ProgramSouvenir
$5 .00
SILENT FILMS CLASSIC MOVIES EARLY TALKIES - 1 - A Message from the Chair of The Marie Dressler Foundation
Dear Friends of the Vintage Film Festival,
Thank you for your strong support and generosity. The Film Festival becomes stronger each year with your ongoing commitment. You allow students to proceed to a higher level of education in the field of Arts, Drama and Film.
It gives us an opportunity to show old-time films that were produced with charm, talent and passion. We present a weekend of enjoyment through this exciting medium and hope that you enjoy the films as much as we enjoy presenting them for you.
We would be delighted if you could take the time to visit the Marie Dressler House at 212 King Street West, Cobourg. The memorabilia that the Dressler Foundation has gathered is well worth your time to peruse.
Once again, the members of both the Vintage Film Festival and the Marie Dressler Foundation thank you all.
Delphine Patchett, Chair, Marie Dressler Foundation
The Marie Dressler Foundation was established in 1989 to preserve the house where Marie Dressler is believed to have been born. The Foundation, led by Bob Amsbury and Bill Patchett, raised about $400,000 to buy and repair the building, which is now the home of the Marie Dressler Museum and the Town of Cobourg Visitor Information office. Our film festival celebrates the unique place Marie Dressler occupies in film as we screen her films and those of her contemporaries.
Three Fine Friends
To have enjoyed the support of loyal, helpful friends when they were needed has been the great good fortune of the Vintage Film Festival. Angus Read, Elwy Yost and Gerald Pratley certainly were such friends.
As Honorary Chairman of the Marie Dressler Foundation from 1999 until 2010, Angus used his abundant energy and encouraging manner to see that our annual meetings proceeded smoothly and to promote our interests in town. Angus always “dressed to the nines” for our events, and many remember him alighting smartly from the rumble seat of a snazzy antique coupé after accompanying “Marie Dressler” in a ride along the main street of Cobourg. How fortunate we were to have had such a distinguished gentleman share our interest in Dressler House, enjoy classic film and to support the Vintage Film Festival.
Elwy Yost also deserves our appreciation. After the 1989 fire at the Marie Dressler House Restaurant, the Foundation faced the monumental task of raising funds to save the building from demolition. How grateful our fund-raisers were to have Elwy Yost, famed first host of Saturday Night at the Movies, as headliner and speaker at the 1993 banquet. Years later we were delighted when Elwy chose our town as a whistle-stop on his Retirement Excursion.
Gerald Pratley came along at exactly the right time. Terry Foord, co-chair of our first festival, remembers that he planned the programme as Gerald and Barrie Hayne and Cameron Tolton – both University of Toronto Professors of Cinema Studies – “brainstormed”, producing a wealth of film knowledge. Bill and Delphine Patchett, pillars of the Dressler Foundation, brought Gerald to Cobourg as their house guest and introduced to him to the home of Marie Dressler.
These remarkable three men who saw the value of classic film and so many other members of the Toronto Film Society came to our side before we could afford the luxury of Victoria Hall and the Port Hope Capitol Theatre. These loyal film fans supported us when the festival was merely a “permanent floating’ weekend of great films and good fun.
Barbara Garrick, Honorary Chair, Marie Dressler Foundation
- 2 - A Message from the Chair of The Vintage Film Festival
Whenever you come across a name in this souvenir program for the 19th Annual Marie Dressler Foundation Vintage Film Festival – VFF from here on – please make a mental note and utter a silent thank you for all that each has done for us this year. I’m referring to our fund-raisers, sponsors, donors and supporters who generously give the resources we need; our review writers who cheerfully meet our deadlines; all the businesses and organizations who support us by displaying our advertising, or providing an Internet link; our friends in the social media who spread the word for us; our patrons old and new who give us a purpose; and most of all the VFF committee members, first among whom is Lynn Hardy, our Past Chair, whose shoes I am trying hard to fill in my first year as VFF Chair.
What you may not know about the VFF is that it is run entirely by volunteers. Our committee members started work on the 2011 festival on the same night that the 2010 festival closed. They had a bit of a party as well, but you can be sure that the focus of conversation was mostly about what we should do next year and how we would go about constantly improving our already good model.
Let me repeat: this festival has no paid staff. The dozen or so committee members each donate scores of hours producing the festival you look forward to enjoying, and your enjoyment is their satisfaction. This dozen and their immediate predecessors on the committee are the ones who fill me with gratitude and pride to be their colleague and chair.
If work on the 2011 festival began on the night the 2010 festival closed, work on the 2012 festival has been going on since about May of this year. The 2012 festival will be the 20th, and we are determined to make it a worthy celebration. You can expect the usual super program of films, a unique partnership with the4th Line Theatre, which is considering a new, not-to-be-missed play about Marie Dressler for its 2012 summer season, and a continuation of our value-added event-planning with more new events like the brown bag luncheon we added this year, and the draw for film prizes that began in 2010. One of our plans is to arrange a partnership with the National Film Board of Canada. Stay tuned for details.
As our special plans for the October 26-28, 2012, festival take shape, we’ll be telling you about them on our Website, http://www.vintagefilmfestival.com, on Twitter Twitter@poced, and on our Facebook page: Marie Dressler Foundation Vintage Film Festival. We hope you will use these same links to let us know your questions and suggestions. Or send us a note to: Vintage Film Festival c/o Marie Dressler House 212 King Street W Cobourg, ON K9A 2N1
For now, please concentrate on your enjoyment of this year’s festival. Be sure to meet and talk with your fellow festival- goers, and seek out particularly our committee members who are anxious to note your reactions to this festival and your hopes for next year’s big show.
Chris M. Worsnop Chair
About our 2011 Souvenir Program: For the portrait of Marie Dressler on our cover, we turned to Cobourg Art Club, which meets regularly in Cobourg Public Library. Enlisting the aid of another local institution in finding excellent cover material seemed to us a splendid idea. Fortunately, the art club agreed. We suggested that members who were interested show their work to us, with one to be chosen. To the club and particularly those who participated, we offer many thanks. As for Sue Auld, whose charcoal-and-watercolour portrait of our favourite vintage actress adorns our cover, we’re extremely glad she joined the art club when she and her husband moved to Northumberland County from Toronto.
- 3 - PROGRAMME
Friday, October 28th VICTORIA HALL, COBOURG 4:15 p.m. Registration 5:20 p.m. Town Crier/Announcements 5:30 p.m. The Major and the Minor (1942) 7:10 p.m. Reception 8:00 p.m. Presentations 8:15 p.m. The Patsy * (1928) 9:35 p.m. Break 9:50 p.m. Peach O’Reno (1931) 11:00 p.m. Program finishes
Saturday, October 29th CAPITOL THEATRE, PORT HOPE 8:45 a.m. Registration 9:00 a.m. The Scarlet Pimpernel (1934) 10:40 a.m. Break 11:00 a.m. It* 12:15 p.m. Lunch and Brown Bag discussion – The Hays Code – Cathie Houston 2:00 p.m. In Which We Serve (1942) 3:55 p.m. Break 4:15 p.m. The Shop Around the Corner (1940) 5:55 p.m. Dinner 7:45 p.m. The Public Enemy (1931) 9:10 p.m. Break 9:30 p.m. In the Good Old Summertime (1949) 11:15 p.m. Program finishes
Sunday, October 30th CAPITOL THEATRE, PORT HOPE 10:00 a.m. Registration 10:30 a.m. The Enchanted Cottage 12:00 a.m. Lunch 2:00 p.m. Tol’able David* 3:20 p.m. Break 3:35 p.m. To Be or Not To Be 5:15 p.m. Program finishes * Silent Piano accompaniment to Silent films on Friday and Saturday will be by Andrei Streliaev. Note that although every effort is made to avoid it, the program may be subject to change without notice.
In consideration of others, please refrain from wearing fragrance, turn off your cell phone and, please, no talking during the films, particularly if it involves the use of the word awesome. Thank you for your understanding. Enjoy the Festival.
- 4 - FILM SPONSORS
Thank you to our sponsors whose generosity makes the Festival possible.
The Major and The Minor JAMES GORDON INSURANCE The Patsy LYNCH RUTHERFORD TOZER
Peach O’Reno DELPHINE PATCHETT The Scarlet Pimpernel MacCOUBREY FUNERAL HOME It PATRICK HOULIHAN, RBC DOMINION SECURITIES
In Which We Serve BARBARA GARRICK & DR. TOM & HELEN HAWKE The Shop Around The Corner CHRIS WORSNOP & LANGHORNE IRWIN WHARRAM- SPRY, LLP
The Public Enemy HILL & DALE MANOR BED & BREAKFAST
In The Good Old Summertime NOEL MILNER – MONEY CONCEPTS ENE MILNER – ROYAL LEPAGE PROALLIANCE REALTY The Enchanted Cottage LYNN HARDY, RBC DOMINION SECURITIES Tol’able David LES AND CATHIE HOUSTON
To Be or Not To Be MARGARET BAILY KAWARTHA CREDIT UNION
- 5 - Canada’s Premiere Outdoor Theatre Company Epic in Nature!
For 20 seasons, 4th Line Theatre has been bringing history to life on the barnyard stages of a rustic fifth-generation farm in Millbrook, between Peterborough and Port Hope. Founded in 1992 by Artistic Director Robert Winslow, this outdoor theatre company is committed to preserving our Canadian cultural heritage through the development and presentation of environmentally staged historical drama.
“These productions,” says Winslow, “celebrate the history of the area; they are stories with national echoes.”
Before the theatre’s 2011 season closed, there was a public reading of plays under development, including Queen Marie by Shirley Barrie. Queen Marie is the story of legendary stage and film star Marie Dressler. From humble beginnings in Cobourg, she rose to the heights of Hollywood fame and glory, winning the Academy Award for best actress in 1931. She was considered the biggest star in the world but her self-destruction eventually cost her everything. Queen Marie is under consideration for 4th Line Theatre’s 2012 season.
During the past 20 seasons, the theatre has presented 27 original productions, including several plays based on Northumberland history, such as uranium refining in Port Hope (Eldorado Town – The Port Hope Play by Charles Hayter), an unsolved murder (Welcome Death by Robert Winslow), a world famous tightrope walker and circus impresario (The Great Farini) and a devoutly religious philanthropist (The Devil and Joseph Scriven), both by Shane Peacock. This magical theatre presents unforgettable outdoor, epic theatrical experiences. Thousands of visitors, young and old alike fall in love with our farm experience, complete with picnics, birdsong and sunsets in the country. Create a truly unique experience with a picnic lunch, a performance and an overnight stay at a local country inn or bed and breakfast, for yourself or as a gift.
For more details on 4th Line Theatre’s 2012 season visit: 4thlinetheatre.on.ca or contact the Box Office at: 705-932-4445, 1-800-814-0055 or email [email protected]
- 6 - 2011 BURSARY WINNERS
Quinn McDermott and Christopher Joseph-Sudlow receive $1,000 each We received a record number of applications for our $1,000 bursary award this year, all excellent candidates and a credit to their course instructors. Thanks to additional sponsorship from Dr. Bill Irwin, Sharron Wharram-Spry Professional Corp., David Sanderson of TD Waterhouse and Lynn Hardy, we have been able to award two bursaries rather than one..
Quinn graduated from St. Mary’s Secondary School, Cobourg, this year and is studying at Humber College. He will be working towards a Bachelor of Applied Arts – Film and Media Production, a four-year degree program.
He has made numerous short films and participated in school theatre productions. Quinn has organized film festivals at St. Mary’s and has led retreats for younger students for two consecutive years. Quinn was vice-president of the Student Council, on the school swim team, and an honour roll student.
Christopher graduated from Cobourg District Collegiate Institute West this year and will begin studies at Brock University for an Honours bachelor degree in film studies. He is currently working toward certification in videography and photography.
Christopher constructed individualized interview videos for retiring school staff, was president of the Student Council and worked in the local Cogeco studio. He is a member of the Ontario Men’s Soccer and Basketball leagues.
RETURNING TO THE FESTIVAL… ANDRE STRELIAEV, PIANIST
Andrei Streliaev became interested in silent film music after taking a course at the Faculty of Music at the University of Toronto and since then has regularly accompanied silent films in Toronto, the GTA and in Europe. This summer, he played onstage for two principal dancers of the National Ballet of Canada in its Mixed Program at the Four Seasons Centre in Toronto. He has also appeared at Cinematheque Ontario screenings, at Nuit Blanche and Organix Festivals in Toronto, “Music Inspiration Landscape” and “Attractive Organ 220” Festivals in Riga, Latvia.
Pianist generously sponsored by CIBC Wood Gundy, The Ley Investment Group
- 7 - The Major and the Minor (1942) Directed by: Billy Wilder Directed by: Henry Koster
OriginalOriginal review review from from the the New New York York Times Times,, September17, September 1942,18, 1937 by: Bosley by Frank Crowther S. Nugent
Nobody CONVENTIONS thinks much of itFOR when REVIEWS little girls use FROMmama’s clothes ORIGINAL And SOURCES Miss Rogers (NY and TIMES,Mr. Milland VARIETY have played ETC.)it with spirit to play dress-up. But when a full-grown young lady dons a kid’s and taste. Never once does either permit the suggestion of a leer clothes1. to Titleplay a onlittle one girl, line it makes in caps a delightful bold. idea2 spaces for a very produc tionto creepyear in. in Dogged curved out brackets, in pig-tails bold. and hair-ribbons, All same withsize her cunning film.(24pt?), At least, centered. it has in the case of Paramount’sThe face shiny and her legs crossing swords, Miss Rogers gives a Major2. and Directed the Minor by: – mainly Times because NR Gingeritalics, Rogers 10 pt is centered the lady followedbeautiful byimitation name of of a Quizdirector Kid imitating Times BabyNR, Snooks.10 pt bold And who dons the clothes, and also because Billy Wilder and Charles in those moments when romance brightly kindles, she is a soft Brackett3. are Original two fast reviewboys with from a script. 10 pt Times NR, italics, followedand altogether by name winning of publicationmiss. Put this down 10 pt as Times one of theNR best bold, italics, followed by comma, followed by date of pubcharacterizationslication 10 of pt her Times career. NR italics, followed by “by” Sly boys theyTimes are, NRtoo. You’d10 pt never italics, dream followed the Hays byoffice name of reviewer 10 pt Times NR bold Credit Mr. Milland, too, with making a warm and nimble fellow would4. permit Frame a scene marquee of rather lights. intimate proximity between Miss Rogers and Ray Milland in a Pullman car. Yet youth is the age of of the major, and all the rest of the cast for doing very well with innocence, as the Messrs. Wilder and Brackett know. And so they lively roles. Robert Benchley is another genial numskull, Rita have managed to put by a deliciously risqué contretemps – and a Johnson is something of a cat, Diana Lynn is a frightening younger continuously teasing complication – by simply passing the lady maiden and a host of lads are very amusing school cadets. off as a little girl. “Don’t worry,” says Mr. Milland, “it’s just like traveling with your grandfather or uncle.” But it isn’t – not by a But it’s the minor, after all, that matters, and she is completely long shot. And that is the devilish charm of this film. tops. “You know, Susu,” says Mr. Milland, “you’re a very precocious child.” Miss Rogers has the right rejoinder. “You bet I For The Major and the Minor is really just a cute twist on the am!” You bet she is. mistaken-identity gag, which starts with a homesick young lady, short of the necessary cash, trying toUSA, ride half-fare 1937, back Directed to Iowa by HenryTHE Koster,MAJOR B/W,AND THE 84 min MINOR , written by Charles Brackett by dressing herself to look like a kid. En route she falls in with and Billy Wilder; suggested by a play by Edward Childs Carpenter a major who teaches at a boys’ VINTAGEmilitary school—the FILM major FESTIVAL in andREVIEW a story by BY:Fannie Penny Kilbourne; Hozy directed by Mr. Wilder; produced whose Pullman compartment she breathlessly seeks refuge—and by Arthur Hornblow Jr. for Paramount. the remaining ambiguous involvements, both on train and at the Sue Applegate...... Ginger Rogers school, turn on the natural assumption that she is a little girl. Major Kirby...... Ray Milland ButCONVENTIONS it takes more than a twistFOR to REVIEWS make a picture, FROM and that’s VINTAGE where FILMPamela ...... FESTIVAL RitaWRITERS Johnson the Messrs. Wilder and Brackett have come in – by writing a Mr. Osborne...... Robert Benchley script1. which Title effervesces same aswith above neat situations and bright lines. For Lucy Hill...... Diana Lynn instance,2. little Country girls have of “buttonorigin trouble”;comma the year authors of release have not comma Colonel “Directed Hill...... by” followedEdward Fieldingby name of Director Cadet Osborne...... Frankie Thomas Jr. forgotten that.comma And little B/W girls OR who col are comma really grown-up running ladies time are in minutes followed by “min” All Times NR 10 pt likely to be uncommonly “filled out.” Miss Rogers’s reply to this Cadet Wigton...... Raymond Roe objection3. is, VINTAGE “Ma says we FILM have some FESTIVAL sort of gland REVIEW trouble.” Also BY: U/CCadet 10 Kornerpt Times...... NRCharles bold followedSmith by name of re- there comesviewer a time whenU+L/c certain 10 factspt Times must be NR imparted bold to young Cadet Babcock...... Larry Nunn girls. The opportunity the authors have provided Mr. Milland to Cadet Miller...... Billy Dawson convey this knowledge, via moths, is one of the priceless moments Cadet Shumaker...... Stanley Desmond in the film. The gentlemen have written – and Mr. Wilder has Mrs. Applegate...... Lela Rogers directed – a bountiful comedy-romance.
Long before Italy came up with “spaghetti westerns”, it gave us telefoni bianchi (or “white telephones”). That was in the 1930s and the term was sneeringly used to describe movies set against a glamorous background. Instead of picking up a black phone, the charmed cast would put only virginal white against its beautifully coiffed head. The phrase barely caught on this side of the Atlantic but Hollywood certainly cranked out scores of “white telephone films” in the same decade. And beyond. Some examples: Trouble in Paradise (1934), My Man Godfrey (1936). The Philadelphia Story (1940). Ciao! MRH
- 8 - THE MAJOR AND THE MINOR USA, 1942, Directed by Billy Wilder, b/w, 100 min.
VINTAGE FILM FESTIVAL REVIEW BY: Penny Hozy
The Major and the Minor was Billy Wilder’s American directorial happenstance, perhaps, because Cary Grant might not have debut. Prior to that, he co-wrote eight screenplays with Charles convincingly portrayed the earnest and unaffected integrity that Brackett, including Ninotchka (1939) and Ball of Fire (1942). Milland brought to the role, keeping it within the bounds of They continued their collaboration until 1950 with Sunset propriety for a story about a grown man infatuated with a twelve- Boulevard. Wilder became one of Hollywood’s most versatile year-old girl. Grant, with his powerful onscreen sexual presence filmmakers in a career that lasted 50 years and produced 60 and sardonic manner, might have tipped it in a different direction. films. Because he was a writer first, Wilder’s films are full of memorable dialogue and tight plotting. He also understood Ginger Rogers, for her part, is quite beguiling (to use one of actors and knew how to work with both their talents and their Pamela’s favorite words) in the role of Susan “Su-Su” Applegate, limitations, never forcing a performance they weren’t capable a disenchanted young woman who decides she prefers Iowa to of. He is credited with directing fourteen actors in Oscar- New York after a client who is supposed to be getting a scalp nominated performances, including Ray Milland in The Lost treatment suggests she “get out of that wet coat and into a dry Weekend (1945), William Holden in Sunset Boulevard, and Jack martini.” It’s a cameo role, and Robert Benchley gets it dead Lemmon in Some Like it Hot (1959) and The Apartment (1960). right. (Watch for another cameo near the end of the film where He was also known for casting against type, most notably Fred Rogers’s mother, Lela Rogers, plays Mrs. Applegate, Susan’s MacMurray in Double Indemnity (1944), which Wilder co-wrote mother.) Rogers had enjoyed success during the 1930s as Fred with Raymond Chandler, and Humphrey Bogart in Sabrina (1954). Astaire’s dance partner in a series of films that showed off not just her dancing skills but her abilities as a comedienne with a In The Major and the Minor, Ginger Rogers plays a young knack for the wisecrack. She won an Academy Award for Best woman who must masquerade as a twelve-year-old to pay Actress in Kitty Foyle (1940), making her one of RKO’s hottest for a train ticket home to Stevenson, Iowa, because she can’t properties and in a position to choose her own director. Of her afford the adult fare. She sneaks into Major Philip Kirby’s (Ray first meeting with Wilder, she said, “I’ve always been a good Milland) compartment when the conductor figures out she’s not judge of character. I decided then and there that we would get a child. When Kirby’s fiancée Pamela discovers her, she’s forced along and that he had the qualities to become a good director.” to continue the ruse at the military academy where Kirby is a teacher. He’s convinced that “Su-Su” Applegate is who she says Penny Hozy is a former movie sound editor and the author of she is, but Pamela (and her teenage sister Lucy, played by Diana three novels (as S.P. Hozy, www.sphozy.com). She currently lives Lynn) suspect otherwise. in Penang, Malaysia. Her fourth novel will be published in 2012.
When Wilder and Brackett wrote the screenplay for The Major and the Minor (based on the play Connie Goes Home by Edward Childs Carpenter), they had in mind Cary Grant for the role of Major Kirby. On an impulse, Wilder asked Milland if he would like to be in the movie, and Milland accepted. A lucky
- 9 - THE PATSY (1928) DirectedDirected by: by: Henry King Vidor Koster
OriginalNo contemporaryreview from review the New available. York These Times reviews, September taken from 18, Internet 1937 Movieby Frank Data S.Base Nugent
By CONVENTIONS Kieran Kenney, California FOR REVIEWS FROM ORIGINALBy SOURCES Ron Oliver, (NYForest TIMES, Ranch, CA VARIETY ETC.)
A1. hilarious Title movie on from one director line in King caps Vidor, bold. with 2 spacesMarion Davies produc tionA kooky year youngerin curved daughter brackets, becomes bold. the patsy All ofsame a social-climbing size AND Marie(24pt?), Dressler! centered. As the perpetually feuding mother and family when she falls in love with her older sister’s beau. daughter, Dressler and Davies are not only side-splittingly funny, they2. are actually Directed quite by: touching. Times The NR rest italics, of the film 10 ptdelivers centered on all followedThe delightful by name Marion of Davies director gets toTimes exhibit NR, her considerable 10 pt bold these3. levels Original as well. review from 10 pt Times NR, italics, followedcomedic byskills name in this of very publication enjoyable silent 10 ptfilm Times from NRMGM. bold, Often italics, followed by comma, followed by date of pubdismissedlication as merely 10 pt the Times pretty NRmistress italics, of one followed of the nation’s by “by” most If anybodyTimes believes NR that 10 Susan pt italics, Alexander followed Kane was by an name actual of reviewepowerfulr 10 men, pt Times William NR Randolph bold Hearst, Davies was actually a representation4. Frame of Marionmarquee Davies, lights. they ought to watch this film. very skilled actress. Better known for her stodgy costume dramas, Marion is a delight to watch, always full of warmth and energy, director King Vidor invited her to star in The Patsy after seeing her always beautiful and charming, and constantly surprising. Take, personality & talents unbridled whilst a guest at the fabulous home for instance, a scene in which she spies on her sister and the she shared with Hearst at San Simeon. Watching Marion moon over sister’s boyfriend. Marion, or Pat rather, walks back and forth the man she secretly loves, acquire a very peculiar new personality, through the doorway, changing hats and characters, stopping at or attempt a riotous seduction of a notorious Lothario is to see a one point to remark, “When in Bagdad, do as the Bagdaddies very fine artist at her best. do!” Or there’s the scene where she barges into an intended conquest’s house and finds him in a state of drunken delirium. In Davies has her work cut out for her: playing her mother is an (unsuccessful) attempt to rouse him (or at least his attention), the formidable Marie Dressler, who steals every scene with she goes about the room impersonating a series of popular film galumphing grace. With her large shapeless body and a face that USA, 1937, Directed by Henry Koster, B/W, 84 min stars. First she’s Mae Murray, then Lillian Gish, then Pola Negri. probably scared dogs and small children, the marvellous Marie Gloria Swanson’s Chaplin imitationVINTAGE is no match FILM for the FESTIVAL brilliance putsREVIEW her genius BY: for physical Penny comedy Hozy into high gear as she grimaces, of this scene. glares, pouts & flounces her way across the screen. This film is actually credited with saving her life: according to Hollywood Viewed with a modern audience, this film transcends the legend, the out-of-work Dressler was eating her last meal before generations. Though so much has changed in the many years since committing suicide when she was spotted in the restaurant by itsCONVENTIONS conception, so much FORis still theREVIEWS same. The PatsyFROM is one VINTAGE of the FILMAlan Dwan FESTIVAL and offered WRITERSthe role of Davies’ Ma. The rest is history- greatest silent comedies, and one of the best comedies to boot, and -within a couple of years Dressler would be the movies’ most one1. of the Titlebest silents, same that as Iabove think I have ever seen. popular star, a status she would hold until her untimely death in 2. Country of origin comma year of release comma1934. “Directed by” followed by name of Director comma B/W OR col comma running time in minutes followed by “min” All Times NR 10 pt Dell Henderson plays Davies’ lovable, but thoroughly henpecked, 3. VINTAGE FILM FESTIVAL REVIEW BY: U/Cfather. 10 Glamorouspt Times JaneNR Wintonbold followedhas the role by of hername spoiled of re-older viewer U+L/c 10 pt Times NR bold sister. Orville Caldwell is the earnest fellow Davies adores. Lawrence Gray is hilarious as the lively playboy who gets a late- night visit from Davies he’ll never forget.
The three contemporaries which Davies mimics with such precision during the seduction scene are Mae Murray, Lillian Gish (amazing) and Gloria Swanson.
- 10 - The Patsy USA, 1928, Directed by King Vidor, b/w, 78 min., silent
VINTAGE FILM FESTIVAL REVIEW BY: Remo Greco
Now here’s a gem from 1928 that satisfies on so many different Davies, probably better known as William Randolph Hearst’s levels. Directed by King Vidor, The Patsy contains such wonderful mistress, is an absolute joy in the lead role as Pat. comedic performances from all the principals, coupled with moments of sheer poignancy, that this silent classic had me William Randolph Hearst preferred that Marion did only serious hooked from the first frame. films and feared that she would not be taken seriously as an actress if she did comedy. It was King Vidor who convinced her to take The story is simple enough. Marion Davies plays Patricia (Pat) this part and it paid off royally. She gives a great comedic and Harrington, the much maligned younger sister of the Harrington emotional performance (especially the scenes with her father), family, run by the stern hand of the family matriarch, played by with the camera capturing all the nuances of her beautiful face. the formidable Marie Dressler (her comeback film – Dressler had been in a series of flops and was actually contemplating suicide There is a sequence in the film when Davies, trying to rouse prior to this film becoming a hit). With her large and shapeless another of her sister’s would-be boyfriends from a drunken body and cold, stony expression, she would probably intimidate stupor, impersonates a variety of silent film stars of the era. Her a drill sergeant. impressions of (I had to look this up) Mae Murray, Lillian Gish and Pola Negri are amazing. One has to wonder what those three Patricia’s mom favors older sibling Grace (Jane Winton) and stars thought of her impressions at the time. has no trouble showing it, much to the emotional detriment of Patricia. Her only solace is her equally put-upon dad, Henry, Viewed today, The Patsy remains an absolutely wonderful film wonderfully played by Dell Henderson. that has the power to transcend generations and remains as endearing to modern audiences as it probably was in 1928. But Pat has a secret – she is secretly in love with Grace’s boyfriend, Tony, played by Orville Caldwell, who doesn’t even know she exists. Remo Greco is Retail Inventory Manager for Universal Studios Pat’s efforts to change this (“You just need some personality,” says Home Entertainment Canada. Tony) lead to some great comic moments, unexpected surprises and – without spoiling anything – some well-deserved come-uppance.
Relationships, both family and otherwise, are complicated and the film constantly surprises and delights in how it all plays out.
- 11 - PEACH O’RENO (1931) Directed by: William A. Seitler Directed by: Henry Koster
Original review fromReview the New from Yorkthe New Times York, Times,September by: Hal 18, Erickson 1937 by Frank S. Nugent
One CONVENTIONS of the best of the pre-Production FOR REVIEWS Code Bert FROM Wheeler ORIGINAL & another SOURCES woman, (NY who turnsTIMES, out to VARIETY be Wattles in ETC.)drag. After Robert Woolsey vehicles, Peach O’ Reno remains as hilariously several minutes of double- and single-entendre comedy patter, ribald1. today Title as it on was one nearly line 70 in years caps ago. bold. Wheeler 2 spaces and Woolsey produc tiondisgruntled year in ex-husband curved brackets, Ace Crosby bold. (Mitchell All sameHarris), size angry over play Wattles(24pt?), and Swift, centered. a pair of Reno divorce attorneys whose the outcome of his divorce case, comes gunning for Wattles. The practice is so successful that their clients have to take numbers latter, still in female disguise, manages to keep Crosby at bay, to2. be served. Directed When the by: working Times day NR is over, italics, Wattles 10 pt& Swiftcentered followedbut soon theby rusename is revealedof director and the Times shootin’ NR, starts. 10 Thept boldwhole convert3. their Original law offices review into froma nightclub, 10 pt Timeswith the secretariesNR, italics, followedaffair ends by in name up court, of wherepublication the Brunos’ 10 ptdivorce Times develops NR bold, into shedding theiritalics, street followed clothes to by don comma, skimpy dancing followed outfits by dateand of apub hugelication media event,10 pt with Times radio NR announcer italics, Eddie followed Kane providingby “by” the junior Timeslawyers NRtransforming 10 pt italics, into waiters. followed The story by name is set of revieweplay-by-playr 10 pt and Times concessionaire NR bold Monte Collins hawking peanuts in4. motion Framewhen Joe marquee and Aggie lights. Bruno (Joseph Cawthorn and to the spectators. With the help of a melancholy violin rendition Cora Witherspoon) decide to get a divorce after 20 years of of Hearts and Flowers, Wattles and Swift manage to reunite the marriage. Wattles agrees to represent Joe in court, while Swift warring couple. At this point, the Judge (Sam Hardy) instructs agrees to handle Aggie’s case – a cute conflict of interest that the jurors -- armed with musical instruments -- to “get hot,” as will mean money in the bank for the partners no matter what the he performs a double wedding ceremony, marrying Wattles to outcome. The Brunos’ pretty daughters Prudence (Dorothy Lee) Prudence and Swift to Pansy. The musical highlights include a and Pansy (Zelma O’Neill) show up in Reno to prevent their priceless Wheeler-Woolsey terpsichorean number which starts parents’ breakup, whereupon Wattles falls in love with Prudence as a sultry tango and ends as a wild Apache dance, and Bert and Swift is overcome (quite literally) by Pansy. As part of his Wheeler and Dorothy Lee’s delightful Niagara Falls to Reno, legal strategy, Swift arranges for Joe to be seen in public with showing off the tapping skills of both performers.
USA, 1937, Directed by Henry Koster, B/W, 84 min
VINTAGE FILM FESTIVAL REVIEW BY: Penny Hozy
www.northumberlandfilm.ca CONVENTIONS FOR REVIEWS FROM VINTAGE FILM FESTIVAL WRITERS 2011-2012 1. Title same as above 9th SEASON OF TERRIFIC FILMS 2. Country of origin comma year of release comma “Directed by” followed by name of Director comma B/W OR col comma runningFALL time in2011 minutes SERIES followed by “min” All Times NR 10 pt 3. VINTAGE FILMOct. FESTIVAL2, Midnight in REVIEW Paris; Oct. BY:16, Tree U/C of 10 Life pt; Nov.Times 6, The NR Debt bold; Nov. followed 20, by name of re- Beginners; Dec. 4, Oranges and Sunshine viewer U+L/c 10 pt Times NR bold TICKETS AVAILABLE AT: Harden & Huyse Chocolates 201 Division St.. 905-377-9917 (Series Pack & Single Tickets (Cash & Cheques Only)
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For updated information as movies are confirmed, please visit the website: WWW.NORTHUMBERLANDFILM.CA
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- 12 - PEACH-O-RENO USA, 1931Directed by: William A. Seitler, b/w, 63 min.
VINTAGE FILM FESTIVAL REVIEW BY: Chris M. Worsnop
Marshall McLuhan said each new medium uses the old medium One of the daughters in the family of the on-again-off-again divorce, as its content. In the 1930s, the new media were the talkies and Prudence, is played by Dorothy Lee, a colleague of W & W from radio; the old media were vaudeville and its various surrogates: their 1927 Ziegfeld production, Rio Rita. Bebe Daniels took the minstrel and Pierrot shows and “concert parties”. All of these part in the 1929 film version opposite W & W. After the success specialized in music, singing, dancing and comedy. Once the of that first film, W & W made Lee a regular team member in talkies came along it was natural for stage artists to make their some dozen of their movies. The plot is conveniently halted mark in films using their familiar material. W.C. Fields, the for her to have an out-of-the-blue musical duet with Bert that Marx Brothers and the stars of this film, Bert Wheeler and morphs into a flapper-era tap routine. Robert Woolsey, are prime cross-over examples. Later examples are the movies of Ole Olsen and Chic Johnson, particularly Zelma O’Neal, playing Lee’s plain-talking sister, is another Hellzapoppin’ (1941). The 1960s TV show Rowan & Martin’s highlight in the comedy. She was known on Broadway as a Laugh In is an example of a nostalgic return to the same style. risqué comedienne/chanteuse. Her hit songs included “The Varsity Drag”, “I Want to be Bad” and “Do What You Do”. Peach-O-Reno, or Peach O’ Reno, as it is sometimes listed, is an It is said, though, that censors removed some of her suggestive early film of the Wheeler & Woolsey comedy team. The story of dialogue from this film. the film is flimsy and ridiculous. Wheeler & Woolsey are Reno divorce lawyers whose legal offices transform into a speakeasy/ This is surprising, if true, in light of the extensive and very casino/night-club at night. A price-war with other divorce lawyers, suggestive drag scenes and their accompanying dialogue. an angry husband bent on shooting the lawyer who got his wife Woolsey has a scene where he is kneeling on a dance floor a divorce and two young women trying to prevent their parents and pauses for a low-angle ogle at a dancer’s swaying skirt. from divorcing are merely narrative devices to give the boys Furthermore, in 1931 the Production Code was famously more chances to indulge in their (fr)antics. Wheeler pulls off a very honoured in the breach than in the observance. It is probably the funny female impersonation, decades before Some Like It Hot. adult nature of W & W comedy that kept it off 1950s TV screens The nightclub dance routine s/he does with Woolsey escalates to and hidden in vintage film vaults. mayhem as the various plot strands collide then unravel. In pursuit of enjoyment of this film in the 21st century we should The dialogue specializes in wink-wink rim-shot jokes, accompanied all subscribe to Sammy Coleridge’s dictum of “the willing by pauses for laughter. The legal office and nightclub are generously suspension of disbelief”. In plain language: relax and enjoy it. peopled with young lovelies in either very tight-fitting or flimsy The medium is the message. It’s a 1931 talkie. costumes. A gun-totin’ gambler fires more shots out of his six-shooters than Hopalong ever dared to squeeze in, or off. Chris M. Worsnop is a member of the Vintage Film Festival Committee.
- 13 - The Scarlet Pimpernel (1934) DirectedDirected by: by: HaroldHenry Young Koster
OriginalOriginal review review from from the theNew New York York Times Times,, SeptemberFebruary 8, 1935, 18, 1937 by: Andre by Frank Sennwald S. Nugent
The CONVENTIONS gorgeously colored adventureFOR REVIEWS film which FROM Alexander ORIGINAL Korda Since SOURCES a comparatively (NY TIMES,small number VARIETY of millions ETC.) are familiar has carved from the pages of the Baroness Orczy’s novel permits with the book, perhaps it is time to explain that the mysterious the1. English Title to recover on one some line of in their caps recent bold. losses 2 spaces in cinema produc tionPimpernel year in borrowed curved the brackets, wayside flower bold. forAll hissame mark, size and with prestige and(24pt?), the Radio centered. City Music Hall to resume its reputation it signed his tantalizing messages. He was an aristocrat in an age for showing superior motion pictures. The Scarlet Pimpernel when only the wellborn were esteemed to possess an immortal is2. stirring Directedto the pulse by: and Timesbeautiful NR to the italics, eye, and 10 it pt weaves centered followedsoul, and byhe hatedname the of ugly director slaughter Times of the NR,French 10 nobility. pt bold the3. richly Originaltextured background review from of those 10 tinglingpt Times months NR, of italics, the foSollowed he organized by name a secret of publication band of vigilantes 10 pt andTimes directed NR its bold, French Revolutionitalics, followed into an enormously by comma, satisfying followed photoplay. by date of operationspublication so successfully 10 pt Times that NRhe proved italics, a great followed nuisance by to the“by” Once moreTimes the Scarlet NR Pimpernel10 pt italics, defies followed the bloody by tribunals name of reviewebusy Parisr 10 tribunals.pt Times Robespierre NR bold demanded his head and the of4. the Revolution Frame marqueeand snatches lights. the doomed aristocrats from great Chauvelin was assigned to unmask him. The Pimpernel Dame Guillotine. The tumbrils clatter over the cobblestones and led the French ferret a merry chase. The Pimpernel’s wife, who the populace cries for heads. In England Sir Percy Blakeney, never suspected her nitwit husband to be the gallant adventurer Bart., minces so expertly, plays the fool so well, that not even who was the toast of England, even joined the search herself Chauvelin, the deadliest of the Pimpernel’s foes, suspects this when Chauvelin threatened to execute her imprisoned brother simpering dandy to be the bravest and shrewdest gentleman in all unless she helped him. It is a dashing, romantic adventure, and it the world. ‘Sblood! a toothsome picture. leads finally to a dingy French inn, where the Pimpernel and his relentless foe confront each other at last. It is a temptation to say that Leslie Howard’s newest performance is also his best. This time the need is overbearing. For Mr. Somehow, Mr. Korda succeeds as miraculously as he did in The Howard is the Pimpernel himself, gallant and resourceful on his Private Life of Henry VIII in evoking not only charm and humor USA, 1937, Directed by Henry Koster, B/W, 84 min perilous missions across the Channel, downright superb when he and beauty out of what might have been a rather stuffy costume is playing the simpering poseurVINTAGE in the English FILM drawing FESTIVAL rooms. He piece, REVIEW but also BY:an air Pennyof reality Hozy and conviction. Perhaps we should is an infinite delight even in a cast which is correct down to the reserve some of the applause for Harold Young, who is credited smallest rôles and includes Raymond Massey and Merle Oberon with the direction. It is a splendid cast, headed by the slant-eyed among its principals. Robert Sherwood and Arthur Wimperis and quite breathlessly lovely Miss Oberon as the Pimpernel’s have struck off a witty, romantic and adventurous screen play, wife, Raymond Massey as the prowling French Ambassador, and whichCONVENTIONS has been costumed, FOR photographed REVIEWS and setFROM aflowing VINTAGE with NigelFILM Bruce FESTIVAL as the slightly WRITERS halfwit Prince Regent. ‘Struth, “The the best possible taste. Did the narrative seem a trifle leisurely in Scarlet Pimpernel” provides a rare and satisfying experience in places?1. No Title matter. same It was as a aboveleisurely age and here is a succulent the cinema. and2. captivating Country entertainment. of origin comma year of release comma “Directed by” followed by name of Director comma B/W OR col comma running time in minutes followed by “min” All Times NR 10 pt 3. VINTAGE FILM FESTIVAL REVIEW BY: U/C 10 pt Times NR bold followed by name of re- viewer U+L/c 10 pt Times NR bold
- 14 - The Scarlet Pimpernel UK, 1934, Directed by Harold Young, b/w, 95 min.
VINTAGE FILM FESTIVAL REVIEW BY: George Atto
Following his success with The Private Life of Henry VIII nature of the Revolution, seemingly pointing out the inevitable in 1933, Alexander Korda felt that another British historical outcome of government that rules by decree. It is possible that as a movie would go down well with North American audiences. Jewish refugee he was more than aware of events then taking place Accordingly, he chose The Scarlet Pimpernel, which not only in Germany following Hitler’s rise to absolute power, culminating was already a successful property, but would also allow him to in The Night of the Long Knives in June of 1934, which saw the cast one of the stars of Henry VIII, Merle Oberon, as Marguarite assasination of five hundred Sturmabteilung members. Blakeney, the wife of Sir Percy, the Scarlet Pimpernel. In fact, he was so taken with her that he later married her. This film made The longevity of this story is quite remarkable. For more than Leslie Howard an international star and in turn led to his most a hundred years it has been the basis of at least fifteen movies famous role, that of Ashley Wilkes in Gone With The Wind. (three silent), three TV series and even a musical. What is it Raymond Massey appears as Citizen Chauvelin, the would- that appears to have such a universal appeal? To begin with, be nemesis of the Scarlet Pimpernel. Although the film was it is a story with all the elements for excitement in place: an nominally directed by Harold Young, it was closely watched by aristocratic, rich and handsome hero, an evil French villain, a Korda, who not only fired the first director, but shot some of the plucky, misunderstood, and misunderstanding, wife, all tied early scenes himself. together with plenty of action, and concluding with a happy resolution to all problems. According to Charles Dickens, the French Revolution was both the the best of times and the worst of times. Not so, acording to Another theme at the centre of the story is that of the split Baroness Emma Orczy, the author of the source novel for this personality. Here we have Sir Percy Blakeney, outwardly a movie. As an aristocratic child refugee from Hungary following foppish and foolish young man, whose range of interests seems to the revolution of 1868, Orczy clearly saw the Revolution as an go not much farther than court gossip and the style of his cravat. unmitigated disaster. Living and married in London, in order The other side of our hero is the daring and courageous rescuer of to help the family finances Orczy began writing short stories, doomed French Aristos. Think of other dual personalities: Clark one of which featured Sir Percy Blakeney, who rescued French Kent and Superman , Dr Jekyll and Mr Hyde.,The Three Faces aristocrats from the Revolutionaries. This in turn was adapted as of Eve. It is unlikely that Baroness Orczy had read much Freud a play that premiered in 1903 and had a wildly successful run of in 1902, yet she tapped into his ideas of two personalities within almost four years. The same material was recycled as a novel in one person. In the end we all would like to believe that in spite of 1905. This too proved extremely popular, and Orczy continued to evidence to the contrary, we could be heroines or heroes. write at least a dozen sequels, the last when in her late seventies. George Atto is a member of the Vintage Film Festival committee. In both Orczy’s writing and Korda’s film, the general populace of revolutionary France is depicted as bloodthirsty and quite stupid. Korda goes to some pains to emphasize the arrogant and violent
“When Merle Oberon was beginning her career in Hollywood the Studio was dismayed to discover that her mother was from Ceylon [Sri Lanka] and her father was Irish. Fearing a racist reaction, they announced she was from Tasmania!” GA
- 15 - It DirectedDirected by:by: Clarence Henry Badger Koster
Original review from theOn-line New review York from Times Old ,School September by: John 18, Nesbit 1937 by Frank S. Nugent
Nothing CONVENTIONS in Clara Bow’s FORupbringing REVIEWS suggests thatFROM she would ORIGINAL one out SOURCES to see if any (NY of Waltham’s TIMES, sales VARIETY girls have thisETC.) elusive quality day become the archetypal 1920s flapper and silent screen sex and is soon transfixed by Betty Lou. She uses him as a means to symbol.1. Born Title into on poverty one line to abusive in caps parents bold. living 2 spaces in a Brooklyn produc tionget toyear Waltham, in curved illustrating brackets, how independent, bold. All sameliberated size women tenement, (24pt?),Bow grew centered. up with more than her share of dysfunction. could actively pursue sexual conquests in the Jazz Age. Her mentally ill mother occasionally prostituted herself, locking Clara2. in the Directed closet when by: serving Times clients, NR italics, and her father10 pt allegedlycentered followedThat doesn’t by meanname that of Bettydirector Lou isTimes a loose NR, woman, 10 however.pt bold At raped3. her Originalat the age ofreview 15. This from undoubtedly 10 pt Times contributed NR, to italics, followedthe end of by her name first ofofficial publication date with 10 Waltham, pt Times she abruptlyNR bold, slaps lifelong challenges,italics, followed which may by have comma, led to later followed bouts of by date of himpub whenlication he attempts 10 pt Times a kiss: “SoNR you’re italics, one followed of those Minute by “by” schizophrenia,Times alcoholism, NR 10 ptand italics, drug abuse. followed by name of revieweMen--ther 10 minute pt Times you meet NR abold girl you think you can kiss her!” 4. Frame marquee lights. Yet Clara Bow now transcends most stars of the silent era. After a No good-time girl routine for Betty Lou, and her dream series of small parts, she reached the pinnacle of popularity in the man doesn’t even get an invitation for coffee. Despite her 1927 film It, based on an Elinor Glyn novel. Glyn does a cameo prudish behavior, she reveals how much she relishes that initial of herself in a dining scene to summarize exactly what “It” is: affectionate expression in the privacy of her chamber. This won’t “That strange magnetism which attracts both sexes... entirely be the last time that she’ll send mixed signals, as she plays “hard unself-conscious... full of self-confidence... indifferent to the to get”. effect... she is producing and uninfluenced by others.” A series of typical misunderstandings take place, complicated While modern viewers talk much more openly about sex appeal, by bureaucratic social workers, but we expect that the desired back in the twenties most would refer to “It” with knowing match will eventually work out—the poor girl will end up USA, 1937, Directed by Henry Koster, B/W, 84 min “wink, wink ... nudge, nudge” looks and references. And Clara with the handsome rich guy. Director Clarence G. Badger’s Bow demonstrates “It” definitivelyVINTAGE as salesgirl FILM Betty LouFESTIVAL Spence, It REVIEW is an ordinary BY: story Penny acted out Hozy by a number of nondescript who instantly falls for wealthy Cyrus Waltham Jr. (Antonio characters except for the one – the engaging, charismatic, fiercely Moreno) on first sight. Without Bow, this romantic comedy independent, flirtatious Clara Bow. Only when she is on screen would lie among the faceless mundane melodramas of the does the story spring to life. This film alone serves as ample era. She single-handedly transforms the film into a classic that explanation why Bow will forever remain a Hollywood legend. remainsCONVENTIONS enjoyable today. FOR REVIEWS FROM VINTAGE FILM FESTIVAL WRITERS The same year, Bow also appeared in the much higher-regarded The1. simple Title story sameis very as easy above to follow. Waltham has just Academy Award-winning Wings, but It is the film that established inherited2. his Country father’s largeof origin department comma store yearand is of congratulated release comma her “D asirected an icon. by”Thankfully, followed Milestone by name Films of has Director preserved this by his buddy Monty (William Austin), who is fascinated by classic on DVD, including a commentary by film historian Glyn’s Cosmopolitancomma B/W magazine OR excerptcol comma about “It.”running Monty time sets in minutesJeanine followedBasinger. by “min” All Times NR 10 pt 3. VINTAGE FILM FESTIVAL REVIEW BY: U/C 10 pt Times NR bold followed by name of re- viewer U+L/c 10 pt Times NR bold
- 16 - IT USA, 1927, Directed by Clarence G. Badger, b/w, 72 min., silent
VINTAGE FILM FESTIVAL REVIEW BY: Don Ciaschini
Manipulation, ruses, little white lies and subterfuge are the The opening with Badger’s wonderfully choreographed crowd acquisitive stock-in-trade of our heroine, shop girl Betty Lou scenes has an immediacy that pulls us right into the film.It is Spence. But Clara Bow as Betty Lou is so darned cute that she also a film of contrasts that arise from class differences. We see wins our hearts and we gladly accept and forgive her cunning wiles. Betty Lou and Adela, both preparing for dinner at the Ritz. Betty Lou with her limited wardrobe works a miracle with a simple Betty Lou sees her new boss, Cyrus, son of the owner of black dress, a pair of scissors, a bit of lace, a length of black Waltham’s Department Store where she works, and of course chiffon and some artificial flowers from an old hat. There’s a falls in love with him. He’s too absorbed in the store to notice her sense of exuberance, excitement and fun in these preparations. but she makes it her business to make sure they meet. When she There is one very touching moment when she undoes the overhears Cyrus say that he’ll be dining at the Ritz that evening newspaper protecting the hat and sees a Waltham’s she talks his friend Monty into taking her there. Cyrus is there ad for dresses at $11 – more than she could ever afford. with his friend Adela, who incidentally has matrimonial plans that Cyrus doesn’t know about. He finally notices Betty Lou and, Adela, on the other hand, getting ready for her date with Cyrus, naturally, falls for her. Barring a few complications, the rest is is dressing in a very richly-appointed boudoir, assisted by her pleasantly predictable. maid. Adela’s clothes are luxurious, chic and beautiful. Adela herself is aloof and sophisticated. The final shot of Adela’s B.P. Schulberg, an associate producer at Paramount Pictures, preparations, reminiscent of an Erte fashion print, effectively was looking for a label to attach to Clara Bow, one of his rising emphasises the differences between the two women. In another stars. “The Brooklyn Bonfire”, a label he’d tried the previous contrast, we have the Ritz with its haughty waiters and snobbish year, didn’t engender much excitement or press. He read Elinor clientele played against the relaxed bonhomie of Coney Island Glyn’s book It, a serial published in Cosmopolitan Magazine, with its friendly attendants and casually-shared excitements. and decided this would be a good vehicle for Bow. He gave Glyn $50,000 and various other incentives to endorse Bow as “The It If you were born before the era of big box stores, there’s Girl”. Out of this concept, It, the film, was born. nostalgia in the shots of Waltham’s interior with salesladies showing customers merchandise from behind the counter. Cosmopolitan Magazine is shown in Cyril’s office and then held Remember those cloths that covered the counters at the end of conspicuously displayed for the camera by Monty as he moves the day? about the space. In the 1920s this was called “payola”; today we call it “product placement”. To ensure that the movie audience I found It to be fast paced, entertaining and above all, fun. The understood “it”, the idea is explained no less than three times film, though billed as a romantic comedy, might leave you with at the beginning of the movie: The first is immediately after the more serious things to ponder. opening credits; soon after that Monty reads a definition from Cosmopolitan Magazine and finally Elinor Glyn herself explains Don Ciaschini is an actor, artist, teacher and all-round film buff. “it” to Cyril and his guests in a scene at the Ritz.
ONE MORE AFTER THIS AND THEN WE’LL WRAP… The Robinson Film Center in Shreveport, La. – a temple to movie-making – has a second-floor eatery named Abby Singer’s Bistro. So who is Abby Singer? Turns out Abner E. Singer was a 1st. assistant director, unit production manager and TV and film producer of the Seventies and Eighties who became notorious for insisting on one more take – one more shot – before the last shot of the day. After a while, that second-to-last shot of the day became known as an Abby Singer. There was even an indie movie titled after him. The actors posed as volunteers at indie festivals and managed to sneak cameos from such luminaries as Brad Pitt, Don Cheadle, Jodie Foster, Jennifer Aniston, Stockard Channing, Roger Ebert, John Waters and Jake Gyllenhaal. Though it had an estimated budget of only $1,500, it picked up a few indie awards. Thus, the eponymous Singer has his name on a bistro, a movie and a bit of TV and film business. So what, then, is the very last shot of the day called? It’s called a martini. MRH
- 17 - In Which We Serve (1942) DirectedDirected by: Noel by: Coward, Henry DavidKoster Lean
OriginalOriginal review review from from the the New New York York Times, ,December September 24, 1942,18, 1937 by: Bosley by Frank Crowther S. Nugent
One CONVENTIONS of the most eloquent FOR motion REVIEWS pictures of theseFROM or any ORIGINAL other It SOURCES is the memories (NY of C. TIMES, P. O. Hardy VARIETY and Ordinary ETC.) Seaman Shorty times had its American premiére at the Capitol Theatre last Blake, typically overlapping, of their families and Plymouth night.1. It is Title Noel Coward’son one line much-heralded in caps bold. British 2 spacesNavy film, produc tionhomes—of year in Hardy’s curved wife brackets, and her mother,bold. All of thesame way size Shorty In Which (24pt?),We Serve ,centered. made within the last year in England under met Hardy’s niece on a train coming down from London and Mr. Coward’s almost complete guidance and played by as fine winningly married her. And it tells, in a correlated narrative, how a 2.cast of actors Directed as ever by: stepped Times up to NR a camera. italics, There 10 havept centered been followedthe bombers by camename over of Plymouthdirector one Times fearful NR, night 10 and pt left bold poor other3. pictures Original which havereview vividly from and 10 movingly pt Times conveyed NR, initalics, terms followedHardy a widowerby name and of Shorty publication a father by10 the pt graceTimes of God.NR bold, of human emotion the cruel realities of this present war. None has italics, followed by comma, followed by date of Itpub tellslication all of these 10 ptthings Times and othersNR italics, connected followed with the bylife “by”of the yet done it so sharply and so truly as In Which We Serve. Times NR 10 pt italics, followed by name of revieweship inr a10 manner pt Times as vivid NR and bold stirring as though it were actuality. “This4. is the Frame story ofmarquee a ship,” sayslights. the voice of Mr. Coward It catches the “feel” of a destroyer with vibrant intensity—the to introduce the opening sequence of the picture—scenes of sweep of her hull through the water, the pounding of pom-pom building a destroyer on the ways. But it is more than the story guns, the coordination in battle and the cool, efficient order on of one vessel which he is telling here; more than the log-book her bridge. And it visions civilian life in England as it really record of a British destroyer which was hastily commissioned is—people doing their business with humor and hardihood. For for service in the summer of 1939, fought through the howling Mr. Coward has written and he and David Lean directed this film watches around Britain’s embattled isles and was finally knocked out of knowledge and deep compassion for the people and the out by Nazi bombers off Crete in May of 1941. It is the human subject of which they treat. and vibrant story of the men who fought in her, of their stout And the actors have played it with the verity of close and keen devotion to their vessel and to the service in which they were observers of life. Mr. Coward himself is somewhat cryptic and pledged. And, above all, it is the story of man’s heroic soul and attitudinized in the role of the ship’s commander; for all his depth the selfless, indomitable spirit by USA,which a 1937,whole nation Directed endures. by Henry Koster, B/W, 84 min of sincerity, he still plays Mr. Coward. But Bernard Miles and For the great thing which Mr. CowardVINTAGE has accomplished FILM FESTIVAL in this John REVIEW Mills are BY:incomparable Penny asHozy a couple of Royal Navy men— film is a full and complete expression of national fortitude. Yes, Miles spare and gentle as Hardy and Mills bright and bustling the men of H. M. S. Torrin, from her commander down to the as Blake. Celia Johnson, Kay Walsh and Joyce Carey play the lowest tar, are filled with deep pride in their vessel and a personal wives of the three men as such should be—plain in appearance, attachment to her. When the wife of the Torrin’s commander unpretentious, but as real and dependable as home. And a large wistfullyCONVENTIONS explains that there FOR is inREVIEWS the life of every FROM navy VINTAGEwoman castFILM of truly FESTIVAL excellent actors WRITERS puts life and reality into other roles. “one undefeated rival—her husband’s ship,” she frankly We may yet see a picture more rational about the large acknowledges a relation to which she is dutifully resigned. And 1. Title same as above implications of this war. But this observer does not expect ever when Chief Petty Officer Hardy lifts his glass in a Christmas 2. Country of origin comma year of release commato “D seeirected anything by” more followed moving on by the name screen of than Director the looks of the toast and solemnly says, “I love her—I love her with every fiber oil-smeared sailors in this film as they watch their loved ship of my being;comma ladies andB/W gentlemen—H. OR col comma M. S. Torrin,”running it istime a in minutes followed by “min” All Times NR 10 pt sink, or the way in which those tired Dunkerque survivors of pledge3. of his VINTAGE very soul. FILM FESTIVAL REVIEW BY: U/C 10 pt Times NR bold followed by name of re- the Coldstream Guards march off that Dover dock. Nor are we And that isviewer the thing; U+L/c this devotion 10 pt ofTimes men to NR their bold ship and to likely to hear ever anything which cuts more closely to the heart their mates is a subtle symbolization of everything that they than Commander Kinross’s valedictory to his sailors and to his are. The ship represents themselves, their families. It is their ship: “Now she lies in 1,500 fathoms and with her most of our nation. It is their world. The ship is the heart and sinew of all shipmates. We have lost her, but they are still with her. Now they who sail in her. It is this profound realization which Mr. Coward lie in very good company.” has conveyed by graphically merging the lives of the Torrin’s Yes, this is truly a picture in which the British may take a company, ashore and afloat, in one resolve. wholesome pride and we may regard as an excellent expression In Which We Serve is not a plot-film. Like Mr. Coward’s of British strength. For it tells in this war’s hard idiom what previous Cavalcade, it is rather a dramatic narrative, a pageant Kipling told in the last: of tense experience. In the main, it is just the recollections of a handful of the Torrin’s men as they cling to a tiny life-raft off How in all time of our distress, Crete after their ship has been sunk. It is the poignant reflections of her commander upon the glories of his ship—of the night that And our deliverance too, they fought her desperately against the enemy in a North Atlantic storm and brought her home badly damaged, with thirty of their The game is more than the player of the game shipmates dead; of his talks with the crew, of Christmas services And the ship is more than the crew. in the fo’c’sle and singing “Good King Wenceslaus,” of the time that they helped bring the Army back from Dunkerque—and of the simple pleasures of his home.
- 18 - IN WHICH WE SERVE United Kingdom, 1942, Directed by David Lean, b/w, 115 min.
VINTAGE FILM FESTIVAL REVIEW BY: Rick Kelly
This script by Noel Coward is based on the true story of Lord as a director here. The aforementioned John Mills (star in 120 Mountbatten’s destroyer, HMS Kelly. After being in several films, father of Hayley and Juliet, later Sir John Mills) was in battles, the HMS Torrin is finally sunk by the Germans off his first film role. And the baby shown at the end of the film the island of Crete. The survivors cling to a life raft and the as the son of Seaman Blake was his daughter Juliet in her first story is told flashback. The strength and determination of the movie role. Richard Attenborough (actor, producer, director British military personnel and indeed all the British citizenry and later Sir Richard Attenborough) also made his film debut is demonstrated by the characters in this patriotic war film. as a young sailor. You may recognize Bernard Miles (Joe Perhaps this is best demonstrated by Seaman Blake (John Mills) in Great Expectations) as CPO Hardy. Bernard Miles later who mans a gun post when the gun crew is knocked out. Capt. became Baron Miles. Mrs Blake, Seaman Blake’s mother, was Kinross (Noel Coward) demonstrates his faith in his fellow played by Kathleen Harrison (Mrs Dilber in Scrooge). Who countrymen by taking responsibility as Captain for the actions could forget her voice? Michael Wilding, perhaps best known of his men when shielding a young sailor who panics under fire. to North American audiences as Liz’s second husband, played Flags. Mrs. Kinross was portrayed by Celia Johnson (Brief Flashbacks show gentle and not so gentle life on the home front Encounter, another Coward vehicle, also directed by David for the families, emphasising the inner strength of the wives and Lean). families in times of extreme stress. Blake’s wife moves in with the family of CPO Hardy. Seaman Blake receives good news The Canadian connection in this film is Daniel Massey, son of that his wife has given birth to a boy, but the same letter tells Raymond Massey, nephew of Vincent Massey. Incidentally, of the death of the wife and mother of CPO Hardy in the Blitz. Daniel won a Golden Globe award for portraying Noel Coward, The evil of the enemy is further demonstrated by enemy aircraft who was his godfather, in the 1968 movie Star. repeatedly strafing the helpless sailors as they cling to a life raft. The stoic determination shown by the characters in this movie This movie won the New York Film Critics’ Award for Best contrasts well with the in-your-face, flag waving approach used Picture in 1942 and was nominated for Best Picture at the 1943 by some American patriotic films. Academy Awards. David Lean (Bridge on the River Kwai, Lawrence of Arabia, Doctor Zhivago) was making his debut Rick Kelly is a movie fan who lives in Cobourg.
- 19 - The Shop Around the Corner (1940) DirectedDirected by: by: Ernst Henry Lubitsch Koster
OriginalOriginal review review from fromthe Newthe New York York Times Times,, SeptemberJanuary 26, 1940,18, 1937 by: Frank by Frank S. Nugent S. Nugent
Ernst CONVENTIONS Lubitsch is offering FOR some REVIEWS attractive screen FROM merchandise ORIGINAL background—even SOURCES (NY Mr. TIMES, Stewart, who,VARIETY on the face ETC.) and speech of in The Shop Around the Corner, which opened at the Music him, hardly could be called the Budapest type, and Mr. Morgan, Hall1. yesterday. Title Ninotchka on one line appears in caps to have bold. used 2 up spaces his supply produc tionwho year plays in a benevolentcurved brackets, dictator (in bold. leather All goods) same with size scarcely of hearty comedy(24pt?), for centered. the time at least, but his sense of humor is a trace of the comic fluster and bluster that have established him inexhaustible. He has employed it to brighten the shelves where as one of Hollywood’s most standardized funny men. his2. tidy Continental Directed romanceby: Times is stored NR and, italics, among 10 the pt bric-à- centered followed by name of director Times NR, 10 pt bold brac,3. there Original are several review fragile scenesfrom 10which pt Timeshe is handling NR, italics, with followedMiss Sullavan, by name making of publicationone of her all-too-infrequent 10 pt Times appearances,NR bold, his usual delicacyitalics, andfollowed charm, assistedby comma, by a friendly followed staff by of sales-date of remindspublication us she 10 still pt is Timesone of our NR most italics, piquant followed and delightful by “by” people whoTimes are going NR under 10 pt resoundingly italics, followed Hungarian by names, name butof reviewescreenr ladies,10 pt andTimes there NR have bold been amusing contributing remind4. us Framestrangely marquee of Margaret lights. Sullavan, James Stewart, Frank performances by Mr. Schildkraut as the unctuous rascal of the Morgan and Joseph Schildkraut. All told, they make The Shop piece, by Felix Bressart as the timorous senior clerk and by Around the Corner a pleasant place to browse in. William Tracy as the epitome of all sassy (and much put upon) errand boys. Mr. Lubitsch must set up shop soon again. The shop Mr. Lubitsch has opened, for his romantic-comedy purposes, is a very real one: Matuschek & Co. is its name; it seems to be in Budapest, and Mr. Morgan is not alone Matuschek, but the “& Co.” as well. His clerks are most deferential. The ritual of each day’s shop-opening is punctiliously observed. Less reverent, perhaps, is the circumstance that Clerk Vadas (Mr. Schildkraut) is having an affair with Madame Matuschek. USA, 1937, Directed by Henry Koster, B/W, 84 min Still more distressing is the fact that Matuschek suspects Clerk Kralik of the intrigue, while KralikVINTAGE (being Mr. FILM Stewart FESTIVAL and REVIEW BY: Penny Hozy therefore purer than Galahad) has been doing nothing worse than conducting an anonymous Lonelyheart correspondence with a dream girl who also happens to be working in the shop—although neither of them has the faintest notion that the other is the Dear FriendCONVENTIONS of the letters. In fact, FOR Kralik REVIEWS and Miss NovakFROM just VINTAGE don’t get FILM FESTIVAL WRITERS along at all. 1. Title same as above So2. there it Countryis, and a pretty of origin kettle ofcomma bubbling year brew of it releasemakes under comma “Directed by” followed by name of Director Mr. Lubitsch’scomma deft andB/W tender OR management col comma and running with a genial time in minutes followed by “min” All Times NR 10 pt company to play it gently, well this side of farce and well that side3. of utter VINTAGE seriousness. FILMPossibly FESTIVAL the most surprising REVIEW part of BY:it U/C 10 pt Times NR bold followed by name of re- is the adaptabilityviewer of U+L/c the players 10 ptto Mr.Times Lubitsch’s NR bold Continental milieu whose splendid evocation is one of the nicest things of the picture. But they all have become natural figures against a natural
- 20 - THE SHOP AROUND THE CORNER USA, 1940, Directed by Ernst Lubitsch, b/w, 99 min.
VINTAGE FILM FESTIVAL REVIEW BY: Adam Rüdiger Rothman
We have all heard the saying “don’t judge a book by its cover” but never has it been more true than in the characters of Ernst The film was based on the popular 1937 playParfumerie , by Lubitsch’s lovely romantic comedy The Shop Around the Corner. Hungarian playwright Miklós László. Since the film’s creation, It is easy to quickly assess the nature of each character based on the story has been adapted as musicals, plays and remade numerous their outward appearance and initial impression, but this film times on film; most recently in 1999. Nora Ephron’s You’ve Got repeatedly reminds us not to. Mail acts as almost a spiritual successor, modernizing the tale and paying homage to its source – Meg Ryan’s store in the film is The film is set in Budapest in and around a leather goods store called The Shop Around the Corner. that almost acts like a microcosm of society. The story centres on two clerks, Alfred Kralik (James Stewart) and Klara Novak (Mar- The Shop Around the Corner is a timeless film and even after garet Sullavan), who can barely stand each other at work due to more than 70 years, hardly shows its age. It is fitting that the film a rather slighted first impression but, unbeknownst to each other, ends on Christmas Eve, as its conclusion rivals that sense of joy secretly exchange love letters. A parallel story involves the store’s felt after receiving the perfect Christmas gift. owner, Mr. Matuschek (Frank Morgan), his wife of two years and all the employees of the shop. Through this series of events, Adam Rothman is Retail Inventory Analyst for Universal Studios we see new perspectives of all of the employees, especially the Home Entertainment Canada. errand boy Pepi (William Tracy), first seen as rather obnoxious, only worried about the size of his tip, but becoming a hero in the end. It is through these final events that the character reveal their nature.
THAT IT WOMAN BEHIND THE IT GIRL Elinor Glyn wrote such steamy novels in the early years of the 20th Century and had such a tempestuous sex life that she inspired the following piece of doggerel: Would you like to sin/ With Elinor Glyn/ On a tiger skin/ Or would you prefer/ To err/ With her/ On some other fur? She was born Elinor Sutherland in Britain’s Channel Islands in1864, her father a Scot related to the peerage, her mother from an Anglo-French family that had settled in Canada. Her father died when she was but two months old and mother and daughters Elinor and Lucy (later to become Lady Duff Gordon and a survivor of the Titanic sinking) moved to the family home in Guelph, Ontario. There, Elinor was schooled by her grandmother, the daughter of an Anglo-Irish knight, in the ways of upper-class society, an education she put to good use in her work and life. Her mother remarried when Elinor was eight and the new family returned to the Channel Islands. At 28, the red-haired, green- eyed, vivacious Elinor Sutherland wed Clayton Glyn, a wealthy English landowner and descendant of Sir Richard Glyn. They had two daughters but the marriage wasn’t a success. Glyn was a spendthrift and in 1900, Elinor took to writing in a bid to maintain the family lifestyle. Success came quickly. Her first book, based on a series of letters to her mother about the families and affairs of the British aristocracy, was a signal of what was to come. Her novel Three Weeks, about a Balkan queen who greeted her lovers on a tiger skin, is said to have been inspired by her affair with Lord Alastair Innes Ker, brother of the Duke of Roxburgh. It was a sensation. Novels appeared at the rate of one a year. They were read by millions in all walks – servants, housewives, schoolgirls and European royalty, some of whom sought her acquaintance. Some sixty novels and collections of her work followed, including The Elinor Glyn System of Writing and, in 1923, The Man of the Moment, for which she coined the use of the word “It” as a euphemism for sexuality. The silent screen star Clara Bow became “The It Girl” and It was in. Glyn was lured to Hollywood by a lavish contract and went on to become a fabled screenwriter, director and legend, said to have influenced Gloria Swanson and Valentino. Her talents ranged far and she even worked as a war correspondent in World War I, and was one of only two women to witness the signing of the Versailles peace treaty. The divine Joanna Lumley (perhaps best know here as Pats in Absolutely Fabulous) played her in the Peter Bogdanovich movie The Cat’s Meow (2001), about goings-on aboard William Randolph Hearst’s yacht. Elinor Glyn died in London in September, 1943. MRH
- 21 - THE PUBLIC ENEMY (1931) Directed by: William A. Wellman Directed by: Henry Koster
OriginalNo review contemporary from reviewthe New available. York ThisTimes review, September taken from 18,Internet 1937 Movie by Frank Data Base S. Nugent
By CONVENTIONS Emanuel Levy FOR REVIEWS FROM ORIGINALHandling SOURCES a number (NY of TIMES, violent deaths VARIETY off-screen, ETC.) he spares no brutality of emotion, action, or thought in his grim portrayal of a Decades1. after Title it onwas one made, line The in Public caps bold.Enemy 2 remains spaces an produc tionlethal year criminal. in curved brackets, bold. All same size intriguing,(24pt?), brutally realistic, centered. and truly scary crime-gangster film. 2. Directed by: Times NR italics, 10 pt centered followedCocky, tough by name as nails, of fast-moving director Timesand lacking NR, any 10 morals pt bold or The Public Enemy launched a cycle of gangster films in the early conscience, Cagney renders a definitive portraiture of the rise years3. of the Original Depression review that also from includes 10 pt Little Times Caesar NR, with italics, followedand fall and by deathname of of a gangster.publication 10 pt Times NR bold, Edward G.italics, Robinson, followed and Scarface by comma, with Paul followed Muni. by date of publication 10 pt Times NR italics, followed by “by” Times NR 10 pt italics, followed by name of revieweBy wayr 10 of explanation,pt Times NR the boldmovie draws on the familial and In4. their narrative Frame format marquee (rise lights.and fall) and visual style, all three social contexts in which Tom grows up. The one cop shown in became models for later crimers to emulate, and some were detail is Tom’s father, a brute who walks around the house in half remade by other directors. his uniform, handling his unruly child with a razor strop.
The Public Enemy made a star of its leading man, James Cagney, Dev Jennings shot the film emphasizing sharp contrasts: glaring who in 1930 made no less than five films. It also established sunlit exteriors and grainy gray interiors that fade to black William Wellman as a major director of crime (and other) alleyways and gutters. dramas. Tom’s casual brutality scars the memory in shot after shot. The The tale opens with two young Irish boys, Tom (Frank Coghlan) moment best remembered, of course, is the one in which Cagney and Matt (Frankie Darro), growing up in the South Side of smashes half a grapefruit in Clarke’s face when she taunts him USA, 1937, Directed by Henry Koster, B/W, 84 min Chicago, circa 1909, learning a life of crime from Putty Nose with the suggestion that maybe he’s found a new lover. Everyone (Kinnell), a fence. VINTAGE FILM FESTIVALconnected REVIEW with BY: this famousPenny scene Hozy recalls it differently –whose idea it was, was Cagney really supposed to hit her, was Clarke The story then jumps ahead to their adulthood. As adults, Tom prepared, etc. Whatever the case, Clarke is unfortunately (now played by Jimmy Cagney) and Matt (Woods) move into remembered more for this small role than any other she played, robbery but, on a warehouse heist, a panicky Tom fires his gun and Cagney was for years to come offered a grapefruit whenever needlessly.CONVENTIONS They barely escape FOR theREVIEWS police, but inFROM the process VINTAGE they heFILM entered FESTIVAL a restaurant. WRITERS kill a cop. 1. Title same as above Originally, Cagney was cast as the quiet, soft-spoken pal of Moving2. up Country the crime ofladder, origin the twocomma young year hoodlums of release get into comma Eddie “Directed Woods, by”who followedwas assigned by with name the oflead Director role of Tom boot-leggingcomma on the adviceB/W ORof Paddy col commaRyan (O’Connor). running Matt time and in minutesPowers. followed But director by Wellman “min” saw All Doorway Times to NRHell and10 becamept Tom square their accounts with Putty Nose, in a scene that uses aware of the casting error. So Eddie and Cagney switched roles the3. off-screen VINTAGE sound of a FILMdiscordant FESTIVAL piano. REVIEW BY: U/Cafter 10 Wellman pt Times made NR an issuebold of followed it with Daryl by Zanuckname of re- viewer U+L/c 10 pt Times NR bold Working for Nails Nathan (Fenton), the two are successful in Cagney later reported that when he and Mae Clark played the their new racket, and move into an apartment with Mamie (Joan grape scene: “We had no idea that it would create such a stir. I Blondell) and Kitty (Mae Clarke). Tom later takes up with the now had a reputation in pictures as a woman slugger.” seductive Gwen (Jean Harlow). Reportedly, this notorious scene was based on an actual incident Tom, the more nasty and aggressive of the two, continues to rise in Chicago when hoodlum Hynnie Wein took an omelet at up in the gangster world. When Nails is killed by a horse in a breakfast and shoved it in his mistress’s face. freak accident, Tom shoots the animal. Cagney recalls, “Invariably whenever I went into a restaurant, Meanwhile, Tom’s good, crusading brother Mike (Cook) prevents there was always some way of having the waiter bring me a tray their mother (Beryl Mercer) from accepting his money. of grapefruit.”
In the end, gang warfare takes its toll. The film’s final shot, with The Public Enemy is one of the first modest pictures to have “I’m Forever Blowing Bubbles” playing on a Victrola, is still one grossed over $1 million at the box-office. The film’s budget was of the most horrifying images seen in a Hollywood movie. only $151,000 and it took just six days to make.
One of the most realistic gangster films ever produced. Wellman’s matter-of fact direction is impressive.
- 22 - THE PUBLIC ENEMY USA, 1931,Directed by William Wellman, b/w 84 min.
VINTAGE FILM FESTIVAL REVIEW BY: Doug Haddow
James Cagney was a “star” almost from the beginning of his who begs him for mercy. He pushes around men and women movie career. And he rapidly became an archetype, a national with liberated abandon and goes on a truly ugly killing spree resource and a person to be imitated in dress, speech and swagger. near the picture’s end, before being gunned down himself and His films—good, bad or indifferent—were, and are, almost being dumped on his mother’s doorstep like the morning paper. all worth watching for his very presence. Of all the matchless generation of movie actors who came of age in the 1930s, none The “message” of this film seems to be that poverty breeds brought as much sheer energy to the screen as Cagney. Running, criminality. An older brother’s steadfast devotion to education as grabbing, fighting, rearing back and stopping short, dancing, a passport to a better life receives Tommy’s withering scorn. In screaming, Cagney whirled though his parts with the assurance of the Depression-ridden year of 1931, the gun seemed a surer bet a lightweight boxer defending his title for yet another time. Such than the diploma. was the force of his screen persona that it is easy to overlook the intelligence and subtlety of his acting. The Public Enemy opened to mixed reviews. The New York Times saw it as “just another gangster film. Weaker than most in Most film historians agree thatThe Public Enemy was probably its story, stronger than most in its acting”. the movie that launched James Cagney to stardom. And this at Warner Brothers’ studio where, in this period, one film per Personally, I found the film to be mediocre. Jean Harlow, week was released in almost assembly-line fashion. In those days, playing the inevitable blonde moll, paralyses each scene she Warners was virtually a “stock company” of actors whose faces appears in and Edward Woods appears better suited to the role would become the stuff of American dreams over the next two of a bored socialite than a hungry young thug. Even Cagney decades: Humphrey Bogart, Bette Davis, Paul Muni, Pat O’Brien, himself had misgivings about the film. Loretta Young, Edward G. Robinson, Ann Sheridan, Dick Powell and Errol Flynn, to name a few. Many worked on as many as But too much has been written about The Public Enemy. The three films at a time scene where Cagney puts Mae Clarke on the receiving end of a grapefruit, startling as it might have been in 1931, has received The Public Enemy provided Cagney with a near perfect vehicle. more scrutiny than many other shocking film sequences. It seems It is the tale of a wily young gangster’s meteoric rise from the hardly worth the attention given its brevity but maybe the shock genteel poverty of his Irish neighbourhood to the heights of value remains to some. Cagney, however, was haunted by the Chicago bootlegging society. Cagney was afforded an opportunity scene for years, literally driven from restaurants by winking to show off most of his acting talents. As Tommy Powers, he was patrons who paid waiters to deliver half-grapefruits to his table. a man of the city, an urban animal and predator, incapable of both hypocrisy and feeling. Tommy is a hard case, one who can smile Doug Haddow is a former member of the Vintage Film delightedly as he shoots down an old-time neighbourhood con Festival committee.
- 23 - IN THE GOOD OLD SUMMERTIME (1949) Directed by: Robert Z. Leonard Directed by: Henry Koster
OriginalNo contemporary review from reviews the New available. York These Times reviews, September taken from 18, Internet 1937 byMovie Frank Data S. Base Nugent
By CONVENTIONS laffinsal, California, FOR March REVIEWS 28, 2005 FROM ORIGINALto SOURCES early 20th-century (NY Chicago.TIMES, Johnson VARIETY and Garland ETC.) work in a music store with Spring Byington, Clinton Sundberg, and Buster Funny1. that Title a movie on whichone line has in“Summertime” caps bold. in2 itsspaces title spends produc tionKeaton year and in that’scurved owned brackets, by S.Z. Sakall.bold. AllSakall same is far size more most of its(24pt?), duration incentered. the winter. No matter, this is a charming lovable as he always is than Frank Morgan in the same part in and2. quaint Directed musical from by: MGM. Times Judy NR and italics, Van are 10 anonymous pt centered followedThe Shop by Around name The of Cornerdirector. A bitTimes thick, NR, but lovable. 10 pt boldHe does pen pals, who also happen to work together, each of them not think he has talent on the violin, the same way Jack Benny did knowing3. the Original other is reviewtheir mystery from “friend’. 10 pt Times NR, italics, followedon his radio by program.name of He publication plays it as well 10 aspt Benny Times did NR and bold, even italics, followed by comma, followed by date of playingpublication it on a 10Stradivarius pt Times doesn’t NR italics, help. followed by “by” It’s a littleTimes disconcerting NR 10 watching pt italics, Judy followed Garland, as by lively name as of reviewer 10 pt Times NR bold ever,4. in her Frame second-to-last marquee MGM lights. musical from the studio’s Except for one new song, Merry Christmas, the rest of the classic period. It’s unfortunate she was dropped a couple years score is interpolated period favorites like Meet Me Tonight In later, because even in this minor film, she is wonderful, using Dreamland, I Never Knew, I Don’t Care and of course the title her talents to better the story with her cinematic personality and song. Judy is really in her element doing these numbers. In fact melodic singing. She had a gift for comedy and a talent for drama two of the early century’s great musical performers, Blanche as well. Ring who introduced In The Good Old Summertime, and Eva Tanguay whose specialty song was I Don’t Care, were still alive Van Johnson, in one of his few memorable musical film roles, is to see Judy do both of their numbers for the current audience. good as Judy’s counterpart. His role seems more like a character I’ve often wondered what they must have thought. Gene Kelly would have played, a bit of a “smart Alec”. I think if Kelly were cast instead, there would have been more of a Buster Keaton is strangely subdued in this film. He only gets one USA, 1937, Directed by Henry Koster, B/W, 84 min balance in this film, because as it is, much of the singing in this real comic moment doing a pratfall on a dance floor and breaking film comes from Judy... she reallyVINTAGE is the only FILM singer in FESTIVAL the whole a REVIEW violin in the BY:process. Penny I’m betting Hozy some of his material wound cast. The songs, themselves, are period pieces which are pleasant up on the cutting room floor. enough. Aside from the title tune, there is the “Dreamland” number, which is nice, Judy’s rousing “I Don’t Care”, and her At the very end of the film, little Liza Minnelli all of three at the amusing song with the Barbershop Quartet. The other actors in time, made her screen debut. If you like period pieces as I do and theCONVENTIONS cast are also good. Buster FOR Keaton REVIEWS has a funny, FROM but modest,VINTAGE theFILM music FESTIVAL of the era as IWRITERS do or if you liked The Shop Around The role as a shop worker, along with Spring Byington and S.Z. Corner or the most current adaption of the piece, You’ve Got “Cuddles”1. TitleSakall, same as the as shop above owner. Mail with Tom Hanks and Meg Ryan, than you will appreciate 2. Country of origin comma year of release commaand “D enjoyirected In The by” Good followed Old Summertime by name .of Director Over all, a commapleasant film.B/W ORNot quite col commawhat I would running think oftime as a in minutes followed by “min” All Times NR 10 pt musical, as the songs are modest filler, not showstoppers. This is 3.not on par VINTAGE with On the FILM Town or FESTIVAL The Pirate but REVIEW it is enjoyable BY: U/C 10 pt Times NR bold followed by name of re- enough. Goodviewer costumes, U+L/c charming 10 pt sets,Times and NR lovely bold Technicolor contribute to the look of an antique hand-colored postcard. In that sense, it’s something of a curio; amusing, but not quite a gem.
By bkoganbing, Buffalo, N.Y., December 21, 2008
Given how Judy Garland scored so well in another period piece, Meet Me In St. Louis, it was a natural that she be cast in In The Good Old Summertime even if she was a replacement for June Allyson. It’s called serendipity.
The film is a musical adaption of MGM’sThe Shop Around The Corner in which James Stewart and Margaret Sullavan played the anonymous correspondents who love what each other writes, but can’t stand each other in person. It doesn’t help that the two of them are co-workers in a department store.
Van Johnson takes the Stewart part in In The Good Old Summertime and early 20th-century Budapest is transferred
- 24 - IN THE GOOD OLD SUMMERTIME USA, 1949, Directed by Robert Z. Leonard, colour, 102 min.
VINTAGE FILM FESTIVAL REVIEW BY: Allison Beula
In The Good Old Summertime has enjoyed a long life via Van Johnson, who had been an MGM employee since 1942, was several revivals. It began as The Shop Around The Corner, in a severe car accident shortly after being put on contract. This directed by Ernst Lubitsch, starring James Stewart and Margaret left him with a metal plate in his head that made him ineligible Sullavan, based on a Hungarian stage play from 1937 entitled to serve in WW2. Instead, he became the quintessential war Parfumerie. MGM decided to give it the Technicolor touch for hero actor, often joking that he spent so many days in so many the 1949 musical adaptation that had been given the working uniforms that he’d forget whether he was in the army or navy. title The Girl From Chicago, originally set to star Frank Sinatra His boyish charm and affable nature made him a matinee idol and June Allyson. Fun fact: June Allyson was said to have turned and his ease in moving back and forth between dramas and down the role owing to pregnanc. Interestingly, and for the same musicals made him highly employable. reason (and same pregnancy), she also passed on the lead in 1951’s Royal Wedding which then went to this film’s star, Judy Judy Garland has an oft-told biography full of happy highs and Garland, who then began her downward spiral into personal woes, tragic lows. She had married famed director Vincente Minnelli thus opening the door for the eventual star, Jane Powell. in 1946, and shortly thereafter had the couple’s only child, Liza. By 1949 the marriage was severely on the rocks and just prior In 1963 a musical adaptation of the basic story, She Loves Me, to filmingIn The Good Old Summetime she was checked into hit Broadway to moderate success. It was written by Jerry Bock a rehabilitation centre, suffering from stress that had already and Sheldon Harnick (debuting just one year before the team’s resulted in multiple suicide attempts. Fortunately, she was able to smash hit, Fiddler On The Roof). A third film incarnation was get healthy enough to make this film, which marks Liza’s film made in 1998, You’ve Got Mail, which starred Tom Hanks and debut playing her mother’s daughter. Meg Ryan in a modern twist on the story in which the pen pals used e-mail instead of old fashioned pen and paper. The film was one of the top money-makers of 1949. It is said movie audiences applauded Garland’s songs in the theatre as if they were Judy Garland and Van Johnson were ultimately made the stars watching her perform live, such was her stardom at the time. The of this 1949 version, both being top box office draws at the end studio switched the title to In The Good Old Summetime, feeling of the decade. Mary Astor had been the original casting choice the new name evoked a more musical feel. There is a slight irony in for the role of Nellie Burke but was deemed too young and that the plot takes place mostly in the winter. attractive to be the love interest of character actor favourite S.Z. “Cuddles” Sakall (the role eventually went to Spring Byington). Allison Beula is a director, choreographer and performer as well Buster Keaton had been working at MGM at the time of filming as a theatre/dance/film instructor. and was called upon to assist in the writing and staging of the violin sequence. The creative team suddenly realised that no one else should be cast for the role of the shop worker and they gave Keaton the part, originally written for a much younger man.
- 25 - The Enchanted Cottage (1945) DirectedDirected by: by: HenryJohn Cromwell Koster
Original Originalreview fromreview the from New the New York York Times Times, September, April 28, 1945, 18, by:1937 Bosley by FrankCrowther S. Nugent
The CONVENTIONS theme of Sir Arthur FORWing Pinero’sREVIEWS The Enchanted FROM ORIGINAL Cottage, veteran’s SOURCES entire recuperation(NY TIMES, would VARIETY be allowed ETC.)to devolve upon which was produced as a play directly after the first World War a fustrated girl, an intuitive blind man and a honeymoon cottage and1. as a film Title in on1924, one concerned line in thecaps illusion bold. of 2 beautyspaces and produc the tionpossessing year in charm. curved And brackets, it is fair to bold.insist that All no same young size lady with moral courage(24pt?), which centered. was mutually found by a homely girl and a face and figure such as that of Dorothy McGuire would permit a 2.maimed Directedwar veteran by: when Times they viewed NR italics, each other 10 throughpt centered the followedherself to bylook name so dingy of directorand woebegone Times as sheNR, does 10 inpt this bold film. eyes of love. It is a theme which is quite as appealing today as it was3. back Originalthen and one review which fromcan bear 10 repeating pt Times in modernNR, italics, and foAndllowed even by if suchname were of plausible,publication the doleful 10 pt andTimes morbid NR tone bold, practical detail.italics, followed by comma, followed by date of hereinpublication composed 10 ispt enough Times to NR make italics, the picture followed a dubious by “by” Times NR 10 pt italics, followed by name of revieweentertainmentr 10 pt forTimes average NR folks. bold Miss McGuire is persistently However,4. Framethe current marquee film version lights. of the wistful drama presented in a carefully uglified way which causes her fragile contemporizes the subject in peculiarly obsolete terms. Despite performance of the wistful girl to have a grotesque quality. all the marvelous advances in plastic surgery, it assumes that a (The fact that she looks most attractive in the scenes intended shattered Air Force pilot would be returned to society with a face to convey her appearance in the eyes of her lover only goes very badly disfigured and frightening to behold. It forgets that a to show.) And Robert Young gives a ponderous performance, casualty quite as bitter as the American hero in this case would particularly in those scenes wherein he is made-up to look like be studiously rehabilitated through modern treatment before something horrible constructed by Dr. Frankenstein. Herbert being dismissed. And it violates an obvious tenet of feminine Marshall is uncomfortably unctuous as the blind pianist who beauty culture today – which is that a girl of moderate features understands the lovers’ “sight” and puts their whole story into a (and fair intelligence) can make herself look very sweet. “tone poem” which is the framework for telling the tale.
USA, 1937, Directed by Henry Koster, B/W, 84 min As a consequence, the deep and studied poignance of this This story might be most affecting if intelligently and delicately told. elaborately heart-torturing filmVINTAGE appears not onlyFILM unreasonable FESTIVAL As REVIEW it stands, it isBY: more Penny of a horror Hozy film than a psychological romance. but very plainly contrived. It is hard to believe that a depressed
CONVENTIONS FOR REVIEWS FROM VINTAGE FILM FESTIVAL WRITERS ACADEMY LEADER 1.Remember Title sitting same in asclass above when the teacher ran a 16-mm film and the beginning of the eelr showed the numbers counting down 2.from 11 Country to three, orof maybe origin from comma nine to year two? of Did release you count comma down in“D unison,irected saying by” afollowed loud “Beep” by atname the end, of whereDirector the one would havecomma been B/W – but itOR was col never comma there? runningWell, if you time remember in minutes any of this,followed you’re ofby a “min”certain age. All Times NR 10 pt 3.What you VINTAGE were witnessing FILM is calledFESTIVAL the “Academy REVIEW leader”. BY: “Leader”, U/C 10 because pt Times it was NR attached bold as followed the lead-in by to nameevery reel of re-of film in circulation;viewer and U+L/c “Academy” 10 pt Timesbecause NRit was bold a standardized item. Another question: have you ever wondered what those blotches are all about that appear every now and again in the top right- hand corner of movies that are longer than 11 minutes? Well, they have a strong relationship to the Academy leader. The blotches, or “hash marks” appear at the end of each reel of a film more than one reel in length. The first one marks ten seconds from the end of the reel, and the last one marks the zero point. (Actually there are a few frames of extra film after the second hash mark, but more later). 35-mm projectors take some time to settle at speed – about ten seconds – so each new reel used to be threaded into the projector with the number 11 in the projector gate. One operator would watch the screen and hit the start button on the projector on seeing the first hash mark, while the other operator stood ready to shut down the other projector. As soon as they saw the second hash mark they would switch over from one projector to the other. A single control would open a shutter in front of the lens of the second projector and close a shutter in front of the first, and the first projectionist would manually switch over the sound-feed from one projector to the other. Ten seconds between the hash marks, 11 seconds of leader, a few extra frames after the second hash mark makes for a system that allowed for reaction time and led – mostly - to smooth change-overs. It’s all very different now. CMW
- 26 - THE ENCHANTED COTTAGE USA, 1945, Directed by John Cromwell, b/w, 91 min.
VINTAGE FILM FESTIVAL REVIEW BY: Ann Partridge
Love is blind is the premise behind The Enchanted Cottage. honeymoon, as a hideaway from his family and the scene is set Based on the 1923 play by Arthur Wing Pinero, the story was for a charming story highlighting the gentle virtues of the times: previously adapted for the silent screen in 1924. This 1945 quiet strength and small kindnesses. version, directed by John Cromwell, is a delightful romantic tale set during World War II. The film attempts to illustrate the value This story is as far from many current crash-and-burn productions of who we are inside rather than how we appear on the outside. as one can imagine. When you settle in to the slower rhythm and lovely cinematography by Ted Tetzlaff, you will be transported to It begins in New England at an old estate that had burned down, a gentler time, which is ironic because it is set during a world war. except for one wing. This surviving cottage is rumoured to have been the setting for countless happy honeymoons. At present Complications arise when Oliver’s family visit. His fiancée it is inhabited by a mysterious woman, Mrs. Minnett (Mildred Beatrice (Hillary Brooke) is unnerved by his injuries. His mother Natwick), who is whispered about as a witch and is the source Violet (Spring Byington) is a worrier who only adds to Oliver’s of much of the movie’s foreshadowing and mystical mysteries. depression. Violet’s husband, Freddie (Richard Gaines), jollies Her expressive features often silently convey deeper secrets. her along and does nothing to help matters.
Mrs. Minnett is joined at the cottage by Laura Pennington The best scenes are the interaction between the couple when (Dorothy McGuire) a shy, homely maid looking for a place to they are on their own and the enchantment begins. Laura’s belong. We know poor Laura is homely because young Danny transformation from homely to lovely involves a makeover Stanton (Alec Englander) describes her thus in an early scene as well as a dazzling display of acting talent. with his Uncle John (Herbert Marshall), who had been blinded in action in World War I and is central to the film’s plot. The small but stellar cast of characters carries this simple yet Uncle John is now a musician who has composed a tone poem moving tale of beauty. Its sweetness will warm your heart and telling the story that we will see on the screen. make you yearn for basic values often unacknowledged today.
Pilot Oliver Bradford (Robert Young), who is disfigured by war Ann Partridge is a Cobourg writer, winemaker, member of wounds, seeks the cottage, where he had once hoped to spend his Northumberland Scribes, avid reader and grandmother.
- 27 - TOL’ABLE DAVID Directed by: Henry King Directed by: Henry Koster
OriginalNo contemporaryreview from reviews the New available. York TimesThis review, September taken from 18, Internet 1937 Movie by Frank Data Base S. Nugent
By CONVENTIONS Mark Deming, Rovi FOR REVIEWS FROM ORIGINAL(Ralph SOURCES Yearsley) (NY -- move TIMES, into town VARIETY and begin ETC.) terrorizing the community. The Hatburns’ reckless violence causes the death of Richard1. Barthelmess Title on one stars line in this in classiccaps bold. silent melodrama2 spaces producas tionDavid’s year father in curved Hunter brackets,(Edmund Gurney) bold. and All cripples same hissize brother David Kinemon,(24pt?), the centered. youngest son of a family living in a small Alex (Warner Richmond); David is suddenly the head of the West2. Virginia Directed town. Whileby: Times sweet and NR good-natured, italics, 10 Davidpt centered is not followedfamily, and by he’s name forced of directorto support Timeshis mother NR, and 10 his pt siblings, bold noted for his mature behavior, and his youthful overenthusiasm take over Alex’s mail route, and protect the town from the wrath causes3. his Original mother to review tell him, from “You’re 10 not pt quiteTimes a man NR, yet italics, – followedof the Hatburn by name Family. of Tol’ablepublication David 10 was pt remade Times as NR a talkie bold, in you’re onlyitalics, tol’able.” followed But David by is comma, forced to followedgrow up and by face date of 1930publication (with Richard 10 pt Cromwell Times NR in the italics, title role), followed and a clip by from “by” responsibilitiesTimes when NR a family10 pt ofitalics, outlaws followed – Iscah Hatburn by name (Walter of reviewethe originalr 10 ptmovie Times appeared NR boldin the classic horror filmThe Tingler P.4. Lewis) and Frame his sons marquee Luke (Ernest lights. Torrence) and Little Buzzard (which is set in part in a theater specializing in silent movies).
Colour on film
Magic lantern shows that used handUSA, drawn 1937, images Directed were painted by Henry in colour, Koster, so one B/W, of the 84 very min earliest forms of projector-based entertainment came in full colour. By early we are talking 16th century. With photographic, projector-based entertainment it has been a different story. VINTAGE FILM FESTIVAL REVIEW BY: Penny Hozy Before colour film photography became available, many motion pictures had colour sequences. The simplest of these colour processes used a film stock that had been tinted with a single colour. Blue stock was used for nighttime scenes; gold, amber or yellow for sunlight; rose for romantic scenes, red for passionate or violent scenes and so on. CONVENTIONSSome of the very earliest FOR films REVIEWS were hand-coloured: FROM VINTAGE painted frame FILM by frame. FESTIVAL There is a veryWRITERS famous example in a 1904 short western film The Great Train Robbery 1.In 1908 Title a process same called as above Kinemacolor came into use. It shot the film on ordinary b/w film with alternating frames filteredthrough a red or cyan filter. The positive was then likewise projected through two complementary filters creating a colour image on the 2.screen. CountryThere was ofno originactual colour comma in the year film of itself. release Kinemacolor comma eventually “Directed succumbed by” followed to the same by fate name as 1950s of Director Cinerama, Todd AO andcomma 3D – the B/Wprohibitive OR costcol ofcomma installing running special equipmenttime in minutes restricting followed the number by of “min”theatres willing All Times to exhibit NR the films.10 pt 3.After a VINTAGEfalse start in 1917FILM trying FESTIVAL to improve onREVIEW the Kinemacolor BY: U/C system, 10 Technicolorpt Times NR developed bold afollowed system still by based name on ofa two- re- colour viewerbase (red U+L/c & blue) 10 but pt which Times produced NR bold what the industry wanted – a product with colour in the film that was compatible with ordinary projection equipment everywhere. This 1921 process was called “two-strip” Technicolor. The two images from the camera were printed onto separate positive films that were then cemented together. These prints were subject to a variety of technical problems caused by the added thickness of the film in the projector. Two more versions of Technicolor were needed to produce a positive colour print that overcame the problems of needing more than one positive image to be projected to the screen. Three-strip Technicolor expanded the colour spectrum by using three negatives filtered through three colour filters instead of two, and by using serial contact printing of all three negatives onto the same positive. Kodak had developed a colour reversal process in the 1930s that used only one negative and printed a colour positive, but it was used only for “amateur” formats. A 35-mm version was made available in 1950. The last three-strip Technicolor feature was made in 1954 despite the fact that three-strip Technicolor remains clearly superior to the colour reversal product. Quality was shown the door by convenience and thrift. CMW
- 28 - TOL’ABLE DAVID USA, 1921, Directed by Henry King, b/w, 99 min., silent
VINTAGE FILM FESTIVAL REVIEW BY: Chris M. Worsnop
This version of Tol’able David uses three newly discovered 35-mm Two neighbours, the Hatburns and the Kinemons, both share- nitrate sources. Each new source is identifiable as the scenes swap cropping families, begin the story on the best of terms. The two among them, seeking the best quality footage. This version is youngest are clearly destined for romance, but their young presented at the correct speed of 20 frames per second, and with a innocence is charmingly and amusingly recognizable. They both new music track synchronized to the story’s action and emotions. grow up in a hurry when the Hatburns are forced into housing three fugitive cousins, who bring conflict and death to both houses. Richard Barthelmess, hot from starring in two D. W. Griffith features, Broken Blossoms (1919) and Way Down East (1920), The beginning of the story flirts with sentimentality and approaches wanted his next film to be this one. Griffith, who owned the rights, the edges of melodrama, but avoids the brink. The brink for 1921, was bent on first making Orphans of the Storm.(1921), which that is. Early intertitles preach to us using words like “serene”, offered no part for Barthelmess. Barthelmess bought the rights “pure”, “peaceful”, and “gentle”. Later ones give us expressions from Griffith, got Henry King to direct, and the rest is film history. like “sadness”, “the burden of honor”, “the grief that was choking him“’ to make us prepare the proper feelings. This might seem an Tol’able David is set and was filmed in Virginia, King’s home obvious device, but it is little different from how modern films territory. The snake fences and rolling countryside, the dirt roads use music to provoke emotional reactions in audiences. that splash through streams, the narrow, shaky pedestrian bridges, are all part of one important character in the film: nineteenth The film is filled with characters we quickly learn to care for. century American rural life. The detail of everyday living – the The early scenes takes their time to introduce and endear these structure of the society and its family units – involve us as much characters to us, so that we will be the more affected when their as the story, as the actors convincingly act out authentic details catastrophes arrive. There is little stereotyping, even among the of family mealtime, worktime, playtime and bedtime. villains, who reveal their motivations and then stay true to them.
King uses local people as extras, where they convincingly Chris M. Worsnop is a member of the Vintage Film play themselves in close and medium shot rather than merely Festival Committee. providing background scenery in long shot only. Try asking yourself which are the locals and which the actors as some of those scenes unwind. This aspect of King’s work attracted the attention and praise of leading contemporary Soviet film theorists. It constitutes a step forward from D. W. Griffith’s colossal background crowds – a step towards social realism.
- 29 - To Be or Not to Be (1942) Directed by: Ernst Lubitsch Directed by: Henry Koster
OriginalOriginal review reviewfrom thefrom New the New York York Times Times, September, March 7, 1942, 18, by: 1937 Bosley by CrowtherFrank S. Nugent
Hamlet’s CONVENTIONS most famous soliloquy FOR REVIEWS was a positive FROM declaration ORIGINAL when Miss SOURCES Lombard entices(NY TIMES, the Nazi wolves VARIETY and Mr. ETC.) Benny, in a compared to the jangled moods and baffling humors of Ernst couple of disguises, pulls the wool right over their eyes, make Lubitsch’s1. Title new film,on one To Be line or Notin caps to Be bold., which 2 opened spaces under produc tionfor theyear comedy in curved and grim brackets, excitement bold. which All Mr. same Lubitsch size has delicate circumstances(24pt?), centered. at best. For not only was this the last recklessly confused. picture in which the late Carole Lombard played – and on which was2. therefore Directed imposed by: an obligationTimes NR of uncommonitalics, 10 tact pt centered– but it followedMiss Lombard, by name in this of herdirector last role, Times is very NR, beautiful 10 pt and bold happens3. to Original be upon areview subject whichfrom is10 far pt from Times the realm NR, ofitalics, fun. followedcomically by adroit, name and of the publication feelings which 10 one pt might Times imagine NR bold,her And yet, initalics, a spirit followedof levity, contused by comma, by frequent followed doses of by shock, date of presencepublication would 10 impose pt Times are never NR sensed. italics, This followed is indeed aby tribute “by” Mr. LubitschTimes has setNR his 10 actors pt italics, to performing followed a spy-thriller by name of of revieweto her rglowing 10 pt Timespersonality. NR But bold Mr. Benny, despite a successful fantastic4. design Frame amid marquee the ruins lights. and frightful oppressions of Nazi- endeavor to alter his style, still gives out too much of I Jack invaded Warsaw. To say it is callous and macabre is understating Benny, the radio comedian, to be just right. Too many times does the case. he bridle at reflections upon his talent. Too often does he pout or grow indignant or pull a double-take. Of course, the script Perhaps there are plenty of persons who can overlook the encourages the old Benny legend of “ham.” Once a German locale, who can still laugh at Nazi generals with pop-eyes and officer comments, laughing loudly, “What he did to Shakespeare bungle-some wits. Perhaps they can fancy Jack Benny, disguised we are doing now to Poland.” That gives you a couple of ideas behind goggles and beard, figuratively tweaking the noses of about this film. the best Gestapo sleuths. Those patrons will certainly relish the burlesque bravado of this film. And many more will enjoy the In lesser roles, Sig Ruman is thick and blustering as a Nazi glib surprises and suspense of the plot. But it is hard to imagine colonel, Stanley Ridges is suave and sinister as a Gestapo agent, USA, 1937, Directed by Henry Koster, B/W, 84 min how anyone can take, without batting an eye, a shattering air raid Robert Stack is pleasantly youthful as a Polish flier and Tom upon Warsaw right after a sequenceVINTAGE of farce orFILM the spectacle FESTIVAL of Dugan REVIEW is funny BY: to behold Penny as aHozy burlesque Hitler. Too bad a little Mr. Benny playing a comedy scene with a Gestapo corpse. Mr. more taste and a little more unity of mood were not put in this Lubitsch had an odd sense of humor—and a tangled script— film. As it is, one has the strange feeling that Mr. Lubitsch is a when he made this film. Nero, fiddling while Rome burns.
AsCONVENTIONS ever with Lubitsch pictures, FOR REVIEWS it is unfair to FROM give too VINTAGE much AlsoFILM on theFESTIVAL bill at the Rivoli—and WRITERS in striking contrast to “To Be away. Suffice it to say that this time he is telling a fabulous tale or Not to Be”—is a very fine two-reel documentary, “Churchill’s about1. a company Title sameof Polish as actorsabove caught in Warsaw when it fell Island,” which was made by Stuart Legg for the National Film in 2.the Fall Countryof 1939 and of of origin the way comma in which year these of enterprising release comma Board “Directed of Canada by” and followed is being releasedby name by of United Director Artists. In thespians outsmartcomma theB/W dumb OR Gestapo. col comma Conveniently, running the time in minutesan excellent followed assemblage by “min” of fact shots,All Times some of NR them 10 clipped pt company had been rehearsing an anti-Nazi play, so they are able captured German newsreels, it shows how the defenders of to 3.jump into VINTAGE roles and costumes FILM whichFESTIVAL the exigencies REVIEW demand. BY: U/CBritain—the 10 pt Times R. A. NRF.—fought bold offfollowed the German by nameLuftwaffe, of re-how viewer U+L/c 10 pt Times NR bold the Navy and Coastal Patrol are now fighting the Battle of the As stars of the company, Mr. Benny and Miss Lombard – quite Atlantic and how the island now stands girded against a possible obviously the Polish Lunts – are called upon to assume the Nazi attempt to invade. This film has balance and feeling. There leading roles and the perils of the plot. And the tricks by which is no question about it.
- 30 - TO BE OR NOT TO BE USA, 1942, Directed by Ernst Lubitsch, b/w, 99 min.
VINTAGE FILM FESTIVAL REVIEW BY: Cathie Houston
To Be or Not To Be, a satirical romp that was in production before suave and hilarious in spite of the film’s dire subject – the Nazi the United States entered World War II, follows the adventures of invasion of Poland and the atrocities that followed. a Polish theatre company that uses its thespian skills to foil the occupying Nazi troops. Jack Benny is wonderful as the terrible ham who loves to talk about himself as the “grrr-eat, grrr-eat” Joseph Tura. He loves Starring Jack Benny and Carol Lombard as husband and wife his wife yet is terribly jealous of her considerable fame and Joseph and Maria Tura, he an egotistical ham and she an actress beauty. “What ill wind blew you into my slippers?” he slyly “so famous soap was named after her”, this Ernst Lubitsch comedy asks Sobinski. is set in late August, 1939, while the company is performing Hamlet but rehearsing a satire on Adolf Hitler and the Nazis. Carole Lombard’s cool, sexy performance as the talented wife divinely in control of her self-absorbed husband is a master class Lubitsch had never considered anyone other than Benny for the in comic acting. Critics consider To Be or Not To Be the finest leading role – he had even created the character with Benny in film Lombard ever made. Just two months prior to the film’s mind. When Miriam Hopkins, who was to play Maria, dropped release, Lombard and her mother perished in a plane crash while out, Lombard asked for her part. Like many actresses of her time, on a U.S. Bond tour. she longed to work with Lubitsch. Robert Stack, a long-time friend of Lombard’s, was cast as Lieutenant Stanislav Sobinski, a Sig Ruman is brilliant as the bombastic and bungling Nazi Colonel youthful Polish airman in love with the more mature Maria Tura, Ehrhardt, a characterization said to have inspired John Banner’s who is fed up with her husband’s preening and selfishness. Sergeant Schultz in the 1960s television series Hogan’s Heroes.
She and Sobinski arrange a code that will enable them to be When this gem of a film was released on March 6, 1942, the alone: when Benny begins Hamlet’s famous soliloquy, Sobinski United States had entered the war and the Nazis were sweeping is to leave his seat in the theatre and come to her dressing room. across Europe. Both critics and public found the film tasteless This he does, much to the annoyance and wounded pride of her and callous. But over the years, To Be or Not to Be has come to husband Joseph who is playing Hamlet. be regarded as a true comedy classic.
The recitation of “To be or not to be…” becomes the ingenious Cathie Houston is a member of the Vintage Film code for a love tryst, a rallying cry for a group of actors who Festival committee. valiantly turn their acting skills to protect the Polish underground resistance, and the fate of a contentious and competitive marriage.
To Be or Not To Be is considered by many to be one of Lubitsch’s finest works. It is graceful, charming and fluid. The humour is
- 31 - 2011 VINTAGE FILM FESTIVAL COMMITTEE MEMBERS
Chair: Chris Worsnop Programme Editors: Michael Hanlon, Phyllis Hendry, Cathie Houston Past Chair: Lynn Hardy Web Master: John Draper Members: George Atto [email protected] Alma Draper John Draper Website: www.vintagefilmfestival.ca Terry Foord www.mariedressler.ca Michael Hanlon Lynn Hardy Book printed by: Phyllis Hendry 334 Spring Street Cathie Houston Cobourg, ON K9A 3K4 Alberta McNairn www.readyprint.ca Kelly Welton-Hickerson Sharron Wharram-Spry t: 905.372.8888 f: 905.372.9104
M D MARIE DRESSLER FOUNDATION BOARD F
Chair: Delphine Patchett Co-ordinator: Gael Moore
Financial Director: Adrian Langhorne Operations Chair: Barbara Garrick
Treasurer: Bill Patchett Directors: Terry Foord Alma Draper Cecilia Naismith
NEW FEATURE AT THIS YEAR’S FESTIVAL
Brown Bag Lunch-Hour Discussion
Saturday, Oct. 29, Capitol Theatre, Port Hope TOPIC: 1930 Motion Picture Production Code (The Hays Office Code) Led by: Cathie Houston of Universal Studios Home Entertainment, Canada
~ LIMITED SPACE ~ Bring your own lunch or buy one locally. Reservations can be made on Friday, Oct. 28, or Saturday, Oct. 29, at a table in the foyer.
- 32 - 372-HAIR 372-4247
287 Division Street Cobourg, Ontario K9A 3R2
www.mysticroots.ca
- 33 - The Cobourg Auto Group
“For your next purchase, please consider our loyal supporters”
- 34 - - 35 - Cameco
The Vintage Film Festival committee members would like to extend a very special thank you to Cameco for its sponsorship of our Student Ticket Program.
- 36 -