Hollywood Modern: Film Design of the 1930S February-March 2011 AFI Silver Theatre and Cultural Center

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Hollywood Modern: Film Design of the 1930s February-March 2011 AFI Silver Theatre and Cultural Center In conjunction with the National Building Museum's exhibit, "Designing Tomorrow: America's World's Fairs of the 1930s," AFI Silver presents this series of films featuring an eclectic, and occasionally over-the-top, array of modernist set designs, reflecting the forward-looking design sensibilities of the 1930s. At a time of incredible economic difficulty, Hollywood provided moviegoers in the 1930s with sparkling fantasies of fashion, urban decadence and nights on the town, set within environments offering the most deluxe, most glamorous, most modern styles available. Many of the same design trends seen onscreen were displayed in demonstration homes at the World's Fairs of the 1930s, from chrome accents, modular furnishings and plate glass, to synthetic fabrics and surfaces. Whether it is the appearance of Frank Lloyd Wright's Ennis House in FEMALE, the spiraling lobby of GRAND HOTEL, William Powell's penthouse in STAR OF MIDNIGHT or the glittering Silver Sandal Club in SWING TIME, examples of modern architecture and design can be seen within a long list of films considered classics of Hollywood's golden age. Washington Post film critic Ann Hornaday and National Building Museum curator Deborah Sorensen will introduce the Hollywood Modern series before the screening of Grand Hotel on February 5. This kick-off discussion will focus on how, at a time of great economic difficulty, Hollywood provided moviegoers with glamorous fantasies of modern living filled with fashion, urban decadence, and nights on the town. Grand Hotel (Edmund Goulding, 1932, 112 min.) Female (Michael Curtiz, 1933, 60 min.) The Gay Divorcee (Mark Sandrich, 1934, 107 min.) Trouble in Paradise (Ernst Lubtisch, 1932, 83 min.) Design for Living (Ernst Lubitsch, 1933, 91 min.) The Women (George Cukor, 1939, 133 min.) Swing Time (George Stevens, 1936, 103 min.) A Star is Born (William A. Wellman, 1937, 133 min.) Star of Midnight (Stephen Roberts, 1935, 90 min.) Shall We Dance (Mark Sandrich, 1937, 109 min.) AFI Information http://www.afi.com/silver/new/nowplaying/2011/v8i1/hollywoodmodern.aspx .

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A Volatile Ventriloquy With a Vicious Dummy: Sid and Nancy and the War Between Image and Soundtrack MONICA FOSTER Monica Foster is passionate about Classical Hollywood and exploitation cinema, psychoanalysis, the 20th century, and David Lynch’s voice. During her time with the Cinema Studies program, she has written about Daisies, Gothic paperbacks and Mario Bava, as well as the history of the Rialto Theatre in Times Square. 51 5 When Judy Vermorel interviewed notorious Sex Pistols bassist Sid Vicious in 1977, she asked him what types of films he enjoyed. His response was one of snobbery and complete negation, a stab at the cultural status and esteem that film holds as a medium. Vicious called film a fantasy, a pretense, a pack of lies, and criticized its tendency to glamorize circumstance (Slycheetah). What remains uncertain, however, is if these are Vicious’ own opinions or one of the collective punk milieu that he was a part of. The incorporation of fantasy and the glamorization of life is integral to the spectacular and dazzling musicals of Hollywood’s Golden Age. Those musicals were devoured by audiences because the story worlds provided an escapist fantasy from the economically depressed one they inhabited. The Golden Age musicals of the 1930s revelled in excess and spectacle, as did catalogue musicals including Mark Sandrich’s Shall We Dance (1937) and George Stevens’ A Damsel in Distress (1937), which celebrated songwriters, in this case, George and Ira Gershwin (Cohan 12). These films were colourful, pleasant, and happy-go-lucky, striving to make their audiences leave the theatre with optimism and hope for the future (12).
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