounds like a fun popcorn entertainment offering us a glimpse of a major 20th century performer at a career high.

Rick Schmidlin will be a special guest at the screening, and composer Brane Živković will conduct his score for the film live.

Lois Weber's Suspense Split Screen Still

One program gives the rare chance to watch films hand-cranked through a projector just like audiences of yesteryear. It’s The Return of the Dream Machine: Hand-Cranked Films from 1902-1913. Showing movies in this manner relies on the projectionist’s ability to match his hand-cranking rhythm to the action depicted onscreen. If he cranks too fast, a sad scene can become a comedy, and if he cranks too slowly, a comedic scene plays at a dirge tempo. Hand-cranking is a test of hand-eye coordination and endurance.

For this screening, shorts in 35mm prints will be presented. Titles include a color-tinted version of Georges MélièsA Trip to the Moon (1902), the Edison Company’s narrative leap forward The Great Train Robbery (1903), D.W. Griffith’s A Corner in Wheat (1909), and Lois Weber’s split-screen thriller Suspense (1913).

Managing Director of Preservation and Foundation Programs for the Academy of Motion Picture Arts and Sciences, Randy Haberkamp will be a special guest at the screening.

Steamboat Bill Jr.

Buster Keaton‘s Steamboat Bill Jr. has two world premiere aspects. The comedy underwent a restoration that’s never been screened publicly before, and composer Carl Davis will conduct his brand-new score live. I see both of these as added bonuses of a film that would have pulled crowds even without them. Silent comedy is often a gateway to silent film for the non-fan, so this is a great film to introduce or sway a classic movie fan to silents, and Buster remains a strong name brand to current silent film fanatics.

In Steamboat Bill Jr., Buster plays William Canfield Jr., the newly returned from college son of  a paddle-steamer captain. He’s not the big strapping lad his father hoped would help him crush his competitor. Worse, Bill falls in love with the competitor’s daughter. This Romeo and Juliet tale contains one of Buster best known stunts that’s among his most dangerous. Look for an in-joke about his iconic pork pie hat. Between the stunts and laughs, if you’re not on Team Buster when you start this film, you’ll likely be at its end.

Charlie Chaplin's Limelight Mirror Still

Technically Limelight (1952) is a talkie, but it will interest silent film fanatics because Charlie Chaplin produced, wrote, directed, composed its music, and stars in the movie.  It has a Buster Keaton cameo as well. Limelight is historic because it’s the only feature film both performed in. During the silent era, they appeared in a First National promotional short, Seeing Stars (1922). They played themselves at a celebrity banquet.

Chaplin intended Limelight to be his last picture. Even if it is not an autobiography, it was a highly personal film. He set it in 1914, the year of his film debut, and a time of change since that was right before World War I. He used to perform in music halls early in his career, so the London music hall settings of Limelight were familiar to him. Some suspect his alcoholic, downwardly mobile clown was based on his father, but Chaplin claimed actor Frank Tierney inspired the role. Whatever the truth, the character was a theatrical archetype. Everything about the film shows a man looking back at the past.

The movie is more bittersweet and hopeful than it may sound. It mixes drama and comedy, as does the best of Chaplin’s work. His character Calvero rescues a ballet dancer played by Claire Bloom from a suicide attempt. His old man nurses the girl back to health, and each finds a friend and confidante. They encourage each other to attempt a comeback. They take to the stage again, and they embrace life again.

Actor, producer, and author, Norman Lloyd, who appears in Limelight, will be a special guest at the screening.

Leave or Read Comments.

World War One in Classic Film Blogathon: Dark Journey (1937)

Dark Journey Poster

Vivien Leigh viewed Dark Journey as a “personal failure.” It was her sixth film, but “her first true leading role,” and her lack of confidence during the production made her overly critical of her performance. She might not have counted it among her best, but she plays the part of Madeleine Goddard better than she thought. A double agent during World War One, her Madeleine is a mixture of surface, poise, nerves, and daring. Whether brought out intentionally or accidentally, all are qualities suitable to the role.

Dark Journey Meet the Baron

Her recollections likely were influenced by the movie’s complicated plot, which can be hard to follow. Technically neutral Stockholm, is swimming with spies for all sides. Keeping track of who is an agent and for what side is a task. Then romance is added via Conrad Veidt‘s Baron Karl Von Marwitz. He’s the German secret service leader sent to ferret out the the top spy of French counter-espionage in Stockholm–Madeleine. The theme of star-crossed lovers fighting for opposing sides becomes central to the film, but its most fascinating aspects are the dangers and mechanics of spying.

Dark Journey 1930s Coat & Hat

How accurate is the film at portraying World War One? In regard to portraying certain aspects of the times, you’ll have to suspend your disbelief intentionally. The film was released in 1937. It is set in 1918. Its fashions, make-up, and hairstyles are au courant to 1937. No attempt is made to dress characters in period clothing or stylings. Musically the movie is more faithful to its setting. Its main theme song is a romantic classical piece. Diegetic music in dancing, music hall, and concert scenes are period-appropriate. In street scenes, carriages and early model cars carry passengers to and fro.

Dark Journey Lupita

Any viewer will have to carefully watch performers and their costuming to track their characters’ nationalities. This is a London Films Production, and it’s a very obviously British-made film. The majority of cast actors are British, and only one British actress attempts her character’s accent. Joan Gardner‘s accent for Lupita may not sound quite Brazilian, but it helps keep her distinct, even before stealing scenes with her comedic chops. There’s a submarine scene in which actors speak German, which lends momentary authenticity, but the majority of the movie’s dialogue is in English. Conrad, as a German-born native in real life, sports his natural accent for his role. German, Swedish, French, and Belgian parts are portrayed with British accents.

Dark Journey Cherry Orchard

More care was taken in depicting the wartime activities that occurred in Sweden. The film’s director Victor Saville travelled there for research and met “a retired vice navy admiral who had run the Swedish counterintelligence bureau during the war.” The former officer acted as a technical adviser to the film. His help may be partially why the spy scenes are weightier than the romance. The film starts with Madeleine’s sea journey interrupted by a German submarine. Although the waters between Paris and Stockholm are neutral, her ship is stopped, boarded, and searched for a spy by the German soldiers. Each time she crosses a similar scene occurs, suspense builds as she wonders when they will be searching for her. At customs and immigration checkpoints, political activities are cautioned against, and potential agents are detained. There’s a club called the Cherry Orchard, full of spies partying and paying for information.

14977788168_6c420fae15_o

The cleverest incident of espionage depicted involves the dresses Madeleine imports personally from Paris for her shop. Hidden among the normal frocks are ones with coded messages. The first shown is a sheer number with embroidery. She places it over a lampshade and lines up their markings. The lampshade’s once innocuous map design decodes secret troop movements when paired with the lamp. Coordinates were sewn onto the dress. A fellow spy rushes upstairs to unpack a near empty suitcase. Inside he pulls out a flat surface and what looks like a very basic, flat skeleton of a puppet. He’s setting up a shadow show in front of the window. He projects the image of  the apparatus’s moving arms. They act as and are interpreted like semaphores by another spy on a ship in nearby waters. That is how a message from France decoded in Stockholm gets passed on to Berlin.

Dark Journey Close-Up

Back to the romance, it is not fully believable for reasons outside of plot. Vivien Leigh is photographed beautifully, and she’s dressed and styled impeccably for most of the movie. Even without being investigated by multiple intelligence agencies, her Madeleine would be pursued by many men. Conrad Veidt looks handsome, and he adds class to some lines of dialogue that would have sounded smarmier coming out of another mouth. His Karl may be older than Madeleine, but neither that nor their spying is what makes them seem an unlikely match. They do not have chemistry even though both actors try very hard to create it. The ultimate example of this is a kiss that’s supposed to be their most romantic; it looks very awkward, and the moment falls flat for me. Their ardent fans watching this film will feel their charisma, and any attractions to the performers might be projected onto the lovers they portray. Their star power might make this a quibble to some.

Dark Journey

This is not a movie for history purists, who cannot enjoy one with anachronisms. If you want to experience World War One Stockholm exactly as it was, you will be disappointed with this film. Those wanting an entertaining film with moments of genuine suspense and intrigue will get what they seek. Vivien Leigh and Conrad Veidt fans should watch this, even if they are not completists. Vivien fans will get to see her two years before Gone With The Wind, and they’ll see how much she developed as a screen actress between both films. She, also, has relatively few films to see for a star of her magnitude. While he has many more credits due to starting in the silent film era, he would only live for six years more after making this film. He may be playing yet another German officer as he did during his talkie career, but he brings more to the role than is written, both in its dramatic and comedic scenes. This film captures the moment before one performer’s stardom, and another’s unexpected twilight.

 

WWI Blogathon Banner of the Big Parade

This post was part of the World War One in Classic Film Blogathon, hosted by  Fritzi from Movies Silently and Lea at Silent-Ology. Please click the banner above to be brought to a list of the blogathon’s other participants! They’re a great  group covering a wide range of silent and classic films, celebrated and obscure, about the first Great War.

Leave or Read Comments.