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qqueenofhades · 4 years

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If/when they make a Joe/Nicky prequel movie, what are some of the Dos and Don’ts for them, with regards to historical accuracy. Like, what do you think they should include, and what do you think they should avoid?

Oof. This is a GREAT question, and also designed to give me a chance to ramble on in a deeply, deeply self-indulgent fashion. That is now what will proceed to happen. Consider yourself warned. So if they were miraculously to be like “well that qqueenofhades person on tumblr seems like she knows what she’s talking about, let’s hire her to consult on this production!”, here are some of the things I would tell them.

First off, a question I have in fact asked my students when teaching the crusades in class is whether you could actually show the sack of Jerusalem on screen. Like... if you’re making a film about the First Crusade, what kind of choices are you going to make? What narrative viewpoint are you going to uphold throughout the story? Are you actually going to show a slaughter of Muslim and Jewish inhabitants that some chroniclers described as causing enough blood to reach up to the knees of horses? (Whether it actually did this is beside the point; the point is that the sack went far beyond the accepted conventions of warfare and struck everybody involved in it as particularly horrific.) Because when you’re making a film about the crusades, you are also making it by nature for a modern audience that has particular understandings of Christian/Muslim conflict, religious warfare and/or tolerance, the War on Terror, the modern clash over ISIS, Trump’s Muslim ban, and so forth. The list goes on and on. So you’re never making a straight, unbiased historical adaptation, even if you’re going off the text of primary sources. You’re still constructing it and presenting it in a deliberate and curated fashion, and you can bet that whichever way you come down, your audience will pick up on that.

Let’s take the most recent example of a high-profile crusades film: Kingdom of Heaven from 2005. I’ve written a book chapter on how the narrative choices of KoH, aside from its extensive fictionalization of its subject matter to start with, make it crystal clear that it is a film made by a well-meaning Western liberal filmmaker (Ridley Scott) four years after 9/11 and two years after the invasion of Iraq, when the sympathy from 9/11 was wearing off and everyone saw America/Great Britain and the Bush/Blair coalition overreaching itself in yet another arrogant imperial adventure into the Middle East. Depending on how old you are, you may or may not remember the fact that Bush explicitly called the War on Terror a “crusade” at the start, and then was quickly forced to walk it back once it alarmed his European allies (yes, back then, as bad as America was, it still did have those) with its intellectual baggage. They KNEW exactly what images and tropes they were invoking. It is also partly why medieval crusade studies EXPLODED in popularity after 9/11. Everyone recognized that these two things had something to do with each other, or they made the connection somehow. So anyone watching KoH in 2005 wasn’t really watching a crusades film (it is set in the late 1180s and dramatizes the surrender of Jerusalem to Saladin) so much as a fictional film about the crusades made for an audience explicitly IN 2005. I have TONS to say on this subject (indeed, if you want a copy of my book chapter, DM me and I’ll be happy to send it.)

Ridley Scott basically sets it up as the Christian and Muslim secular leaders themselves aren’t evil, it’s all the religious fanatics (who are all made Templars, including Guy de Lusignan, going back to the “evil Templar” trope started by Sir Walter Scott and which we are all so very familiar with from Dan Brown and company). Orlando Bloom’s character shares a name (Balian de Ibelin) but very little else with the eponymous real-life crusader baron. One thing Scott did do very well was casting an actual and well-respected Syrian actor (Ghassan Massoud) to play Saladin and depicting him in essential fidelity to the historical figure’s reputed traits of justice, fairness, and mercy (there’s some article by a journalist who watched the film in Beirut with a Muslim audience and they LOVED the KoH Saladin). I do give him props for this, rather than making the Evil Muslim into the stock antagonist. However, Orlando Bloom’s Balian is redeemed from the religious extremist violence of the Templars (shorthand for all genuinely religious crusaders) by essentially being an atheistic/agnostic secular humanist who wants everyone to get along. As I said, this is a film about the invasion of Afghanistan and Iraq made three years after 9/11 more than anything else, and you can really see that.

That said, enough about KoH, back to this presumable Joe/Nicky backstory. You would obviously run into the fact that it’s SUPER difficult to make a film about the crusades without offending SOMEBODY. The urge to paint in broad strokes and make it all about the evil Westerners invading is one route, but it would weaken the moral complexity of the story and would probably make it come off as pandering to guilty white liberal consciences. Are we gonna touch on the many decades of proto-crusading ventures in Iberia, Sicily, North Africa, and other places, and how the eleventh century, especially under Pope Gregory VII, made it even thinkable for a Christian to be a holy warrior in the first place? (It was NOT normal beforehand.) How are we going to avoid the “lololol all religion sucks and makes people do crazy things” axe to grind favoured by So Very Smart (tm) internet atheists? Yes, we have to demonstrate the ultimate horror of the crusade and the flawed premises it was based on, but we can’t do that by just showing the dirty, religiously zealot medieval people doing that because they don’t know any better and are being cynically manipulated in God’s Name. In other words (and the original TOG film did this very well) we can’t position ourselves to laugh at or mock the crusader characters or feel confident in looking down on them for being Dumb Zealots. They have to be relatable enough that we realize we could BE (and in fact already ARE) them, and THEN you slide into the horror and what compels them to do those kinds of things, and THAT’S when it hits. Because take a look at the news. This is happening around us right now.

Obviously, as I was doing in my First Crusade chapter in DVLA, a lot of this also has to spend time centering the Muslim point of view, the way they reacted to the crusade, the ways in which Yusuf as an Isma’ili Shia Muslim (Kaysani is the name of a branch of Isma’ili Shi’ites, he has a definite historical context and family lineage, and hence is almost surely, as I wrote him, a Fatimid from Egypt) is likewise not just A Stock Muslim. In this case, obviously: Get actual Muslims on the set to advise about the details. Don’t make stupid and/or obvious mistakes. Don’t necessarily make the Muslims less faithful or less virtuous than the Christians (even if this is supposed to praise them as being “less fanatic” than those bad religious Catholics). Don’t tokenize or trivialize their reaction to something as horrific as the sack of Jerusalem, and don’t just use dead brown bodies as graphic visual porn for cheap emotional points. Likewise, it goes without saying, and I don’t think they would anyway, but OH MY GOD DON’T MAKE THIS INTO GAME OF THRONES GRIMDARK!!!! OH MY GOD!!! THERE IS BEAUTY AND THERE IS LIGHT AND THERE IS POETRY AND THAT’S WHY IT HURTS SO MUCH WHEN IT’S DESTROYED! AND THE CHOICES THAT PEOPLE MAKE TO DESTROY THOSE THINGS HAVE TO BE TERRIFYINGLY PLAUSIBLE AND FAMILIAR, BECAUSE OH MY GOD!!

Next, re: Nicolo. Evidently he is a priest or a former priest or something of the sort in the graphic novel, which becomes a bit of a problem if we want him to actually FIGHT in the crusades for important and/or shallow and/or OTP purposes. (I don’t know if they address this somehow or Greg Rucka is not a medieval historian or whatever, but never mind.) It was a Major Thing that priests could not carry weapons, at least and especially bladed weapons. (In the Bayeux Tapestry, we have Odo, the bishop of Bayeux, fighting at the battle of Hastings with a truncheon because he’s a clergyman and can’t have a sword). They were super not supposed to shed blood, and a broadsword (such as the type that Nicky has and carries and is clearly very familiar with) is a knight’s weapon, not a clergyman’s. The thing about priests was that they were not supposed to get their hands dirty with physical warfare; they could (and often did) accompany crusade armies, bishops were secular overlords and important landholders, monks and hermits and other religious preachers were obviously part of a religious expedition, and yes, occasionally some priests would break the rules and fight in battle. But this was an exception FAR more than the rule. So if we’re going by accuracy, we have Nicky as a priest who doesn’t actively fight and doesn’t have a sword, we have him as a rule-breaking priest with a sword (which would have to be addressed, and the Templars, who were basically armed monks, weren’t founded until 1119 so he can’t be one of those yet if this is still 1099) or we just skip the priest part and have him as a crusader with a sword like any other soldier. If he was in fact a priest, he also wouldn’t be up to the same standard of sending into battle. Boys, especially younger sons of the nobility, often entered the church at relatively early ages (12 or 13), where it was treated as a career, and hence they stopped training in arms. So if Nicky is actually out there fighting and/or getting killed by Yusuf several times for Important Purposes, he’s... almost surely not a priest.

Iirc, they’ve already changed a few things from the graphic novel (I haven’t read it, but this is what I’ve heard) so they can also tweak things to make a new backstory or a hybrid-new backstory in film-verse. So once we’ve done all the above, we still have to decide how to handle the actual sack of Jerusalem and massacre of its inhabitants, the balance between violence comparable to the original TOG film and stopping short of being exploitative (which I think they would do well), and the aftermath of that and the founding of the new Latin Christian kingdom. It would have to, as again the original film does very well, avoid prioritizing the usual players and viewpoints in these events, and dig into presenting the experiences of the marginalized and way in which ordinary people are brought to the point of doing these things. It doesn’t (and frankly shouldn’t) preach at us that U.S. Invasions Of The Middle East Are Bad (especially since obviously none of the characters/people/places/events here are American at all). And as I said already but bears repeating: my god, don’t even THINK about making it GOT and marketing it as Gritty Dramatic Medieval History, You Know It’s Real Because They’re Dirty, Violent, and Bigoted!

Also, a couple tags I saw pop up were things like “Period-Typical Racism” and “Period-Typical Homophobia” and mmm okay obviously yes there are these elements, but what exactly is “period typical?” Does it mean “using these terms just because you figure everyone was less tolerant back then?” We know that I, with my endless pages of meta on medieval queer history, would definitely side-eye any attempts to paint these things as Worse Than Us, and the setting alone would convey a sense of the conflict without having to add on gratuitous microaggressions. I basically think the film needs to be made exactly like the original: centering the gay/queer perspectives of marginalized people and people of color, resisting the urge for crass jokes at the expense of the identity of its characters, and approaching it with an awareness of the deep complexity and personal meaning of these things to people in terms of the historical moment we’re in, while not making a film that ONLY prizes our response and our current crises. Because if we’re thinking about these historical genealogies, the least we can do (although we so often aren’t) is to be honest.

Thanks! I LOVED this question.

#history #medieval history #kingdom of heaven #joe x nicky #long post #persephone-rose-r #ask #the old guard meta

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silent-era-of-cinema · 4 years

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Colleen Moore (born Kathleen Morrison; August 19, 1899 – January 25, 1988) was an American film actress who began her career during the silent film era. Moore became one of the most fashionable (and highly-paid) stars of the era and helped popularize the bobbed haircut.

A huge star in her day, approximately half of Moore's films are now considered lost, including her first talking picture from 1929. What was perhaps her most celebrated film, Flaming Youth (1923), is now mostly lost as well, with only one reel surviving.

Moore took a brief hiatus from acting between 1929 and 1933, just as sound was being added to motion pictures. After the hiatus, her four sound pictures released in 1933 and 1934 were not financial successes. Moore then retired permanently from screen acting.

After her film career, Moore maintained her wealth through astute investments, becoming a partner of Merrill Lynch. She later wrote a "how-to" book about investing in the stock market.

Moore also nurtured a passion for dollhouses throughout her life and helped design and curate The Colleen Moore Dollhouse, which has been a featured exhibit at the Museum of Science and Industry in Chicago, Illinois since the early 1950s. The dollhouse, measuring 9 square feet (0.84 m2), was estimated in 1985 to be worth of $7 million, and it is seen by 1.5 million people annually.

Moore was born Kathleen Morrison on August 19, 1899, (according to the bulk of the official records;[4] the date which she insisted was correct in her autobiography, Silent Star, was 1902)[5] in Port Huron, Michigan,[6] Moore was the eldest child of Charles R. and Agnes Kelly Morrison. The family remained in Port Huron during the early years of Moore's life, at first living with her grandmother Mary Kelly (often spelled Kelley) and then with at least one of Moore's aunts.

By 1905, the family moved to Hillsdale, Michigan, where they remained for over two years. They relocated to Atlanta, Georgia, by 1908. They are listed at three different addresses during their stay in Atlanta (From the Atlanta-Fulton Public Library city directories): 301 Capitol Avenue −1908; 41 Linden Avenue – 1909; 240 N. Jackson Street – 1910. They then lived briefly — probably less than a year — in Warren, Pennsylvania, and by 1911, they had settled in Tampa, Florida.

At age 15 she was taking her first step in Hollywood. Her uncle arranged a screen test with director D.W. Griffith. She wanted to be a second Lillian Gish but instead, she found herself playing heroines in Westerns with stars such as Tom Mix.

Two of Moore's great passions were dolls and movies; each would play a great role in her later life. She and her brother began their own stock company, reputedly performing on a stage created from a piano packing crate. Her aunts, who doted on her, indulged her other great passion and often bought her miniature furniture on their many trips, with which she furnished the first of a succession of dollhouses. Moore's family summered in Chicago, where Moore enjoyed baseball and the company of her Aunt Lib (Elizabeth, who changed her name to "Liberty", Lib for short) and Lib's husband Walter Howey. Howey was the managing editor of the Chicago Examiner and an important newspaper editor in the publishing empire of William Randolph Hearst, and was the inspiration for Walter Burns, the fictional Chicago newspaper editor in the play and the film, The Front Page.

Early years

Essanay Studios was within walking distance of the Northwestern L, which ran right past the Howey residence. (They occupied at least two residences between 1910 and 1916: 4161 Sheridan and 4942 Sheridan.) In interviews later in her silent film career, Moore claimed she had appeared in the background of several Essanay films, usually as a face in a crowd. One story has it she had gotten into the Essanay studios and waited in line to be an extra with Helen Ferguson: in an interview with Kevin Brownlow many years later, Ferguson told a story that substantially confirmed many details of the claim, though it is not certain if she was referring to Moore's stints as a background extra (if she really was one) or to her film test there prior to her departure for Hollywood in November 1917. Film producer D.W. Griffith was in debt to Howey, who had helped him to get both The Birth of a Nation and Intolerance through the Chicago censorship board.

"I was being sent to Hollywood - not because anybody out there thought I was any good, but simply to pay off a favor".

The contract to Griffith's Triangle-Fine Arts was conditional on passing a film test to ensure that her heterochromia (she had one brown eye, one blue eye) would not be a distraction in close-up shots. Her eyes passed the test, so she left for Hollywood with her grandmother and her mother as chaperones. Moore made her first credited film appearance in 1917 in The Bad Boy for Triangle Fine Arts, and for the next few years appeared in small, supporting roles gradually attracting the attention of the public.

The Bad Boy was released on February 18, and featured Robert Harron, Richard Cummings, Josephine Crowell, and Mildred Harris (who would later become Charles Chaplin's first wife). Two months later, it was followed by An Old-Fashioned Young Man, again with Robert Harron. Moore’s third film was Hands Up! filmed in part in the vicinity of the Seven Oaks (a popular location for productions that required dramatic vistas). This was her first true western. The film’s scenario was written by Wilfred Lucas from a story by Al Jennings, the famous outlaw who had been freed from jail by presidential pardon by Theodore Roosevelt in 1907. Monte Blue was in the cast and noticed Moore could not mount her horse, though horseback riding was required for the part (during casting for the part she neglected to mention she did not know how to ride). Blue gave her a quick lesson essentially consisting of how to mount the horse and how to hold on.

On May 3, 1917, the Chicago Daily Tribune said: "Colleen Moore contributes some remarkable bits of acting. She is very sweet as she goes trustingly to her bandit hero, and, O, so pitiful, when finally realizing the character of the man, she goes into a hysteria of terror, and, shrieking 'Daddy, Daddy, Daddy!' beats futilely on a bolted door, a panic-stricken little human animal, who had not known before that there was aught but kindness in the world." About the time her first six-month contract was extended an additional six months, she requested and received a five weeks release to do a film for Universal's Bluebird division, released under the name The Savage. This was her fourth film, and she was only needed for two weeks. Upon her return to the Fine Arts lot, she spent several weeks trying to get her to pay for the three weeks she had been available for work for Triangle (finally getting her pay in December of that year).

Soon after, the Triangle Company went bust, and while her contract was honored, she found herself scrambling to find her next job. With a reel of her performance in Hands Up! under her arm, Colin Campbell arranged for her to get a contract with Selig Polyscope. She was very likely at work on A Hoosier Romance before The Savage was released in November. After A Hoosier Romance, she went to work on Little Orphant Annie. Both films were based upon poems by James Whitcomb Riley, and both proved to be very popular. It was her first real taste of popularity.

Little Orphant Annie was released in December. The Chicago Daily Tribune wrote of Moore, "She was a lovely and unspoiled child the last time I saw her. Let’s hope commendation hasn’t turned her head." Despite her good notices, her luck took a turn for the worse when Selig Polyscope went bust. Once again Moore found herself unemployed, but she had begun to make a name for herself by 1919. She had a series of films lined up. She went to Flagstaff, Arizona for location work on The Wilderness Trail, another western, this time with Tom Mix. Her mother went along as a chaperone. Moore wrote that while she had a crush on Mix, he only had eyes for her mother. The Wilderness Trail was a Fox Film Corporation production, and while it had started production earlier, it would not be released until after The Busher, which was released on May 18. The Busher was an H. Ince Productions-Famous Players-Lasky production; it was a baseball film wherein the hero was played by John Gilbert. The Wilderness Trail followed on July 6, another Fox film. A few weeks later, The Man in the Moonlight, a Universal Film Manufacturing Company film was released on July 28. The Egg Crate Wallop was a Famous Players-Lasky production released by Paramount Pictures on September 28.

The next stage of her career was with the Christie Film Company, a move she made when she decided she needed comic training. While with Christie, she made Her Bridal Nightmare, A Roman Scandal, and So Long Letty. At the same time as she was working on these films, she worked on The Devil's Claim with Sessue Hayakawa, in which she played a Persian woman, When Dawn Came, and His Nibs (1921) with Chic Sale. All the while, Marshall Neilan had been attempting to get Moore released from her contract so she could work for him. He was successful and made Dinty with Moore, releasing near the end of 1920, followed by When Dawn Came.

For all his efforts to win Moore away from Christie, it seems Neilan loaned Moore to other studios most of the time. He loaned her out to King Vidor for The Sky Pilot, released in May 1921, yet another Western. After working on The Sky Pilot on location in the snows of Truckee, she was off to Catalina Island for work on The Lotus Eater with John Barrymore. In October 1921, His Nibs was released, her only film to be released that year besides The Sky Pilot. In His Nibs, Moore actually appeared in a film within the film; the framing film was a comedy vehicle for Chic Sales. The film it framed was a spoof on films of the time. 1922 proved to be an eventful year for Moore as she was named a WAMPAS Baby Star during a "frolic" at the Ambassador Hotel which became an annual event, in recognition of her growing popularity.[13] In early 1922, Come On Over was released, made from a Rupert Hughes story and directed by Alfred E. Green. Hughes directed Moore himself in The Wallflower, released that same year. In addition, Neilan introduced her to John McCormick, a publicist who had had his eye on Moore ever since he had first seen her photograph. He had prodded Marshall into an introduction. The two hit it off, and before long they were engaged. By the end of that year, three more of her films were released: Forsaking All Others, The Ninety and Nine, and Broken Chains.

Look Your Best and The Nth Commandment were released in early 1923, followed by two Cosmopolitan Productions, The Nth Commandment and Through the Dark. By this time, Moore had publicly confirmed her engagement to McCormick, a fact that she had been coy about to the press previously. Before mid-year, she had signed a contract with First National Pictures, and her first two films were slated to be The Huntress and Flaming Youth. Slippy McGee came out in June, followed by Broken Hearts of Broadway.

Moore and John McCormick married while Flaming Youth was still in production, and just before the release of The Savage. When it was finally released in 1923, Flaming Youth, in which she starred opposite actor Milton Sills, was a hit. The controversial story put Moore in focus as a flapper, but after Clara Bow took the stage in Black Oxen in December, she gradually lost her momentum. In spring 1924 she made a good but unsuccessful effort to top Bow in The Perfect Flapper, and soon after she dismissed the whole flapper vogue; "No more flappers...people are tired of soda-pop love affairs." Decades later Moore stated Bow was her "chief rival."

Through the Dark, originally shot under the name Daughter of Mother McGinn, was released during the height of the Flaming Youth furor in January 1924. Three weeks later, Painted People was released. After that, she was to star in Counterfeit. The film went through a number of title changes before being released as Flirting with Love in August. In October, First National purchased the rights to Sally for Moore's next film. It would be a challenge, as Sally was a musical comedy. In December, First National purchased the rights to Desert Flower and in so doing had mapped out Moore's schedule for 1925: Sally would be filmed first, followed by The Desert Flower.

By the late 1920s, she had accomplished dramatic roles in films such as So Big, where Moore aged through a stretch of decades, and was also well received in light comedies such as Irene. An overseas tour was planned to coincide with the release of So Big in Europe, and Moore saw the tour as her first real opportunity to spend time with her husband, John McCormick. Both she and John McCormick were dedicated to their careers, and their hectic schedules had kept them from spending any quality time together. Moore wanted a family; it was one of her goals.

Plans for the trip were put in jeopardy when she injured her neck during the filming of The Desert Flower. Her injury forced the production to shut down while Moore spent six weeks in a body cast in bed. Once out of the cast, she completed the film and left for Europe on a triumphal tour. When she returned, she negotiated a new contract with First National. Her films had been great hits, so her terms were very generous. Her first film upon her return to the States was We Moderns, set in England with location work done in London during the tour. It was a comedy, essentially a retelling of Flaming Youth from an English perspective. This was followed by Irene (another musical in the style of the very popular Sally) and Ella Cinders, a straight comedy that featured a cameo appearance by comedian Harry Langdon. It Must Be Love was a romantic comedy with dramatic undertones, and it was followed by Twinkletoes, a dramatic film that featured Moore as a young dancer in London's Limehouse district during the previous century. Orchids and Ermine was released in 1927, filmed in part in New York, a thinly veiled Cinderella story.

In 1927, Moore split from her studio after her husband suddenly quit. It is rumored that John McCormick was about to be fired for his drinking and that she left as a means of leveraging her husband back into a position at First National. It worked, and McCormick found himself as Moore's sole producer. Moore's popularity allowed her productions to become very large and lavish. Lilac Time was one of the bigger productions of the era, a World War I drama. A million dollar film, it made back every penny spent within months. Prior to its release, Warner Bros. had taken control of First National and were less than interested in maintaining the terms of her contract until the numbers started to roll in for Lilac Time. The film was such a hit that Moore managed to retain generous terms in her next contract and her husband as her producer.

In 1928, inspired by her father and with help from her former set designer, a dollhouse was constructed by her father, which was 9 square feet with the tallest tower 12 feet high. The interior of The Colleen Moore Dollhouse, designed by Harold Grieve, features miniature bear skin rugs and detailed furniture and art. Moore's dollhouse has been a featured exhibit at the Museum of Science and Industry in Chicago, Illinois since October 30, 1949, where according to the museum, it is seen by 1.5 million people each year and would be worth $7 million. Moore continued working on it and contributing artifacts to it until her death.

This dollhouse was the eighth one Moore owned. The first dollhouse, she wrote in her autobiography Silent Star (1968), evolved from a cabinet that held her collection of miniature furniture. It was supposedly built from a cigar box. Kitty Lorgnette wrote in the Saturday, August 13, 1938 edition of The Evening News (Tampa) that the first dollhouse was purchased by Oraleze O'Brien (Mrs. Frank J. Knight) in 1916 when Moore (then Kathleen) left Tampa. Oraleze was too big for dollhouses, however, and she sold it again after her cat had kittens in it, and from there she lost track of it. The third house was possibly given to the daughter of Moore's good friend, author Adela Rogers St. Johns. The fourth survives and remains on display in the living room of a relative.

With the advent of talking pictures in 1929, Moore took a hiatus from acting. After divorcing McCormick in 1930, Moore married prominent New York-based stockbroker Albert Parker Scott in 1932. The couple lived at that time in a lavish home at 345 St. Pierre Road in Bel Air, where they hosted parties for and were supporters of the U.S. Olympic team, especially the yachting team, during the 1932 Summer Olympics held in Los Angeles.

In 1934, Moore, by then divorced from Albert Parker Scott, returned to work in Hollywood. She appeared in three films, none of which was successful, and Moore retired. Her last film was a version of The Scarlet Letter in 1934. She later married the widower Homer Hargrave and raised his children (she never had children of her own) from a previous marriage, with whom she maintained a lifelong close relationship. Throughout her life she also maintained close friendships with other colleagues from the silent film era, such as King Vidor and Mary Pickford.

In the 1960s, Moore formed a television production company with King Vidor with whom she had worked in the 1920s. She also published two books in the late 1960s, her autobiography Silent Star: Colleen Moore Talks About Her Hollywood (1968) and How Women Can Make Money in the Stock Market (1969). She also figures prominently alongside King Vidor in Sidney D. Kirkpatrick's book, A Cast of Killers, which recounts Vidor's attempt to make a film of and solve the murder of William Desmond Taylor. In that book, she is recalled as having been a successful real estate broker in Chicago and partner in the investment firm Merrill Lynch after her film career.

Many of Moore's films deteriorated, but not due to her own neglect, after she had sent them to be preserved at the Museum of Modern Art. Some time later, Warner Brothers asked for their nitrate materials to be returned to them. Moore's earlier First National films were also sent, since Warners later acquired First National. Upon their arrival, the custodian at MOMA, not seeing the films on the manifest, put them to one side and never went back to them. Many years later, Moore inquired about her collection and MOMA found the films languishing unprotected. When the films were examined, they had decomposed past the point of preservation. Heartbroken, she tried in vain to retrieve any prints she could from several sources without much success. In 1956, the material from WB and FN was sold to Associated Artists Productions, later to MGM/UA and then, Turner Entertainment.

At the height of her fame, Moore was earning $12,500 per week. She was an astute investor, and through her investments, remained wealthy for the rest of her life. In her later years she would frequently attend film festivals, and was a popular interview subject always willing to discuss her Hollywood career. She was a participant in the documentary series Hollywood (1980), providing her recollections of Hollywood's silent film era.

Moore was married four times. Her first marriage was to John McCormick of First National Studios. They married in 1923 and divorced in 1930. In 1932, Moore married stockbroker Albert P. Scott. This union ended in divorce in 1934. Moore's third marriage was to Homer Hargrave, whom she married in 1936; he provided funding for her dollhouse and she adopted his son, Homer Hargrave, Jr and his daughter, Judy Hargrave. They remained married until Hargrave's death in 1965. In 1982, Moore married her final husband, builder Paul Magenot. They were married until Moore's death in 1988.

On January 25, 1988, Moore died from cancer in Paso Robles, California, aged 88. For her contribution to the motion picture industry, Colleen Moore has a star on the Hollywood Walk of Fame at 1551 Vine Street.

F. Scott Fitzgerald wrote of her: "I was the spark that lit up Flaming Youth, Colleen Moore was the torch. What little things we are to have caused all that trouble."

#colleen moore #silent era #silent hollywood #silent movie stars #1910s movies #1920s hollywood #golden age of hollywood #classic movie stars #classic hollywood #1930s hollywood #flapper #roaring 20s

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duhragonball · 4 years

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Hellsing Liveblog, Ch.11-13

This is the “Balance of Power” arc.

One of the things that frustrated me about the Hellsing TV anime (as opposed to the Hellsing Ultimate version) was that the TV series aired while the manga was still running, and it seemed to struggle between following the source material or just diverging into all new stories. I think if Gonzo had made up their minds one way or the other, it would have ended up a better show. Instead, there were all these filler scenes of Seras training with human soldiers, which seemed like an utter waste of the character’s time. Worse, this meant the human soldiers featured much more prominently than they ever did in the manga, where they all get killed off by Chapter 9 or something. And if you know that’s coming, like I did, it makes the human soldiers that much more insufferable, because you know dorks like Farguson aren’t going to matter, but they get tons of screen time anyway. Farguson is like every episode of Dragon Ball GT condensed into a single character.

Here, in the original manga, it’s pretty clear that the soldiers never mattered, because the only time you ever see them is when Jan Valentines’ ghoul army slaughters them all. They only existed so Integra would have something to be in charge of, but the only ones who actually matter here are herself, Alucard, Seras, and Walter. In this chapter, Walter practically admits as much, when he states that there were 96 staff members, and now we’re down to ten: Walter, Integra, and eight jabrones who weren’t at the base that day. Well, maybe those eight guys will show up later and do something important? Bullshit they will, they never get mentioned again. The Gonzoverse might have been able to break some new ground by focusing on those human characters more, but what they actually did was half-assed, and it looks all the more futile when you know how unimportant they are to the original work. Walter just hires a band of mercenaries to backfill all the vacant positions, and I’ll give you three guesses what happens to those guys.

Concerning “Millennium”, their mysterious new enemy, no one has any idea what they are. A bunch of people try to research it, because we didn’t have Google in 1999, or at least not Google as we now know it, so if you wanted to know something cryptic you just had to rummage through a card catalog in a library or whatever. But Integra just makes the logical leap that “Millennium” is a reference to the “Thousand Year Reich” dreamed of by Nazi Germany. This seems like a stretch, but I think Integra’s reasoning is that this is the only “Millennium” reference that could possibly be worth Hellsing’s attention.

Later, Integra meets the Wild Geese, the merc group Walter hired, and explains their assignment even referencing the Bram Stoker novel. So I guess Dracula is a real book in the Hellsing world, but it must be at least partially based on a true story, right? The Geese don’t buy any of this, so Integra introduces them to Seras to prove that vampires are real.

They all laugh at Seras until she starts flicking their leader, Pip Bernadotte, with her fingers. Then Alucard shows up, and that seems to be enough to convince them.

After this, Integra gets a letter from the Iscariot Organization, inviting her to a meeting with Enrico Maxwell at the Imperial War Museum. The whole thing introduces Bishop Maxwell very effectively. He tries to play this off as a peaceful, diplomatic conference, but he makes Integra wait, and she’s still sore about Anderson’s violation of their treaty back in Chapter 5-6. Maxwell takes all this in stride, then replies that he could care less about the deaths of even two billion Protestants, so the two guys Anderson killed mean nothing to him. He’s only here because the Pope ordered him to do this, and he calls Integra a “Protestant sow” for good measure.

At this, Alucard comes out to stand up for Integra’s honor, and then Maxwell responds by bringing out Anderson, except Anderson has a berzerker rage thing going, so it kind of ruins Maxwell’s posturing. For all his contempt, he really was ordered to London to talk to Integra, so he’d probably get in trouble with the Pope if Anderson starts a big superhero battle in a museum.

In Cross Fire, the unpublished manga that was sort of a precursor to Hellsing, Maxwell looked a lot like Sir Integra does now, so when Kouta Hirano brought him back for this arc, he slicked his hair back and removed his glasses. On the other hand, Integra doesn’t look much like the early Integra anymore either. By now, Hirano seems to have settled on her design, straightening her hair out and making her face longer and thinner. Anyway, Maxwell’s brinkmanship has backfired, and now even he can’t stop Anderson, so what can be done?

Luckily, Seras is here to provide a distraction, as she leads a tour group of elderly Japanese tourists through the gallery. For some reason this kills Anderson’s fighting mood completely, so he leaves. Alucard also leaves, because he hates being up during the day. Walter gives Seras a hearty thumbs up for defusing this tense situation. Good job, Seras. You’re doing amazing, sweetie.

All right, so what’s so blamed important that the Pope would send Maxwell to London? Well, he knows about Millennium’s attack on Hellsing’s base, and he has some juicy deets on them. After making Integra say “please”, he explains that “Millennium” was a Nazi military unit responsible for transferring resources and personnel for Nazi Germany. They relocated a ton of these resources and personnel to South America for safe keeping. Integra’s not too impressed with that, since “Nazis fleeing to South America after the war” isn’t exactly a shocking revelation.

The twist here, though, is that Millennium was smuggling Nazi stuff to South America during World War II.

Also, the Vatican helped Millennium do this? I never understood this part of the story, but I think it gets explained later. I mean, it explains how Maxwell would have this lead to share with Hellsing, but it raises more questions than answers.

Volume 2 ends with another chapter of Cross Fire, starring Heinkel Wolfe and Yumiko Takagi. In the first story, they saved hostages from Islamic terrorists. This one is them recovering stolen church money from radical communists, which I guess could have been a thing in 1998? It’s basically the same story, though, as they send Yumiko to infiltrate the bad guys, then they slaughter everyone in sight. Mostly, I want to focus on the part at the end, where Maxwell, the leader of Iscariot, justifies the use of extreme hyper-violence in the name of the Catholic Church. You sort of get the sense that the Iscariot Organization in Cross Fire was a concept in search of a villain. the idea of two girl-assassins dressed as a nun and a priest might have had some traction, but Hirano really seems to have had trouble coming up with worthy enemies for them to fight. But Hellsing brings vampires into the mix, which suits the Iscariots quite nicely.

Back to “Balance of Power”, the third part features Seras training with the Wild Geese in the middle of the night. For some reason, Seras expects them to shoot targets from over 4km away. She can do it, but only thanks to the vampiric senses Alucard showed her how to use. It’s like she doesn’t realize that this is an ability she only has because she’s a vampire or something.

Indoors, Alucard and Walter discuss the whole Nazi angle. Al isn’t terribly surprised, because he only knows three who have ever used undead warriors for combat.

1) Hellsing

2) Himself

3) The Nazis.

He knows #3 is legit, because he and Walter destroyed a Nazi research facility during the war. Supposedly that contained all their work on the undead, but now that we know Millennium was smuggling important stuff from Nazi Germany to South America, it only makes sense that they’re the ones who devised the Valentines’ ghoul attack. The bigger point of this scene is to reinforce that Walter used to be a big wheel in Hellsing, teaming up with Alucard to have Golden Age WWII adventures. And now, Hellsing will be sending Alucard and Seras to South America to investigate this new threat.

Here, Walter asks the big question: Why make Seras a vampire? I’ll have more to say about this later, but I dig this scene because it works as an exposition scene, but there’s more to it than that. Alucard’s only apparent motivations are over-the-top violence and doing his master’s bidding. Helping Seras doesn’t seem to fit either of those, so it does indeed feel out-of-character. You’d expect someone to ask this question, and by now there’s really only two people left who know Alucard well: Walter and Integra. So yeah, let’s have Walter ask the question. But later on, it becomes clear that the point is not the question itself, but the fact that Walter is the one asking it.

For what it’s worth, Alucard doesn’t seem to know, or maybe he just doesn’t want to spell it out. He keeps saying that it was her “choice”, except he had to make his own choice that night. He could have just let her die, regardless of any requests she might have made. Al remarks on her tremendous resilience on that night, since she was surrounded by death and hopelessness, but didn’t resign to her fate. That impresses him, so I guess we can say that he chose her because he found her to be such an impressive specimen, in spite of some of her goofier behavior. As it currently stands, Seras can’t even travel across rivers or oceans, a weakness for lesser vampires, but not a problem for Alucard himself. He seems to think that’ll all be resolved once she finally drinks blood, and he expects that it’ll just be a matter of time before she does. Ominous!

As far as transporting Seras to South America, Alucard figures the easiest thing to do is nail her shut in her own coffin. The Wild Geese know a smuggling operation that can fly them to Brazil without any messy customs. That works out, since they also have to transport Alucard’s coffin, and all the guns.

Integra asks why Alucard is dressed like this, and he says he can’t wear his usual stuff because he’d be too obvious to their enemies. Also, he doesn’t need to spend the whole trip in his coffin, because sunlight and traveling over water doesn’t bother him, I guess? I don’t really get the water thing. If Seras can’t travel over running water, what difference does it make if she’s in her coffin or not? I can accept that Alucard, who’s basically a super-vampire, would be immune to the whole water thing, but it becomes a plot point later on, so... aw, forget it

Integra gives Alucard only one order: Search and Destroy, which seems kind of vague when you think about it. Anyway, she’ll be saying this about a hundred times before the story is over, so we may as well appreciate the original.

#2021hellsingliveblog #hellsing #alucard #sir integra hellsing #walter c dornez #seras victoria #enrico maxwell #pip bernadotte #did i forget anyone?#nah i guess that's it

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septiembrre · 4 years

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Rio Headcanons

Tagged by the wonderful @foxmagpie

What are your headcanons about Rio’s family? Siblings? Parents? Lifestyle growing up?

I really love the idea of Rio having been raised by a supportive, healthy, loving, beautiful nuclear family. I personally have imagined him with siblings -- sisters! Cousins! I think his respect for women and their power has to come from somewhere and it’s probably a matriarch. He has a strong handle on parenting and I think he must be modeling his own caregivers...

But, @foxmagpie pointed out the black & white vintage photos in his closet... Obviously, I had seen them but I just understood them to be like my family’s own old photographs. I had thought -- they’re just his ancestors, probably his grandparents or bisabuelos. But, then I realized there’s no sign of sisters, any siblings or of his parents in his apartment. The Good Girls set design team loves a ridiculously terrible photo prop (hello old Dean/Beth family photos) and you know they would have been down to make the same thing for Rio... but alas. All we have are those photos of Rio + Marcus, an ambiguous baby picture and the black & white photo and it’s probably intentional.

I come from a small, atypical Mexican-American family structure myself, but I feel for him. I always headcanoned that he had a dad who had died when he was a kid or a teenager and that maybe his mom was still around and involved in his & Marcus’ life. But, quizas no?

I’m curious about how much Beth knows now about Rio’s family structure from Rhea. She knows Rhea’s a single mom, and her co-parent was out of the picture for a spell. But, I think Rhea would have also mentioned involvement or support from Marcus’s other set of abuelos/her former in-laws?

So... who were Rio’s caregivers? His grandparents? No sisters??? We should all collectively DM Manny and ask him to share his own Rio backstory headcanons. Haha, watch -- the show is totally going to ret-con this in Season 4.

It’s interesting overall how the writer’s deploy family world-building for the characters. Dean’s mom is the only one on-screen -- and Dean’s parents overall have gotten more build out than any other family history combined (wild!). I know that’s influenced by them casting Jessica Walter who is phenom, but expanding out the family histories is such a rich area for the show creators to play in if they choose to go there. All of our main protagonists have deceased parents. I think it’s been a choice on the show to play into a lack of safety net and support for the women. For better or for worse, Beth, Ruby & Annie are at a point where they are it for their children.

That being said -- I would love to meet Stan’s parents! And I would love to get information about Rio’s coming-into-crime especially as a parallel to Beth’s experience. It’s the parallel we would all want and the parallel we deserve. (Dear show, Stop with the Boland family parallels, PLEASE! If I have to hear about Dean’s scummy dad one more time--).

But, yes, I’m very invested in Beth & Annie’s, Ruby’s, Stan’s, and, of course, Rio’s families and hope we get to see more characterization unfold over the next seasons.

What are your headcanons for Rio and Rhea’s relationship? How do you think they met, at what point did Rhea learn about his work, was Rio in love with her, etc.?

I’m so curious about what attracts Rio to people/his love interests. It’s becoming clear what attracts him to Beth... But, I wonder about has attracted him to others.

While Beth & Rhea are both moms (haha, and beautiful, and well-endowed with the boobs), that’s in the present time on the show -- Rio was attracted to Rhea before she was a mom. I wonder what he looks for? What did he see in Dylan?

Hmmm.

What are your headcanons about Rio’s and Mick’s relationship? Did they meet through crime? Are they lifelong friends?

I want them to be childhood friends!!!! I want that so badddddd!!!

Oh, god, can you imagine a flashback to them young in crime?! Like late teens or early 20s? Ha, as a parallel to the Beth + Ruby scene/origin story? I would die. DIE.

Do you think Rio’s been arrested before Beth got him arrested in 1.10? When, and what for?

Ha, I don’t think he’s been arrested for anything significant. He’s plenty sanctimonious about keeping his name out of everything.

If Rio weren’t a crime boss, what jobs do you think he’d be good at? Why?

I mean he’s probably great a math, phenom at managing a huge team/multiple business ventures, and super charismatic. What couldn’t he do?

I think he was probably pushed to crime because of lack of opportunity for MOC and the need for money. This does make me think he came up poor. But, I think he stayed in crime because he’s so good at it, and likes the flexibility, the creativity, the $$$, and the power.

I think he could go legit and still be pulling in decent buck with all of his business fronts but he doesn’t choose to.

What are Rio’s hobbies outside of work and Marcus? What do you think he’d get up to on a day with absolutely no responsibilities?

He’s obviously an art heaux. The real question is WHAT’S HIS MEDIUM???? If he actually produces art like the abstract stuff up in his house, I would scream. I can see him being into photography when the mood strikes him and he has time. #hipster

I like the idea of Rio taking cooking classes in some sort of exclusive, foodie way (1:1 with a chef, or a compa who is a fly line cook).

We know he plays tennis and I also imagine he boxes and works out at the type of high-end gym I could only dream of. It probably never smells of sweat, and all the machines are top-end, brand new. I mentioned in a post a while ago that I wasn’t sure if I wanted Rio to be my boyfriend, my bff, or to adopt me -- and I stand by it.

Who do you think Dylan is to Rio (a friend, an associate, someone he was dating?) and why?

I do lean towards friend/associate/some one he’s fucked. Rio was very handsy with Dylan’s person. Obviously, in real life Manny & Adelfa are married, and I think they were leaning heavily on that intimacy in the scene.

But Rio also didn’t kiss Dylan? Which leads me back to -- damn, Rio. You were fronting so hard. Like... that was high-school-level showmanship.

What do you think Rio’s goals for the future are?

I think he wants to be his own boss, I think he likes being at the top of the food chain, and I think he wants to stay in crime because he still sees opportunities.

I’m so curious as to what his $$$ bench marks are?

Beth’s are current financial security and probably college for all of her little ones. So what it for Rio?

- College for Marcus?

- Inheritance for Marcus?

- Inheritance for all of his (nonexistent) family?

It has to be more than that. He’s already hit these benchmarks based off of the status symbols in the show (the G-Wagon, the quality of furniture in his loft, Rhea’s offer of maybe like a $5-10k check to Beth. Beth’s not family!).

What do you think Rio is bad at (cooking, dancing, singing, etc.)? How come?

I don’t think he can bake.

I also don’t seem him being good at boldly lying to people? It’s definitely not his style. He’s more of a lying by omission type of person. I don’t see him being able to spin a tale like Beth, but he also doesn’t have her white privilege/whole suburban mom aesthetic.

Hm, I haven’t rewatched the show in a minute but I think the only time we’ve seen him boldly lie is to Beth -- when he lies about the nature of their relationship. Haha, and he’s really bad at it. Maybe this isn’t the fairest thing to judge him on. But, I think his lying relies on purposeful silence.

Why do you think Rio is drawn to Beth?

I think Rio was drawn to Beth because she’s a survivor, she’s scrappy and she’s smart. I think he’s drawn to how quick she is on her feet. Beth has limited awareness but she can be really good at navigating what’s going for her and leveraging it for her gain (and Rio’s). I think he’s also been drawn to her because she’s a parent, and she can be really brave (I would say reckless!! Beth, stop endangering yourself!).

Beth’s also like absurdly beautiful. Christina is ethereal and they try to make her ... frumpy or something in the show. But... we have eyes. And Rio certainly has eyes for her figure, and her face, and like all the attributes and isn’t shy about letting her know.

Why do you think Rio didn’t kill Beth? Was it their past, his present feelings for her, because he needed her business? Some combination?

I think Rio sees a kindred spirit in Beth and at this point (post-Season 3), she’s in his life now. Despite all that she’s done to him, he seems completely unable to extricate himself from her. I think this due to his present past feelings for her. The business is a bonus, a front if you will.

In Season 2, there were these questions for Beth about whether all of it was real -- if she meant something to Rio, if Beth could walk back all of her crimes so far and retreat into anonymity. In Season 3, we know that Beth can’t let go of crime, and that she’s capable of the same dark deeds as Rio, and we know that Rio did care for her, cares for her still apparently because he’s very much in his feelings. Those Season 3 picnic table scenes? Wow.

Ah, can you believe these two are going to like... have some sort of development in their relationship again? Obviously, it will be full of strife and conflict. But isn’t it wild that we have another Brio sex scene in store for us one day? Jenna Ban’s comment, “You don't go from having the hottest sex of your life to wanting someone dead without conflicted feelings” is just the BIGGEST TEASE. How are our bbs going to be intimate with each other again?

OKAY THIS ENDED UP BEING SUPER LONG. Jeez... If you’ve gotten this far, thank you for engaging with my headcanons. Lmk what you think :-)

#ggweek2020 #rio

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dweemeister · 4 years

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The Princess and the Pirate (1944)

Bob Hope’s mastery of quickfire one-liners and self-deprecation endeared him to American audiences listening to him over the radio or watching him in films. Those skills made him the ideal Academy Awards host (Hope still has the record hosting the most ceremonies) and frequent entertainer for the United Service Organizations (USO). By the 1940s as a contracted actor to Paramount, Hope starred in the Road to... musical comedy series with Bing Crosby and Dorothy Lamour. Their comedic chemistry made the films runaway hits. Road to Morocco (1942) represented the series pinnacle, but Paramount wanted to move on – loaning Hope out to Samuel Goldwyn Productions (at this time affiliated with RKO Radio Pictures as distributor) for two films in exchange for Gary Cooper’s services to make For Whom the Bell Tolls (1943).

The first Bob Hope movie with Goldwyn, They Got Me Covered (1943), made little impression. For the second film, Goldwyn lavished an A-picture budget for Hope, Virginia Mayo (an unofficial member of the Goldwyn Girls), and director David Butler. As a detour from the Road to... series, The Princess and the Pirate is filled with fourth wall-breaking references that make it impossible to recommend for anyone who has never seen a Bob Hope movie from this era. With that qualifier in mind, The Princess and the Pirate is an offbeat comedy that Hope’s fans and admirers will enjoy, though it is certainly not his finest work in motion pictures.

We open with the title screens describing a ruthless pirate named Hook. Immediately, Bob Hope breaks the fourth wall to tell the audience: “That’s not me folks, I come on later. I play a coward!” Hook (Victor McLaglen), who – shockingly – has a hook hand, has just buried a valuable treasure on a desert island when he orders an attack on a naval ship. With his buccaneers of the Avenger swindling the booty, Hook’s crew also kidnap the Princess Margaret (Mayo), who has run away from home in defiance of her father, the King (Robert Warwick), as she wanted to marry a commoner. Hook’s crew also accosts an actor, Sylvester the Great (Hope), who sleeps in the cabin across from the Princess. Sylvester escapes abduction by disguising himself as a gypsy. The Avenger’s eccentric tattooist, Featherhead (Walter Brennan), finds the disguised Sylvester attractive. Featherhead helps Sylvester and Princess Margaret escape, directing them to see find his cousin somewhere on the pirate cove named Casarouge.

Also featured in The Princess and the Pirate are the Governor of Casarouge, La Roche (Walter Slezak); Hook’s first mate, Pedro (Marc Lawrence); Hugo Haas as an ethically challenged barkeep; and a film-ending cameo that makes a ruffled Hope exclaim that this will be the last picture he makes for Goldwyn (it was).

In these days where memories of Bob Hope’s radio and USO work are waning, his wise-guy humor might not be as funny to some viewers. Without question, his comedic timing and delivery is as refined as anyone’s. Director David Butler even admitted that Hope himself did not need much direction with the screenplay by Everett Freeman (1942’s George Washington Slept Here, 1951’s Jim Thorpe – All-American); Don Hartman (1935’s The Gay Deception, Road to Morocco); and Melville Shavelson (1958’s Houseboat, 1959’s The Five Pennies. But Hope’s signature jokes about one’s own shortcomings and metatextual jabs over the ways the Hollywood Studio System worked are not sustainable for a feature film unless there is support from elsewhere in the movie.

The Princess and the Pirate does not have the broad humor one sees in the Road to… series. Instead, the film’s comedy – which still possesses Hope’s comedic hallmarks – is interwoven into the plot. On another level, The Princess and the Pirate is a swashbuckler parody that provide its supporting characters (namely, the antagonists) with more antics and jokes than the typical Bob Hope comedy. The swashbuckler genre was overdue for a parody by this point, as the genre had been popular since the silent era – The Crimson Pirate (1952) and The Court Jester (1955) would come later. As Hook, Victor McLaglen’s energetic performance – his threats to slit Sylvester’s gizzard or gullet enliven the intentionally hackneyed writing – is a joy to watch. McLaglen, a character actor often found in gritty, hypermasculine roles, looks like he is having the time of his life in this film. So too is an unhinged Walter Brennan, who had the distinction (fortunate or unfortunate depending on how one views it) of looking much older than he was. Brennan’s tattooist must have been the film censors’ worst nightmare – a slightly queer and lusty pirate. And in a role where he is more than just an old Western coot playing alongside a John Wayne or Gary Cooper, he gets to be more cartoonish than in any other performance I’ve seen him in. For The Princess and the Pirate, McLaglen and Brennan’s complement those of Hope and Mayo’s.

For Mayo, The Princess and the Pirate was her first starring role. Though she participated in singing classes with the Goldwyn Girls, Mayo herself never joined the company. Yet, she was a breakthrough star in her own right. As the film’s no-nonsense, strait-laced foil to Hope, Mayo plays off Hope’s comedic chops, but her character resists Sylvester’s raised eyebrows and naughty suggestions. That Hope and Mayo have no romantic spark subverts swashbuckler tropes, as the dynamic between their characters can best be described as friendly bickering. In Princess Margaret’s exasperation as pirates board their ship, their comedic dynamic sets the tone for the rest of the film:

PRINCESS MARGARET: Why don’t you die like a man? SYLVESTER: Because I’d rather live like a woman!

Costume designer Mary Grant (1957’s Sweet Smell of Success) gowns see Mayo go through various wardrobe changes – just how many dresses does she have on her person? – in the film’s splendid Technicolor. The remarkable production design by Ernst Fegté (1943’s Five Graves to Cairo, 1950’s Destination Moon) and Howard Bristol (1940’s Rebecca, 1959’s Anatomy of a Murder) not only encompasses the ships, but the Casarouge exteriors and La Roche’s palatial residence. The Casarouge art direction – ramshackle wooden buildings, portside materials strewn haphazardly across the docks – help make it believable as a sleazy den of inebriated, trigger-happy scalawags. As the final act transitions to La Roche’s governor’s mansion with its high ceilings, ornate furniture, and gleaming floors, the sets look like they came from some lavish musical. Despite some indifferent camerawork (as one often finds in comedies), The Princess and the Pirate’s backgrounds are always fascinating to look at. Filled with so much detail, the film almost escapes the restrictions of the soundstage that almost all of it was shot in.

According to Hope, he enjoyed making The Princess and the Pirate and his character’s ability to don various costumes to evade the villains (which reminded him of his vaudeville beginnings). But Hope’s loan to Samuel Goldwyn had expired – actors and actresses in the Old Hollywood Studio System had little leverage to oppose loan deals written up by studio executives – and he was ready to return to Paramount. With World War II raging in two theaters, he would continue to entertain American troops on various USO tours. Virginia Mayo remained with Goldwyn until 1949. With her ascension to being a leading actress, she starred in a handful of comedies opposite Danny Kaye and was cast against type in her brilliant performance for William Wyler’s The Best Years of Our Lives (1946).

Though The Princess and the Pirate might not be the most memorable (or funniest) film its two leads starred in, it is a welcome swashbuckling comedy that defies the swashbuckling stereotypes that one comes to expect. Entertaining though it is, several references are rooted in an assumption that one knows about Bob Hope’s filmography, Samuel Goldwyn’s reputation, and other period-specific media. Feeling more like an animated short film stretched longer than it should, the movie should only be seen by those who have an interest in the cast and crew involved with the production.

My rating: 7/10

^ Based on my personal imdb rating. Half-points are always rounded down. My interpretation of that ratings system can be found in the “Ratings system” page on my blog (as of July 1, 2020, tumblr is not permitting certain posts with links to appear on tag pages, so I cannot provide the URL).

For more of my reviews tagged “My Movie Odyssey”, check out the tag of the same name on my blog.

#The Princess and the Pirate #David Butler #Bob Hope #Virginia Mayo #Walter Brennan #Walter Slezak #Victor McLaglen #Marc Lawrence #Hugo Haas #Samuel Goldwyn #Everett Freeman #Don Hartman #Melville Shavelson #Mary Grant #David Rose #Ernst Fegte #Howard Bristol #TCM #My Movie Odyssey

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chiseler · 4 years

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The Head -- It Just Won’t Stay Dead

In the early 1960s, the overwhelming majority of European horror films imported to the United States were either British or Italian, the British films being easily understood and the Italian ones frequently pretending to be of British origin. Examples of French horror were rare (odd for a country whose cinema was so rooted in the fantastique), reaching an early apex with Georges Franju’s Eyes Without a Face (1960), which came to the US in a well-done English dub called The Horror Chamber of Dr. Faustus during the Halloween season of 1962.

Seldom paid much attention in retrospectives of this fertile period in continental horror cinema is a rare German example, Die Nackte und der Satan (“The Naked and the Devil,” 1959), which came to the US retitled The Head almost exactly one year before the arrival of the Franju masterpiece. Critics like to refer to The Head as “odd” and “atmospheric,” words that seem to disregard deeper consideration, never really coming to terms with it as anything but a sleazy shock trifle. However, it was in fact the product of a remarkable and rarely equaled concentration of accomplished patrimonies.

Consider this: The Head starred the great Swiss actor Michel Simon, renowned for his roles in Jean Renoir’s La Chienne and Boudu Saved From Drowning; it was directed by the Russian-born Victor Trivas, returning to his adopted homeland for the first time since directing Niemandsland (1932, aka No Man’s Land or Hell On Earth), a potent anti-war statement that was all but obliterated off the face of the earth by the Nazis when he fled the country, and who furthermore had written the story upon which Orson Welles’ The Stranger (1946) was based; it was photographed by Georg Krause, whose numerous international credits include Stanley Kubrick’s Paths of Glory (1957); its sets were designed by Hermann Warm, the genius responsible for such German Expressionist masterpieces as Robert Weine’s The Cabinet of Dr. Caligari (1919), Fritz Lang’s Destiny (1921), as well as Carl Dreyer’s The Passion of Joan of Arc (1928) and Vampyr (1932), and its score is a wild patchwork of library tracks by Willy Mattes, the Erwin Lehn Orchestra, and a group of avant garde musicians known as Lasry-Baschet, who would subsequently lend their eerie, ethereal music to Jean Cocteau’s The Testament of Orpheus (1960). If all this were not enough, The Head was also filmed at the Munich studios of Arnold Richter, the co-founder of the Arri Group, innovators of the famous Arriflex cameras and lenses.

Though made after the 1957 horror breakthroughs made in Britain and Italy (Terence Fisher’s The Curse of Frankenstein, and I vampiri, co-directed by Riccardo Freda and Mario Bava), The Head represented a virtual revolutionary act in postwar Germany, where horror was then considered a genre to avoid. The project was proposed to Trivas by a young film producer named Wolfgang C. Hartwig, head of Munich’s Rapid-Film, whose claim to fame was initiating a niche of exploitation cinema known as Sittenfilme – literally “moral movies” – which, like many American exploitation films of the 1930s, maintained a higher, judgmental moral tone while telling the stories of people who slipped into lives of vice (prostitution, blackmail, drug addiction), their sordid experiences always leading them to a happy or at least bittersweet outcome. Though it goes quite a bit further than either Britain or Italy had yet gone in terms of sexualizing horror, The Head nevertheless checked all the boxes required for Sittenfilme and was undertaken by Hartwig in early 1959 as Rapid-Film’s most prestigious production to date.

After the main titles are spelled out over an undulating nocturnal fog, the story begins with a lurker’s shadow passing along outside the gated property of Prof. Dr. Abel. With its round head and wide-brimmed hat, it looks like the planet Saturn from the neck up. When this marauder pauses to pay some gentle attention to a passing tortoise, we get our first look at the film’s real star - Horst Frank, just thirty at the time, his clammy asexual aura topped off with prematurely graying hair and large triangular eyebrows that seem carried over from the days of German Expressionism. More bizarre still, he later gives his name as Dr. Ood, whose explanation is still more bizarre: at the age of three months old, he was orphaned, the sole survivor of a cataclysmic shipwreck .

“That was the name of the wrecked ship,” he explains. “S.S. Ood.”

The ambiguous Ood takes cover as another late night visitor comes calling: a hunchbacked woman wearing a nurse’s habit as outsized as an oxygen tent. This is Sister Irene Sanders (the screen debut of Karin Kernke, later seen in the Edgar Wallace krimi The Terrible People, 1960). Though Irene cuts a figure as ambiguous and unusual as any Franju ever filmed, she owes her greatest debt to Jane Adams’ hunchbacked Nina in Erle C. Kenton’s House of Dracula (1945). As with Nina, Irene lives in the hope that her deformity can be eradicated by the skill of a brilliant surgeon.

When Irene leaves after meeting with Dr. Abel, Ood presents himself with the written recommendation of a colleague he previously, supposedly, assisted. A burly old walrus of a man, Abel (Michel Simon) already has two younger associates, Dr. Walter Burke (Kurt Müller-Graf, “a first class surgeon”) and the handsome, muscular Burt Jaeger (Helmut Schmid), who hasn’t been quite the same since an unexplained brain operation. Both associates share a creative streak; Burke is also “an excellent architect, [who] designed this house,” while Jaeger “designed my special operating table; it allows me to work without assistants.” (So why does he have two of them? With names that sound the same, no less!) Given the high caliber of Hermann Warm’s talent as a production designer, Burke and Burt together are every bit as skilled in architecture as was Boris Karloff’s Hjalmar Poelzig in Edgar G. Ulmer’s The Black Cat (1934). The main floor of Abel’s sprawling house is dominated by a vast spiral stairwell, striking low-backed furniture, a mobile of dancing palette shapes, and an overpowering wall reproducing Leonardo da Vinci’s “The Virtuvian Man.” Down in the lab, Burt’s robotic surgical assistant looks as if it might have been conceived by the brain responsible for the Sadean mind control device in Jess Franco’s The Diabolical Dr. Z (1965) - a film that, along with Franco’s earlier The Awful Dr. Orlof (1962), seems considerably more indebted to Trivas on renewed acquaintance than to Franju. The film was shot in black-and-white and at no point inside Abel’s abode do the silvery, ivory surfaces admit even the possibility of pigment.

Adding to its effect, the music heard whenever the film cuts back to Abel’s place is anything but homey. It consists of a single, sustained electric keyboard chord played in a nightmarish loop that seems to chill and vibrate, its predictable arc punctuated now and again with icy spikes of cornet. Though I don’t recall reading any extensive discussion of the film’s music, The Head represents what is surely the most important advance in electronic music in the wake of Louis & Bebe Barron’s work on Forbidden Planet (1956). Though the film’s music credits list bandleader Willy Mattes, Jacques Lasry and the Edwin Lehr Orchestra with its music, the most important musical credit is displaced. Further down the screen is the unexplained “Sound Structure, Lasry-Baschet.”

Lasry-Baschet was a musical combination of two partnerships – that of brothers Francois and Bernard Baschet, and the husband-and-wife team of Jacques and Yvonne Lasry. The two brothers were musicians who played astonishing instruments of their own invention, like the Crystal Baschet (played with moistened fingers on glass rods), the Aluminum Piano, the Inflatable Guitar, the Rotating Whistler, and the Polytonal Percussion. The Lasry couple, originally a pianist and organist, began performing with the Baschets on their unique devices in the mid 1950s. Some of the music they produced during this period is collected on the albums Sonata Exotique (credited to Structures for Sound, covering the years 1957-1959) and Structures For Sound (credited to the Baschet Brothers alone, 1963), a vinyl release by the Museum of Modern Art. These and other recorded works can be found on YouTube, as well; they are deeply moving ambient journeys but I cannot say with certainty that they include any of the music from The Head. That said, the music they do collect is very much in its macabre character and would have also fit very well into Last Year At Marienbad (1961) or any of Franju’s remarkable films.

When Ood meets with Abel and expresses his keen interest in experimental research, the good doctor mentions that he has had success copying “the recent Russian surgery” that succeeded in keeping the severed head of a dog alive – however, his moral code prevents him from taking such experimentation still further. After leaving Abel, Ood finds his way to the Tam-Tam Club, a nightspot where a life-sized placard promotes the nightly performances of “Tam-Tam Super Sex Star Lilly.” This visit initiates a parallel storyline involving Lilly (Christiane Maybach), who supplements her striptease work as an artist’s model, and is the particular muse of the brooding Paul Lerner (Dieter Eppler), a man of only artistic ambition, much to the annoyance of his father, a prominent judge who wants him to study law. Maybach reportedly won her role the day before she began filming. According to news reports of the day, the actress originally cast – the voluptuous redhead Kai Fischer – had signed on to play the part, after which producer Hartwig decided she must also appear nude. Fisher sued Hartwig for breach of contract in March 1959 and he was sentenced to pay out a compensatory fee of DM 4,000 – in currency today, the equivalent of about $35,000. As it happens, Christiane Maybach doesn’t appear nude in the film’s final cut either.

The English version of The Head opens with a credit sequence played out over a shot of the full moon taken from near the climax of the picture. Unusually, the German Die Nackte und der Satan doesn’t present its title onscreen until Lilly is ready to go on. It’s superimposed with inverted commas on pleated velvet curtains that suddenly rise, revealing a stage adorned by a single suit of armor. Lilly dances out, stage right, garbed in a medieval conical hat, scarves, a bikini and a black mask, performing her dance of the seven veils around the impervious man of metal. She only strips down to her bikini but her dance ends with her in the arms of the armor we assumed empty, which tightly embraces her as its visor pops open, revealing a man’s face wearing skull makeup. Lilly screams, the lights go out, and the house goes wild with applause – a veritable blueprint for the striptease of Estella Blain’s Miss Death in Franco’s The Diabolical Dr. Z (1965).

The music heard during the film’s Tam-Tam Club sequences was recorded by the Erwin Lehn Orchestra, evidently with Jacques Lasry on piano, though its emphasis on brass is its outstanding characteristic. Erwin Lehn was a German jazz musician and composer who established the first German Big Band Orchestra for South German Radio. Brass was a major component of his sound – indeed, he made pop instrumental recordings credited to The Erwin Lehn Beat-Brass. You can find their album Beat Flames on YouTube, as well.

Backstage, the beautiful Lilly is a nagging brat, drinking and flirting with patrons while berating Paul’s lax ambitions on the side. Dieter Eppler, a frequent player in the Edgar Wallace krimis and also the lead bloodsucker in Roberto Mauri’s Italian Slaughter of the Vampires (1964), makes for inspired casting; he looks like a beefier, if less dynamic Kirk Douglas at a time when Vincente Minnelli’s Lust For Life (1956) would have still been in the minds of audiences.

Once Ood joins the payroll, Dr. Abel confesses that his heart is failing rapidly. The only means of saving himself and perpetuating his brilliant research is by doing the impossible – that is, transplanting the heart from a donor’s body into his own, which he insists is possible given his innovation of “Serum X.” What Abel could not foresee was that his own body would die during the procedure. Ood tells Burke that the only way to save Abel’s genius is to keep his head artificially alive, which his associate rejects uncatagorically, pushing Ood over the edge into murder. Then Ood proceeds with the operation, working solo with Jaeger’s robo-assistant passing along surgical tools as he needs them. When Abel revives, Ood breaks his news of the procedure gently by holding up a mirror and exclaiming that he’d had “one last chance – to perform the dog operation on your head!” Abel screams in revulsion of what he has become. The conciliatory Ood gently cautions him, “Too much emotion can be extremely dangerous now.”

The severed head apparatus is a simple yet ingenious effect, shot entirely in-camera and credited to Theo Nischwitz. It utilizes what is generally known as a Schufftan shot, a technique made famous by spfx shots achieved by Eugen Schufftan for Fritz Lang’s Metropolis (1926). Essentially, Michel Simon was seated behind a pane of mirrored glass with all the apparatus seen from his neck up. The silvering on the reverse portion of the mirror was scraped away, allowing the camera to see through to Simon and the apparatus while reflecting the apparatus arrayed below his neck, in position for the camera to capture its reflection simultaneously. In at least one promotional photo issued for the film, Simon’s shoulders can be transparently glimpsed where they should not be.

Irene returns to meet with Dr. Abel and is surprised to find new employee Ood now alone and ruling the roost. When he offers to perform her operation himself, she instinctively distrusts and fears him – but is reassured after hearing Abel’s disembodied voice on the house’s sophisticated intercom.

After the killing and burial of Burke, whose body Bert Jaeger later finds thanks to the barking of Dr. Abel’s kenneled hounds (a detail that one imagines inspired Franju’s use of a kennel in Eyes Without a Face), the film introduces the dull but nevertheless compulsory police investigation, headed by Paul Dahlke as Police Commissioner Sturm. Sagging interest is buoyed by a surprise twist: when Dr. Ood returns to the Tam-Tam Club and asks the perpetually pissy Lilly to dance, he refers to her in passing as “Stella,” prompting her to recognize him as “Dr. Brandt” (the scorecard now reads Burke, Bert and Brandt), who has inside knowledge pertaining to her poisoning of her husband! Given that his earlier writing projects include Orson Welles’ The Stranger and the bizarre Mexican-made Buster Keaton item Boom In the Moon (also 1946), in which an innocent shipwrecked sailor is rescued from his castaway existence only to find himself confused with a serial killer, Victor Trivas would seem partial to characters who live double lives.

Though Ood/Brandt’s aura is basically asexual through the first half of the film, the second half requires him to take an earthier interest in the female bodies finding their way into his hands. He takes the already tipsy Lilly/Stella home for a drink and some mischief.

“What’s in the glass?”

“Drink it and find out.”

“I hope it’s not poisoned.”

“That’s not my specialty, is it?”

Lilly/Stella becomes the necessary auto parts for Irene’s pending operation. In a nicely done montage, the film dissolves from Lilly’s unconscious body to a glint of light off the edge of Ood’s poised scalpel. It cuts to a curt zoom into Abel’s scream at being forced to watch a procedure he abhors, then a dissolve from his mouth to the spinning dials of a wall clock, followed by some time-lapse photography of cumulous clouds unfurling from an open sky, before Irene awakens in her recovery room with a decorative choker around her throat. She is able to gain her feet and covers her nude body in a sheet. She finds Ood lounging in Abel’s old office. He walks toward her as the sheet tumbles off her bare shoulders.

“How do you feel?” he asks.

“Well, I… I’ve a strange kind of feeling, as if my whole body were changed, as if my body didn’t want to do what I wished.”

Therefore, Ood has not only taken away her deformity but her responsibility for her actions, as well. Though she has never smoked before, she craves a cigarette. As Ood lights one for her, her wrap falls further, undraping her entire bare back and thus exposing a birthmark on her left shoulder blade that becomes an important plot point. Ood confesses she’s been unconscious for 117 days, during which time he has passed the time by performing numerous enhancing procedures on her inert body. When he compliments her superb figure, she self-consciously covers her legs and recoils from him.

“Why run from everything you desire?” he asks. “You can’t run from yourself.”

He draws Irene into a surprising deep kiss, which – to her own apparent horror - she returns. Ood then tries to take things further but she refuses. After a brief (and surprisingly curtailed) attempt at abduction, he releases Irene, who dresses in a black cocktail dress and heels left behind by Lilly and returns to the humble apartment she kept in her previous life, where a full-length mirror stands covered. In a scene considerably shortened by the US version, she rips the cover away in a movement evocative of a symbolic self-rape, and glories in her new reflection. The score turns torrid, brassy, and trashy as she admires her shapely terrain, fondling the curves of her breasts and hips in a prelude to a gratifying personal striptease. She then goes to her bed, where she tries on an old pair of slippers; she laughs and kicks them away, delighted at how small her feet now are. When she wakes the next morning, she finds a pamphlet for the Tam-Tam Club in Lilly’s old purse, which leads her body back to its former place of employ. When she arrives, another striptease artist is working onstage with a bed. This performance appears to burlesque Irene’s own motions from the night before; she kicks off one of her shoes as Irene had done.

From the moment she walks into the club, still wearing Lilly’s clinging black dress, Irene evokes a black widow, a kind of Alraune – the femme fatale of Hanns Heinz Ewers’ novel, filmed in 1930 with Brigitte Helm and in 1952 by Hildegarde Knef. Like Alraune, she’s the beautiful creation of a mad scientist’s laboratory, but unnatural. In this case, she’s not really a soulless artificial being out to destroy men; on the contrary, she is soulful, starving for some insight into who she is, what she is. In this way, she particularly foreshadows Christina, the schizophrenic subject of Baron Frankenstein’s “soul transplant” played by Susan Denberg in Terence Fisher’s Frankenstein Created Woman (1966).

She quickly attracts Paul’s artist’s eye, just as the now-topless dancer onstage swirls into a swoon on a prop bed – unconsciously mimicking Lilly at the only time she ever saw her, when Ood gave her a sneak peek at the unconscious woman on his living room couch. She asks about Lilly, whom Paul mentions has been dead now for three months, her body (in fact, Irene’s former body) found maimed beyond recognition on some railroad tracks. He asks her to dance, but Irene refuses, as she has never danced, never been asked to dance before. But he insists and they both discover that she can: “You must be a born dancer!”

Beautiful and irresponsible, she allows herself to follow Paul back to his studio, where drawings of Lilly are displayed. Paul asks to draw her, and when she turns her back to bare her shoulders, he recognizes Lilly’s beauty mark. She flees from the apartment and confronts the unflappable Ood.

“You must have grafted her skin on my body!”

In the movie’s most hilarious line, he fires back, “You have a poor imagination!”

She rejects his true account of the procedure and demands to see Dr. Abel, so Ood takes her down to the lab for a personal confirmation from the man himself. Ashamed to be seen this way, Abel pleads with Irene to disconnect him from the apparatus. She is driven away before she can accomplish this, and tries to shut away the horror of the truth that’s been revealed by losing herself in her new relationship with Paul – but the old question arises: Does he love her for her body or her mind? There seems to be one answer when he first kisses her, and another and his lips venture further down her front.

I should leave some things to be discovered by your own viewing of the film, but it demands to be mentioned that Irene – the triumphant climax of Ood’s genius, so to speak – actually survives at the end of the film to live happily ever after. Think about this. This is something that would have been considered unacceptable in any of Hammer’s Frankenstein films at the time – indeed, through the following decade. So, although Ood is ultimately destroyed (you’ll need to see it to find out how), the mad science he propounds is actually borne out. It’s left up to Paul and Irene, as they walk off together toward a new tomorrow, how they will manage to live with the fact that the two of them are in fact a ménage à trois. Will they keep the details of her existence a secret? Will medical science remain ignorant? Should they ever have any, what will they tell their kids?

The Head was hardly the first word on severed heads in horror entertainment. In his own admiring coverage of the film, Euro Gothic author Jonathan Rigby likens the film to the story of Rene Berton’s 1928 Grand Guignol play L’Homme qui à tue la mort (“The Man Who Killed Death”): “There, Professor Fargus revived the guillotined head of a supposed murderer and the prosecutor lost his mind when the head continued to plead his innocence.” Earlier such films would include Universal’s Inner Sanctum thriller Strange Confession (1945, in which a never-seen severed head is a main plot point), The Man Without a Body (1957) and The Thing That Couldn’t Die (1958), the latter two proving that the concept was actually trending at the time The Head was made. Also parenthetically relevant would be She Demons (1958), which involves the nasty experiments of a renegade Nazi scientist living on an uncharted tropical island, who removes the “beauty glands” of native girls to periodically restore his wife’s good looks. Though The Head wasn’t the first of its kind, many of the traits it introduced would surface in similar films that followed – not only in Franju’s Eyes Without A Face or Franco’s The Awful Dr. Orlof and The Diabolical Dr. Z, but also in Anton Giulio Majano’s Italian Atom Age Vampire (1960), Chano Urueta’s The Living Head (1963), and most conspicuously in Joseph Green’s The Brain That Wouldn’t Die, not released until 1962 though filmed in 1959, some six months after The Head.

It must be mentioned that the film’s unusual quality did not go unrecognized by its American distributor. Trans-Lux Distributing Corporation advertised the film that took a most unusual approach to selling a horror picture. The ads did not promise blood, or that your companion would jump into your lap, or shock after shock after shock. Instead, Trans-Lux promised that “At The Head of All Masterpieces of Horror [my italics] That You’ve Ever Seen… You Must Place… The Head.”

Of course it was an overstatement, but the size of its overstatement would seem to have narrowed appreciably with time.

So why has The Head, with its rich pooling of so much European talent, been so neglected?

A key reason may be that horror fans like their actors and directors to maintain a certain consistency, a certain fidelity to the genre. Horst Frank (who died in 1999) would appear in other horror films, but never again played a lead; he pursued his career as a character actor and singer, maintaining a career on the stage and keeping close to home, never making films off the continent or appearing in productions originating from England or America. After The Head, Victor Trivas made no more horror films. The other four features he made had been produced a quarter century earlier and the majority are impossible to see in English countries. Those who remembered him for Niemandsland would have considered The Head an embarrassment, an unfortunate last act. It wasn’t quite a last act, however. The following year, he returned to America, where he sold his final script to the Warner Bros. television series The Roaring 20s, starring Dorothy Provine. Though the show avoided fantasy subjects, it was a voodoo-themed episode entitled “The Fifth Pin,” directed by Robert Spaar and televised during the series’ first season on April 8, 1961. The guest stars included John Dehner, Rex Reason, Patricia O’Neal and, surprisingly, beloved Roger Corman repertory player Dick Miller. Trivas died in New York City in 1970, at the age of 73.

The English version of The Head is considered to be a public domain title and has been available from Alpha Video, Sinister Cinema and other PD sources. This version was modestly recut to create a new main title sequence and to remove certain erotic elements unwelcome to its target audience in 1961. Happily, a hybrid edition – which, in a fitting fate, grafts the English dub onto the original uncut version from Germany – was recently made available for viewing on YouTube.

In the immediate wake of The Head, producer Wolf C. Hartwig pushed another erotic horror film into production, Ein Töter hing in Netz (“A Corpse Hangs in the Web,” 1960). Scripted and directed by Fritz Böttger, the film (Böttger’s last as a director) was first released in America as It’s Hot In Paradise (1962), sold as a girlie picture with absolutely no indication of its horror content. It was later reissued in 1965 as Horrors of Spider Island (1965). Under any of its titles, the film is notably lacking all of the artistic and aesthetic pedigree that made its predecessor so special and, indeed, influential.

Sixty years further on, The Head warrants fuller recognition as a spearhead of that magic moment on the threshold of the 1960s when so-called “art cinema” began to be fused with so-called “trash cinema,” leading to a broader, wilder, more adult fantastique.

by Tim Lucas

[1] Victor Trivas’ Niemandsland may be viewed online at https://www.youtube.com/watch?v=S-4XhNMWoyw

[2] Rapid-Film’s later successes would include the German film that was subsequently converted into Francis Ford Coppola’s directorial debut (The Bellboy and the Playgirls, 1962), Ernst Hofbauer’s Schoolgirl Report film series (1970-80), and Sam Peckinpah’s Cross of Iron (1977).

[3] You can see Lasry-Baschet perform and be interviewed in a French newsreel from January 1961 on YouTube: https://www.youtube.com/watch?v=awaFd6gArLg&t=46s.

[4] Well, as “recent” as 1940, when footage of a supposedly successful Soviet resuscitation of a dog’s severed head was included in the grisly 20m documentary Experiments In the Revival of Organisms. The operation was performed (and repeated) by Doctors Sergei Brukhonenko and Boris Levinskovsky, making use of their “autojektor,” an artificial heart/lung machine not unlike the contraption seen in The Head. A close look at Experiments reveals that it really shows nothing that could not have been faked through means of special effects. (When George Bernard Shaw learned of the Soviet experiment, he’s said to have remarked, “"I am tempted to have my own head cut off so that I can continue to dictate plays and books without being bothered by illness, without having to dress and undress, without having to eat, without having anything else to do other than to produce masterpieces of dramatic art and literature.") Experiments In The Revival of Organisms has been uploaded to YouTube: https://www.youtube.com/watch?v=ap1co5ZZHYE.

[5] Rigby, Jonathan. Euro Horror: Classics of Continental Horror Cinema (London: Signum Books, 2017), p. 79.

[6] Joseph Green also worked in motion picture distribution and later formed Joseph Green Pictures, which specialized in spicy imported pictures, some from Germany. It’s possible that he saw the Trivas picture when it was still seeking distribution in the States. When Ostalgica Film released The Head on DVD in Germany under its Belgian reissue title Des Satans nackte Sklavin (“The Devil’s Naked Slave”), the disc included The Brain That Wouldn’t Die as a bonus co-feature.

[7] A fine quality homemade experiment, it runs 91 minutes 47 seconds and can be found at: The Head (Die Nackte und der Satan) 1959 Sci-Fi / Horror HQ version!.

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filmstruck · 7 years

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Bringing Up SON OF GODZILLA (’67) by Nathaniel Thompson

“This isn’t a place for human beings!” Welcome to Sollgel Island, a remote little dot of land in the Pacific Osean and home base for the most divisive Godzilla movie of them all: SON OF GODZILLA (’67), a movie seemingly designed to play at kiddie matinees around the world for decades. Ask any kaiju fan about this film (currently streaming on the Criterion Channel of FilmStruck along with a host of other essential Godzilla titles) and you’ll get a hilarious range of reactions: eye rolls, impatient huffs or a sheepish declaration of affection, to name just a few.

The center of the controversy is, of course, the son of Godzilla himself: Minilla, a waddling, cutesy, reptilian blob reportedly commissioned by Toho to appeal to young girls. Following that narrow logic of what appeals to young women, one also has to wonder why they also decided to make the main villain a giant spider… but that’s movie marketing logic for you. Minilla has borne the brunt of a lot of scorn over the years, setting the pace for a pop culture trend of introducing adorable little sidekicks into franchises as a marketing ploy. Yep, you can pretty much thank him for giving us Scrappy-Doo and THE BRADY BUNCH’s Cousin Oliver, which shoehorned a precocious tyke into a series to bolster fading audience numbers.

Fortunately, the Godzilla franchise really didn’t need Minilla to survive. This mid-series entry in the classic Shōwa period, which began with GODZILLA (’54) and ran through TERROR OF MECHAGODZILLA (’75), is actually a lot of fun and chock full of old-fashioned monster mayhem. You know you’re in good hands right off the bat in this film when some puddle jumper pilots are alarmed by “brain waves” near the island and they get a cockpit view of Godzilla himself (complete with bigger bug eyes than usual), and by the half-hour mark, you’ve got a horde of giant praying mantises scrabbling through rocks to disgorge a giant egg that will prove pivotal to the plot. In between you get the usual human characters spouting exposition and smoking pipes in their Hawaiian shirts, but that’s easy to get through when you’re regularly treated to the surreal sight of Godzilla’s domestic parenting life on an island packed with giant beasts. Who could resist the scene in which Godzilla teaches his progeny how to progress from blowing smoke rings to full-blown radioactive fire by gently stepping on his tail?

Another reason this film’s reputation has suffered over the years may be the fact that, in the United States at least, this was dumped straight to television in 1969 by the Walter Reade Organization, a fate that also befell some of the later 1970s entries. That wreaked havoc with those trademark Tohoscope compositions, chopping the compositions down into a claustrophobic mess that made the film look much shoddier and cheaper than it actually was. That’s not to say this is the slickest entry in the series, as the budget was being chopped down by this point and director Jun Fukuda is, obviously, no Ishirô Honda. Fukuda knows his way around a rubber monster battle though, having proven himself with the previous year’s GODZILLA VS. THE SEA MONSTER (’66), aka EBIRAH, HORROR OF THE DEEP, and Toho would keep him around to helm three of the wilder (and sometimes more juvenile) entries later on including GODZILLA VS. GIGAN (’72), GODZILLA VS. MEGALON (’73) and GODZILLA VS. MECHAGODZILLA (’74).

What Fukuda brings here, of course, is a lighter touch that would hang on to most of the official first series cycle, represented by the character of Minilla himself. You could easily have a lethal drinking game based around the number of times he topples over, performed by the very game and willing stunt performer, Marchan the Dwarf.

One of the most endearing things about the film is its daffy musical score, which incorporates more Westernized comedy music and jazz affectations than usual, courtesy of composer Masaru Sato. A student of legendary Kurosawa composer Fumio Hayasaka, Sato first boarded this series with GODZILLA RAIDS AGAIN (’55) and became a familiar name on many Godzilla and Kurosawa films over the following years (that’s range!), ultimately racking up hundreds of credits that could rival the output of Ennio Morricone. The Western influence found in this film isn’t an anomaly either, as Sato was often known to incorporate a jaunty tone that would be more palatable to viewers around the globe. Just check out that lilting smoke ring music during Minilla’s first face-off against one of the mantises, which could easily sit next to the work of Henry Mancini, Vic Mizzy or Neal Hefti around the same period.

Now that we’ve had a few years to enjoy this film on its own terms, with the luxury of good transfers and those eye-popping candy colors restored to their original luster, it’s time to finally cut SON OF GODZILLA some slack – and luckily, with the ability to stream it anywhere you want now, the film will hopefully get a little more respect from those who used to thumb their nose at its family-friendly antics and modest charms. We’re a long way from the somber nuclear terrors of the original film or the extravagant monster melees of something like DESTROY ALL MONSTERS (’68), but then again, this film isn’t even trying to accomplish something like that. Think of it as a lighthearted, sunny vacation for an hour and a half that happens to have a bunch of giant monsters running around, and you’ll find that this one has a lot more to offer than just a dough-faced reptile toddler finding his way in the world with his legendary, gigantic dad by his side.

#Godzilla #Son of Godzilla #Criterion Channel #FilmStruck #Jun Fukuda #Japanese cinema #Kaiju #StreamLine Blog #Nathaniel Thompson

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aion-rsa · 4 years

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The Queen’s Gambit: Why ’60s Retro Feels So Fresh in 2020

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This article contains mild The Queen’s Gambit spoilers.

It’s not the image that first springs to mind when you think of chess. In a swanky Parisian parlor, with a bank of breathless photographers following her every gesture, Anya Taylor-Joy’s Beth Harmon rushes in while still in a daze. She’s clearly missing a step after a late night of bad decisions, yet even at her most disheveled she emanates ‘60s style.

Like Ann-Margret in The Cincinnati Kid, Beth’s fiery mane of red hair is turned up at the sides in a flip. The idol of her age. But with that 1965 movie, Ann-Margret was peripheral, an underdeveloped distraction to a story about grizzled men playing grisly high-stakes poker. Beth is the Cincinnati Kid here, or rather the Lexington Prodigy: a young woman breaking into the boys’ club and who is about to challenge Russia’s greatest chess player in front of the whole world. And she’s doing it with a hangover.

That’s our introduction to The Queen’s Gambit and its vision of chess as a contact sport, and for a series about a game whose origins lay in the Middle Ages, it feels startling fresh. Perhaps that is why it’s capturing the zeitgeist in unanticipated ways. For nearly two weeks now, the limited Netflix series has been the most popular content—show or film—on the streaming service in the U.S., as per their “Top 10” ranking. In the same timeframe that saw 2020’s slow-motion presidential election, folks have been embracing (and clinging to) the retro stylings of intellectual combat on a chessboard. As a result, Queen’s Gambit has become the rarest of things in the modern age: a watercooler show that has more than a 72-hour shelf life.

Why?

Obviously the series is a visually chic production that reinvents the game of 64 squares with lavish production value and design. Co-writer and director Scott Frank films the limited series in a restrained and desaturated color palette of earthy tones and contemporary pastels. Sequences like a chess tournament montage at an Ohio university moves in virtual rhythm with Mason Williams’ grandiose “Classical Gas” orchestrations. When coupled with editing that reduces her opponents to squares on the screen, suddenly Beth and viewers alike are looking out at a sea of vanquished pawns, and her real rival (a deliciously obnoxious Thomas Brodie-Sangster) waiting across the field as a nerdy counterculture monarch.

It’s clearly a visual throwback, but the appeal of the series doesn’t truly reside in its ‘60s setting. Instead The Queen’s Gambit reminds me of a different era when smart adult entertainment about sacrifice, say Chariots of Fire or Amadaeus, could be regularly anticipated and celebrated… in movie theaters. Based on Walter Tevis’ 1983 novel of the same name, Queen’s Gambit feels like a sharp underdog story from that era—a hero’s journey for grown-ups where the protagonist’s superpower is intellect and chess is sexy. Is that a fantasy? Maybe. But it’s one many are finding comforting at a moment where they worry if intelligence, and institutions that should be as ironclad as a chess rulebook, are enough to still win the day.

Before Scott Frank cracked the code of turning it into a miniseries, there were previous attempts at adapting The Queen’s Gambit. The most famous near miss was Heath Ledger’s hope to turn the story into his directorial debut with Ellen Page as Beth Harmon. That film fell apart after Ledger’s tragic death in 2008, but other attempts at adapting this yarn go back to its ‘80s publication, with filmmakers like Michael Apted and Bernardo Bertolucci being attached at one time or another.

It is easy to see why it would’ve appealed as a movie several decades ago. With its emphasis on young Beth Harmon battling drug addiction and collecting an assortment of allies from her defeated foes as she rises up to face down the Soviets in the belly of the Moscow beast, it’s an anti-hero’s Cinderella story—one with uppers, downers, and the ever reliable Vodka Gibson. Yet unlike so many other anti-hero yarns, our underdog is a woman who is popping pills and having flings: Ann-Margret finally with a seat at the table.

In that role, Anya Taylor-Joy is phenomenal. With luminous eyes the size of bay windows, she is able to convey every introverted, pensive thought in a woman who lives almost exclusively inside her own head. Even with the stoniest of poker faces during chess matches, viewers understand the emotional truth of the character they cheer on, which is all the more impressive when one realizes Taylor-Joy is essaying Beth from her teen years to adulthood. It’s led some critics to opine the performance is a revelation, but the actor’s been turning in sterling work for years, from The Witch through this year’s Emma.

Yet the reason this may be a “star-maker” says much about The Queen’s Gambit and the time it is coming out in. As a Netflix series told over seven-plus decompressed hours, the series is in most Americans’ homes at a time when they cannot go to a cinema—and even when they could a year ago, it was rare for so many to seek out something this thoughtful. As a film, a condensed two-hour version of this series with the same exact talent likely would’ve still been an awards contender (as Queen’s Gambit is now considered to be at the Golden Globes), but it would never have penetrated pop culture so quickly or so thoroughly.

As a long-form limited series, Queen’s Gambit is finding a large audience hungry for adult stories with flawed characters and triumphant finales, especially if those flawed characters have largely been ignored by the white male-dominated Hollywood hits of the past. Beth wins the day through meticulous hard work and a driven ambition that borders on self-destruction, and as a streaming serial, its real revelation is the comforting respite it’s offering at the tail end of 2020’s horrors.

So Taylor-Joy’s ability to externalize her incredibly internalized characters is meeting a wider audience, and Frank has seven hours to tell what used to be a strictly cinematic story. Indeed, the way Frank crafts sequences like his series opener or his “Classical Gas” overture are just two examples of the multiple kinetic sequences in The Queen’s Gambit. No two chess games are filmed the same way in the series, and each has an aesthetic flourish that defies the regular expectation for scripted television.

Anya Taylor-Joy Infiltrates the Boys’ Club of Chess in The Queen’s Gambit

By Natalie Zutter

Movies

Anya Taylor-Joy and Bringing ‘Questionable Intent’ to Jane Austen

By David Crow

As a consequence, we get more time wallowing in the strange quirks and minutia of the professional chess world, from late night speed chess ego-measuring contests in student unions to an almost comically stark showdown in Russia that appears as if it’s occurring in the bowels of a medieval castle. We imagine Rocky Balboa would approve.

It also gives Frank and company more space to meticulously explore their world. Arguably the most interesting relationship in the series is that between young Beth (Isla Johnston) and Mr. Shaibel (Bill Camp). This even more introverted and nearly deadened janitor becomes an unlikely Mr. Miyagi for the nine-year-old orphan, teaching her the rules of chess inside of her orphanage’s basement.

If Queen’s Gambit had been made as a crowdpleaser in the ‘80s, or an awards season darling in the 2000s, Mr. Shaibel and the epiphany that Beth is a chess prodigy would’ve likely been reduced to flashbacks. But in the series, it gets a full episode, and the show then pays it off six hours later with an emotional breakthrough when Beth, at the bottom of her addict’s pit, finally revisits her past.

As a series, Queen’s Gambit has room to breathe, which has in turn given it room to become something addictive to many right now: a breath of fresh, reassuring air.

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usashirtstoday · 4 years

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I'm A Little Smart Short And Stout Here Is My Finger Funny

That is a I'm A Little Smart Short And Stout Here Is My Finger Funny psychotic transgender you know wife or daughter in is bad the need this bathroom handicap bathroom to break your fucking links and just in case you guys go don’t believe that this pedophilia shit is really going on take a look at this that is a pregnant child these are pregnant children how do you think these children got pregnant grown man raping that can say having sex is no such thing as consensual sex with a child that is right these children are rape victims and it happens every fucking day in Q’s been exposing it trumps been exposing and going to war with them been exposing it to YouTube is a been exposing it and as a result were being targeted but we can’t stop fighting is one from WikiLeaks to do a bad and you who Montezuma Aberdeen Obama Barack. Four year olds have the background when I got out of the FMLA moments that moment when you drop off back and asked about the people that 11 finance automatic blood profit for my children I would be me and letting worthwhile arrows on CBS news located in a story that will be Catherine Jean Harding transformer is neither a note of the charges against the and went away for me to spend his time take a look at the Thursday March 4 they looking for the election’s names and politics will choose these the questions you want is a very sorry for every the very point to face the nation CBS we are in this area to be made to look through a telescope on in a few hours to nomination for Carolyn bangs forward and primary challengers will also be speaking to Cory Booker and Michael Bloomberg meanwhile brought in from continued to make official White House tricks to key battleground stage where he campaigned against binding in Scranton a former BP birthplace been the subject throughout this week convention last when he was. Happening here and took in what they are doing that’s the that just a continuation of the hoax whether it’s the impeachment Oaks or the Russia Russia Russia hope this is what I’m talking about certainly not referring to this how can anybody refer to this this is very serious about the way they referred to it because these people have done such an incredible job and I don’t like it when they are criticizing these people and that stokes that’s what I’ve done information Dr world renowned for being my Dr is just a question has because he has had that ability to do virtually whatever is wanted to do that in fact he was never muzzled think I can speak what are you let me let me clarify I have never been muzzled ever and I been doing this since the administration of Ronald Reagan I’m not been muzzled by this ministration what happened which was misinterpreted is that we were set up to go on some shows when the vice president took over said let’s regroup and figure out how to be communicated so I had to just stand

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My mom said you dad told you smart dog judging you right now and your best friend is called crazy the only give it to a I'm A Little Smart Short And Stout Here Is My Finger Funny story mansion getting your newsletter noble in Stephenson’s sleep news straight to the store maybe more neuron than I am now with so much on the line number one for on stories stories stories is now is most likely has I had bad news ABC news live watch the street prescribers right now will hear from you 2 now away for 2021 not seem to be ready by 2021 so much attention when he may have a short answer connect and be ready training 2021 according. Our country faces well aware well aware of all the threads to this nation and ready to respond to them as a child of immigrants she knows personally how immigrant families enrich our country as well as the challenges of what it means to grow up black and you need American in United States of America per stories America story different from mine to many particulars but also lots of different in the essentials she’s worked hard she’s never back down from a challenge and she has earned each and every of the accolades and achievements that she has gained many of them often in the face of obstacles that others put in her way but never quit and this morning all across the nation little girls woke up special black and brown girls so often feel overlooked and undervalued in the communities but today today just maybe they’re seeing themselves for the first time in a new way as the stuff of present and vice presidents in her campaign the primary camel often talked about what you referred to as the 3M agenda by moms. Is based on something happening books are that years ago I remember what day is here was actually exclusive from New York comic con 2011 I believeand my friend Kal who owns straight investors the comic shop whereby complex he went to New York goneand pick up this exclusiveand he just gave to me because he was collecting the line so that was pretty sweet but I kept this guy in package I just keep picked up on my walland next a couple of she hulks services Holt’s cousin Jennifer Walters who turned into a hold of her ownand she had a blood transfusion forand this is she holding her classic fit this is what she wears in most of her miniseriesand stuff is cool I didn’t see hope in the marvel of design until very recently been released her in her grave version out which is actually a great figure I don’t have a marvelousand where she will actually Holt’s girlfriend Betty Ross came remember why she turned into a red hope for a while but to deny scope on this figure cool character we don’t ever marvel into herand I can waitand see this figure released in this formatand here we get some hope villains so first up is the abomination which is a pretty nice felt but I will say his first big muscular guy goes it doesn’t work as well for abominations of the whole what it is the sizes had me produced body because it used horses are something it’s focus is not working here but I don’t dislike the figures that does a lot of looking but do you still fly scope in the faceand the scope of the body toand then it took that they figure they did have some new additional parts hereand see he’s got these a very distinctive looks on his forearms but otherwise it he’s mostly the same figure but this is the second abomination which was actually character Rick Jonesand when he became abomination he took on any A bomb which is corny cool thing that I think this is the only A bomb figure that never gottenand I it’s very cool I hope we get him in the wasand still some point that big lookand then the leader was a classical villain pendulous face will walk you need to close this is the glare section to Beth Beth deny scope of this figure I think this one actually looks a lot better than the upcoming Marvel legend figureand the quite a bit portions are nice guys with big goofy heads like this can sometimes be hard to pull off but your think a this leader looks really good so next up with a look at some force so we can we get this file here is essentially classic though her body from the IPE’s comments is what most people associate with the words that will hammer with his little inscription a pretty cool although the head rather classic beardless had to give us his the bearded one here is not college but not a bad figure if I’m going to have one classic door I would prefer beer now than the store her this is a more contemporary look for Thorand my personal favorite store this is the look he wore no is a contemporary for 15 years but the door was dead for while composting he came back sometime after the Civil Warand he had his newly redesigned costumes that was really the first time I started reading for complex on a regularand is seeking a big fan I really love this look this is a great figure is a lot of personality in the face looks a lot like the artwork that this costume is based on you I like the wash over the over the chain mail there there is a detailed brother is a really nice figure one of my favorites from the lineand lastly the for standing this is next with the words another character called thunder strike which I use Thor’s hammer for a whileand yet he is a claim is the classic for a fit on the leather jacket over top of the objectives were popular in the 90sand the he’s okay I see a new associate figure of a character that you don’t expect but the Dr to that much soand now we have some Thor allies have been rebuiltand I absolutely love this figure looks great he’s got an articulated jaw’s message is awesome for such small figure I love this costume love the hammer elevating about it we did recently get a bit rebuilt Marvel legends but his more updated costume as just a is not as nice looking as this one so if I do choose between the two I still prefer the smaller version of the rebuiltand we got sifts so this is based on the look from the movie the first form of so as a counterclaimand the actors likenesses not great is okay for this figure the size but you need to furtherand Connie outcomes based on Anthony Hopkins this is Oden Thor’s father so this is cool again characters with Odenand said I would prefer to have the comic based version rather than a movie one but never made but based one so I will be checking my foot had byand so here are some Thor villainsand these guys are all based on the movies so low key hereand at least as lucky with his helmet on Sotelo bit of a flair for the comic design they always would prefer the comic book appearances post movie appearances but low key characters right never really loved his comic book look anyway you could get a version of this they did make one comp costume is also really skinny goofy looking so I was content with this being my only low key except we have curse you might remember he was kind of a henchman in the second Thor movieand this is a character has a really cool design of the comic books it’s really crazy looking out there is happy that they work this character into the moviesand this is a cool design but I would prefer to look more like the comic book look in your filters underused anyway but it’s cool that these have some figure of him but I hope they eventually do Marvel legend of him based on his comic book appearance then we got one of the frost giants this is supposed to be a specific guy I think I can see he’s pretty cooland then we’ve got one of the dark elves also from the second movie so Mel kicked with the leader than the discipline to henchmen dress like this so I would’ve preferred exit amount kiss but it’s always fun to get some little army builders here too so it I do dig the look of the skyand here we have some comic book based Thor villains so first destroyer in the office action probably was from the movie line as well but the movie line was so close to the car because I would tell the difference so I member this was a hard to find figure I really wanted itand I think actually not by misguided eBay pain a bit of a premium form but it’s pretty cool figure there’s a couple different variations on this one is pretty much sum of solid black are really really dark grayand his but on his chest he had some sort of light up featuring his chest look red or something but the battery emeritus long since died this destroyer is pretty cooland the enchantress so she’s plain looking she supposed to be all seductressand I don’t know how people should be seduced without Syria is a special Marvel legend is much betterand then this guy here I don’t think we go Marvel him this is you look he’s a controland this is pretty cool figure I think it uses a lot of the same body as the abominations of suffers a little bit of heaven that same kind is a look but it may be makes more sense for troll reports to be sized that way then it’s a cool figure’s analysis looks at Capt See Other related products: What Would Joe Biden Do T Shirt

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austenmarriage · 4 years

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New Post has been published on Austen Marriage

New Post has been published on https://austenmarriage.com/1531-2/

Sifting Through Austen’s Elusive Allusions

Excellent researchers have divined many, many references and allusions that Jane Austen makes in her novels and letters. In his various editions of her works, R. W. Chapman lists literary mentions along with real people and places. Deirdre Le Faye’s editions of Austen’s letters include actors, artists, writers, books, poems, medical professionals, and others. Jocelyn Harris, Janine Barchas, and Margaret Doody have written extensively about people, places and things on which Austen may have based situations or characters. Some of Jane’s references are clear, some artfully concealed.

Yet we should be cautious about the great number of literary or historical finds uncovered by modern scholarship, because we often don’t know how many of these Austen knew herself. When a modern researcher cites an historical person from a couple of hundred years Before Jane, the marginal query must always be, “Did JA know this?” Many, she likely did. But probably not all. Maybe not even most.

Also, we don’t know how many references and allusions are tactical rather than strategic. Many authors include passing topical references with no other goal than to place the events of a novel in a particular time and place. A writer in 1960s America might show anti-war footage playing on a television. A current writer might mention a controversial American president or British prime minister. But unless a common theme directly connects the background references with the main storyline, these references are likely tactical rather than strategic.

Here, “tactical” means the reference has no profound meaning beyond the text. “Strategic” means an effort by the writer to establish a more general social, political, or historical context. A reference to a Rumford stove in Northanger Abbey, for example, is tactical, playing a newly invented appliance off the heroine’s expectations of dank passages and cobwebbed rooms. The naval subplot in Persuasion, on the other hand, is strategic. It incorporates not only the overall historical context but also the moral and intellectual contrast between the military men who have earned their wealth versus the wealthy civilians who are squandering theirs.

For many other items, it is difficult to determine the precise source. Education and literature in Great Britain then involved a small, fairly closed set of people. Limited common sources included the Bible, Shakespeare, and authors from the classical tradition. A common set of teachers came from the same small number of colleges using those limited sources. Everyone who admitted to reading novels drew on the same small pool of books.

It is conventional wisdom, for instance, that Austen took the phrase “pride and prejudice” from Francis Burney’s book Cecilia, where the capitalized phrase appears three times at the end. However, the literary pairing of “pride and prejudice” occurs elsewhere, including the writings of Samuel Johnson and William Cowper, two of Austen’s other favorite writers.

Even First Impressions, the original name for this novel, may have come from a common vocabulary. First impressions, and not being fooled by them, was a literary trope. In Ann Radcliffe’s The Mysteries of Udolpho, the heroine, Emily, and the secondary heroine, Lady Blanche, are warned not to rely on first impressions. This novel, shown above by the headline, is mentioned so often in Northanger Abbey that it is almost a character. The concept also arises in the works of Samuel Richardson. Austen may have borrowed from one of these specific authors. Or all the authors may have used a common literary vocabulary. Indeed, it was the recent publication of two other works with the title First Impressions that led Austen to change her title.

Another question is whether Austen knew the many layers of references that academics often point out. She apparently had free run of her father’s 500-book library, but we don’t know what it contained. As an adult, she had occasional access to the large libraries at her brother Edward’s estates at Chawton and Godmersham. How much she read of the classical material there, we don’t know.

Jane knew Shakespeare and the Bible well. She knew many poets, but would she have read a still earlier classical writer referenced by those poets? Did Austen know Shakespeare’s sources, which were often obscure Italian plays? We might be able to trace many connections back to the Renaissance or before, but she may have known only the immediate one before her.

Harris, Barchas, Doody, and others have given us multiple possible historical references to the name Wentworth in Persuasion. Austen might use the name to tie into this network of families and English history going back hundreds of years (strategic). Or she might use the name because of its fame in her day (tactical). The direct novelistic use is to contrast Sir Walter, who measures family names in terms of social status, with the Captain, who fills his commoner’s name with value through meritorious service. Sir Walter finally accepts Wentworth because of his wealth and reputation. He was “no longer nobody.” Yet the baronet can’t help but think the officer is still “assisted by his well-sounding name.”

Barring a letter or other source in which Austen states her purpose, we have no way of knowing whether Austen intended a broader meaning to “Wentworth” than its general fame. To some, the name in and of itself establishes the broad historical context. To others, it would take more than the three or so brief references to Wentworth, as a name, to show that Austen means to establish a meaningful beyond-the-book purpose.

Another consideration is that, cumulatively, commentators have found an enormous number of supposed references and allusions in Austen. Could a fiction writer, with all the work required in creating, writing, and revising a novel, have the time and energy to find and insert a myriad of outside references and allusions? Could a writer insert many references without bogging down the work?

Every writer who has tried her hand at historical fiction, for example, knows that too much history can overwhelm the novel’s story, leaving characters standing on the sideline to watch events pass by. Every external reference creates extra exposition that creates the danger of gumming up the plotline. It might also create a new emotional tone at odds with the characters’ situation or other complexities that must be resolved. We can’t underestimate the extra work for an author who already has her head full of practical book-writing issues—plot and character development—that need to be kept straight.

Finally, writers often plant things for no other reason than fun. In Northanger Abbey, John Thorpe takes Catherine Morland for a carriage ride early in the story. Barchas points out that he asks her about her relationship with her friends, named Allen, at just the point where their carriage would be driving past Prior Park, the home of Ralph Allen. This was the stone mogul who helped build Bath.

Austen does not explicitly call out the family home. Readers who know Bath’s geography and make the connection to the wealthy masonry clan get an extra chuckle. Readers unfamiliar with the geography, or with the wealthy Allen descendants, would not suffer from a lack of understanding.

All a reader needs to know is that Thorpe thinks the Morlands are connected to a very wealthy family, when in fact their friends named Allen are only modestly well-to-do. Thorpe’s misunderstanding drives the book’s plot. Very likely, all Austen wanted with the Prior Park allusion was to give a wink to the bright elves reading her book.

Thus the author may mean one thing, while later analysts might find something beyond what the writer ever intended. In Mansfield Park, for instance, Henry Crawford reads Henry VIII aloud. A broad interpretation might connect the attitude of the rogue Henry Crawford with the attitude of the rogue Henry VIII: Women and wives are interchangeable, expendable, to be taken at whim and tossed away at whim. Or perhaps the name Henry is nothing more than a tip of the hat to Jane’s favorite brother, Henry.

Austen may well have intended multiple levels of interpretation. But note that she has Henry Crawford himself say that Shakespeare is “part of an Englishman’s constitution … one is intimate with him by instinct.” Edmund Bertram agrees: “We all talk Shakespeare, use his similes, and describe with his descriptions.”

Others may feel that Austen deliberately weaves in as many references as she can. One must imagine her writing with a variety of concordances stacked to the ceiling. But she indirectly tells us of a different approach. One is “intimate” with Shakespeare by “instinct.” She knew the Bard and other writers in depth, and the references come out organically. Much more than by design, this fine writer pulls what she needs from history by “instinct.”

—

The Marriage of Miss Jane Austen, which traces love from a charming courtship through the richness and complexity of marriage and concludes with a test of the heroine’s courage and moral convictions, is now complete and available from Amazon and Jane Austen Books.

#18th century literature #Captain Wentworth #Jane Austen #Northanger Abbey #Persuasion #Regency era #Regency literature

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ahouseoflies · 5 years

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The Best Films of 2019, Part V

(Sorry for the long wait.) GOOD MOVIES

43. Luce (Julius Onah)- For every subtle, graceful moment, there's a spelled-out, maladroit moment, but this movie has a lot on its mind regarding race. Naomi Watts is great as a mother whose unwavering support of her son is as admirable as it is foolish, and Octavia Spencer plays a very real type that I hadn't seen in a movie, a teacher who uses her students to validate her own worldview. The film takes a long time to judge its characters, to the point that the title character could have done none of the things he's accused of (unlikely), some of the things he's accused of (likely), or all of the things he's accused of (unlikely). The dialogue is sometimes theatrical, but thankfully, so is the ambiguity. 42. A Beautiful Day in the Neighborhood (Marielle Heller)- I appreciated the deft touch of Marielle Heller--stuff works in this movie that would look silly on the page--but I wasn't fully connecting. That is, until Chris Cooper got a tear lodged in the corner of his eye and said: "It's not fair. I was just starting to figure out how to live my life." That achieved what it was supposed to achieve. 41. Little Women (Greta Gerwig)- Gerwig takes chances with the structure, and it takes a long time for that gambit to pay off. Once it does though, such as when Jo comes downstairs to see a hearty Beth, which is only there to contrast Jo coming downstairs minutes later to an empty kitchen without Beth, the reinvention pays dividends. I liked whenever the film was winking at the audience, showing its own strings, but that first half was a lot of "Amy, you're Amy, right? And the audience can tell us apart, right, Amy?" The Chalamet-Pugh scenes, to use a phrase that a Sacramentonian like Gerwig might approve of, just hit different. Especially in the scene that most directly addresses Alcott's division between obligation and personal responsibility, their chemistry crackles. Can someone please cast those two as reporters stepping over each other while trying to crack the same scoop? Please? 40. Dark Waters (Todd Haynes)- In the Todd Haynes filmography, this is an effective if weird entry: He makes the procedural, research-based parts of a legal thriller exciting while the actual courtroom stuff falls flat. And it's a strange challenge for a director with such a sumptuous eye for design to capture the flat textures of Cincinnati office space or the sacky suits of a guy who is consumed by a case. That being said, the film is a work of conscience and compassion. It's no small feat to call out DuPont by name over a hundred times. The first half moves nimbly. When it works, such as the creative montage that explains Teflon to the audience, it resists the crutches of its genre. But the story suffers from having to compress so many years in the second half. Those broad strokes affect both the supporting performances--only Tim Robbins is able to sell his character's change of heart in limited screen time--and tone. Sometimes the "None of this matters" scenes are right next to the "Maybe I've made a difference" scenes, and it's jarring. 39. One Child Nation (Nanfu Wang)- It's a cool trick for something so handmade and personal to also stand in as a story of a country. And it's as affecting as you would imagine images of discarded fetuses would be. If I sound dismissive though, it's because I don't know quite to do with this. China...sucks? 38. Ford v. Ferrari (James Mangold)- Hard to argue with the craftsmanship of a film that cares so much about its structure on a scene-by-scene level. Ford v. Ferrari is two-and-a-half hours (four hours on TNT every Sunday forever), but, if anything, the forty minutes dedicated to Le Mans could be longer. Josh Lucas nearly tanks the thing with his smugness, but the other performances are fun. My take on why the film is a guide for being a Republican is still charging.

37. Us (Jordan Peele)- Us made $70 million in its opening weekend, which is a lot for a David Lynch movie. It's amazing that a film this artsty and accusatory toward its audience (Us=U.S.) is immensely popular. The imagery of Us is arresting (and so so funny). Within the first two shots, you know you're in good hands, and my Tumblr feed is going to be full of, say, Elisabeth Moss, whose expressions are the best effect in movies, giving herself a smile with scissors. Scissors that always create a division in their "tethered" subject, that are handled by Freddy Krueger gloves that are clearly an influence on Jordan Peele, that make construction paper cut-outs that mirror the bougie family decal on the back of the Wilson Family's station wagon. This device is a thought-out visual component. But Us is all too often a subtext in search of a text. When we really start to unpack the shadow people, they might not even make literal sense. I say this as I plan a second viewing that the movie deserves. On one hand, I admire Peele's search for a metaphor for political division or homelessness or late capitalism. On the other hand, a metaphor for everything is a metaphor for nothing. 36. Richard Jewell (Clint Eastwood)- Like most Eastwood directorial efforts, things are a little too neat and fixed in the setup: This character saying something a bit too on-the-nose and biographical, those characters probably not being in the same place at the same time. And the female characters, especially Olivia Wilde's rapacious, promiscuous Kathy, would have felt out of place thirty years ago, let alone now. There's barely anything on the page for her, and, to be honest, I don't think she does much with what she was given. Once the film settles into what it's actually about though, the drama is graceful and potent. The attorney-client relationship is specific and interesting, and in a less loaded year, Paul Walter Hauser and Sam Rockwell would be clearing their mantles. Hauser, in particular, is great, free of any of the vanity that might go into making Jewell more perceptive or self-aware. 35. The Peanut Butter Falcon (Tyler Nilson and Michael Schwartz)- Derivative of even something like Mud from a few years ago, poisoned by an abrupt ending, but ultimately sweet as hell. Shia and Dakota play off each other with Movie Star fireworks, so the film kicks into a different gear when they're together. The scene in which LaBoeuf stands at the Salt Water Redneck's screen door is a heartbreaker. 34. Pain and Glory (Pedro Almodovar)- A little less formally inventive than I was expecting, Pain and Glory is mostly good and sometimes great, especially in the heartbreaking Federico sequence. In another mother-son story, one that brings up the word "autofiction" without prompting, Banderas is even styled to look like Almodovar. This might be his first "old man" role, and he wears it well. 33. Where’s My Roy Cohn? (Matt Trynauer)- The Donald Trump section, the one that all of Cohn's situational morality and empty power-grubbing had been leading to all along, is illuminating because it goes deep into specific deals. (And because the relationship is recent enough for the interview subjects to have first-hand knowledge.) I wish that Trynauer had slowed down that much elsewhere--especially to get to the bottom of the frog collection. But if the object is to get you to go, "What an asshole," then mission accomplished. 32. The Lighthouse (Robert Eggers)- Eggers lays the doubling on pretty thick in the last half-hour, but he goes to great lengths to make this like nothing you've ever seen or heard before otherwise. He's a filmmaker who cares deeply about the composed image on a shot by shot and possibly a frame by frame level. The Lighthouse was less thematically rich than its predecessor, but I'm pretty sure I felt as confined and unnerved (and as tickled by the salty dialogue) as I was supposed to. 31. Amazing Grace (Sydney Pollack and Alan Elliot)- Amazing Grace is one of the best reviewed movies of the year, in part because no one is going to say that listening to Aretha Franklin sing is a bad experience. It's not. But she's stationary as a performer, and I would be lying if I said that the movie didn't get tedious. In its best moments though, one of which is Aretha's dad wiping sweat off her face while she ignores him and plays the piano, it's high, high art. 30. The Inventor: Out for Blood in Silicon Valley (Alex Gibney)- A typically solid Gibney effort: never boring, articulate in its aims, poised to expose fraud for the public good. The film builds quite a bit of momentum as it gauges Elizabeth Holmes on the scale of American showmanship and Silicon Valley's fake-it-till-you-make-it ethos, and its strangest moments are its best. (See: The C.E.O. and C.O.O. giddily jumping on a bounce house because one of their two hundred tests got approved by the FDA.) I like that no one explicitly comments on Holmes's looks, using words like "captivating" or "presence" instead, letting her undue influence on men hang over the proceedings the same way it did in real life. There's a lot left unsaid about how she might have been held back but then pushed forward, underestimated until she was overestimated, because of the lack of women in her field. At the same time, the film repeats itself and ties itself into knots by insisting that Holmes is a complicated figure. She's a person so driven by a desire for greatness that she can't listen to reason or admit defeat. Are we sure that's revolutionary or unique? 29. Dragged Across Concrete (S. Craig Zahler)- A) All of S. Craig Zahler's movies are above average in execution and downright special in aspiration. B) All of S. Craig Zahler's movies are too long. C) If S. Craig Zahler's movies were not long, they would not be special.The guy keeps introducing characters and threads, but each one is interesting, and I keep rolling with him. (Until the Jennifer Carpenter subplot, which is ten minutes of emotional manipulation.) That same critical tangle extends to the idea of whether or not this movie endorses the racism that it depicts. I thought it did until I didn't, and maybe that wishy-washiness--dingy, dingy wishy-washiness--is what I'm supposed to feel. 28. Honey Boy (Alma Har’el)- Honey Boy isn't much of a movie, but it is an exorcism. Especially in the Lucas Hedges rehab arc that we've seen a million times, the story is thin. The film's reason to exist is emotional catharsis though, and it has that in spades. It's worth seeing for the traumatic three-way phone conversation alone. Hedges banks another good performance in what is basically a Shia impression: falsely gruff voice, t-shirt collar in mouth, crew socks peeking out of combat boots. But what LaBoeuf himself is doing is a force of nature. His performance in American Honey was my previous favorite, and he taps into the inverse of that charisma here: seductive in the former, repellent in Honey Boy. Most people can play insecure motormouths, and most people can evince pain. But to play a person who talks non-stop as a coping mechanism for pain, and getting across to the viewer that even the character knows he's not good at such a thing? Those are some shades of gray.

27. Once Upon a Time...in Hollywood (Quentin Tarantino)- Tarantino's best film, Inglourious Basterds, is gauged for maximum suspense and audience involvement. This one, which is one of his worst on this first viewing for me, is made entirely for himself. I appreciate that artistically, but the film never stops--especially in the clunkily paced middle--indulging itself. Oh, I get it: It's a film about growing older and dealing with possible obsolescence, but the nuts-and-bolts storytelling is too digressive for me. That dilly-dallying is the point, of course, as the film attempts to hang on to a dying moment, luxuriating in its painstakingly recreated setting and hanging out with men's men played by actors who are at their absolute peak of Movie Stardom. It's a Tarantino film, so it's not without its sublime pleasures. Hell, I'll go back just for that montage of the neon signs turning on. 26. Her Smell (Alex Ross Perry)- Grating in a way that Alex Ross Perry's films have not been before and redemptive in a way that his films have not been before. Over the course of five mammoth real-time scenes--Perry cites Steve Jobs as a structural influence--the viewer is dragged through scuzzy, abusive ugliness right to the authentic final line. It's a rewarding experience that I never want to experience again. More than anything else, the film is an additional exhibit in the case that Elisabeth Moss can do anything. She shined in Perry's Listen Up Philip and gets a similar long zoom here to showcase ten emotions at once. She plays the part of Becky Something like a glass on the edge of a table: that delicate and precarious, useful but with the potential for harm. She screams, she cries, she sings, she plays guitar, she plays piano, and she could probably float if the screenplay really required it. 25. Transit (Christian Petzold)- The only thing I knew about Transit going in was that it took place in an indeterminate time period. And that one studied aspect of the film, the ideological rootlessness of the fascists responded to with a papers-focused isolation, is what powers everything. Manohla Dargis aptly called it "temporal dissonance," and it adds real teeth to the film's allegory. The second half becomes more contemplative and less literal though, and I think it's less urgent as a result. I didn't know quite where Petzold wanted me to go in the final moments. But the stateless throng of people waiting for their number to be called at a consulate? I know what that is supposed to make me think about. 24. Mary Magdalene (Garth Davis)- I didn't like Garth Davis's last film, Lion, because the protagonist seemed listless and dumb and weak. Turns out, Jesus Christ and Mary Magdalene are upgrades. There's a feminist bent to the proceedings, thanks to its two female screenwriters and a focus on the agency needed for a woman in 33 to spurn marriage and family to follow a whispery firebrand. Phoenix's performance is uneven, but, especially when he passes out bringing Lazarus back to life, he does a great job of showing how exhausting it must have been to transcend this world. The film kind of comes across as a greatest hits of Jesus, but so do the Gospels. 23. Sword of Trust (Lynn Shelton)- Sword of Trust, as thin and bite-sized as it is, carefully parcels out backstory and deepens as it goes. Without really forcing the issue--Lynn Shelton never does--it becomes a timely and witty story about the consequences of a society relativist enough to give consideration to even the most absurd viewpoints. Toby Huss as Hogjaws is a Best Supporting Actor nominee for me, and I am not kidding at all.

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papermoonloveslucy · 7 years

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LUCY AND ALADDIN’S LAMP

S3;E21 ~ February 1, 1971

Directed by Charles Walters ~ Written by Frank Gill Jr. and Vin Bogert

Synopsis

When Lucy holds a garage sale, she discovers an old lamp. When wishes start to become reality Lucy believes the lamp may posses magic, until she loses it hiding it from Harry.

Regular Cast

Lucille Ball (Lucy Carter), Gale Gordon (Harrison Otis Carter), Lucie Arnaz (Kim Carter), Desi Arnaz Jr. (Craig Carter)

Guest Cast

Mary Jane Croft (Mary Jane) played Betty Ramsey during season six of “I Love Lucy.” She also played Cynthia Harcourt in “Lucy is Envious” (ILL S3;E23) and Evelyn Bigsby in “Return Home from Europe” (ILL S5;E26). She played Audrey Simmons on “The Lucy Show” but when Lucy Carmichael moved to California, she played Mary Jane Lewis, the actor’s married name and the same one she uses on all 31 of her episodes of “Here’s Lucy. Her final acting credit was playing Midge Bowser on “Lucy Calls the President” (1977). She died in 1999 at the age of 83.

George Niese (Mr. Frost) previously appeared in “Lucy Becomes a Father” (TLS S3;E9). This is his only episode of “Here’s Lucy.”

Robert Foulk (Janitor) played the policeman on the Brooklyn subway platform in “Lucy and the Loving Cup” (ILL S6;E12) and a Los Angeles Detective in “Lucy Goes To A Hollywood Premiere” (TLS S4;E20). This is the third of his six characters on “Here’s Lucy.”

This is Foulk's third episode in a row on the series.

William Lanteau (Mr. Minkle) first appeared with Lucille Ball in The Facts of Life (1960). In addition to an episode of “The Lucy Show,” Lanteau did four episodes of “Here’s Lucy.” He is best remembered for playing Charlie the Mailman in the play and the film On Golden Pond (1981).

Mr. Minkle is the superintendent of the office building where Harry and Lucy work.

The Telegram Delivery Boy is uncredited and has no lines.

Some reports say this episode was filmed on April 6, 1970, ten months before its initial air date. However, that is a Monday, and most all episodes were filmed on Thursday or Friday after four days rehearsal, so this is unlikely.

This is the second of only two episodes directed by 1954 Oscar-winner Charles Walters. The previous entry was “Lucy’s House Guest, Harry” (S3;E20). He went on to direct two of the Lucille Ball Specials: “What Now, Catherine Curtis?” (1976) and “Three for Two” (1975). From 1942 to 1945, Walters served as dance director on six films starring Lucille Ball. This episode is mentioned in the biography Charles Walters: The Director Who Made Hollywood Dance by Brent Phillips.

Likewise, this was the second and final episode written by 1955 Emmy-winner Vin Bogert. The first was “Lucy Stops a Marriage” (S3;E16), which he also co-wrote with Frank Gill Jr. It was a posthumous credit for Gill, who died six months earlier. It was the penultimate screenwriting credit for Bogert, who died in 1978.

The title refers to the Middle Eastern folk tale of the boy Aladdin and a genie that comes from a lamp to grant him three wishes. It is one of the tales in The Book of One Thousand and One Nights ("The Arabian Nights"), and one of the best known - although it was not part of the original Arabic text, but was added in the 18th century by Frenchman Antoine Galland. The story has been the basis for many screen and stage re-tellings, including the current Disney musical Aladdin.

Another television sitcom was based on the legend of Aladdin: “I Dream of Jeannie” (1965-70), which had just ended its long run on NBC. It starred Barbara Eden as the genie named Jeannie, who lived in a bottle rather than a lamp. Barbara Eden made her TV debut on “I Love Lucy.” Hayden Rorke, who played the long-suffering Dr. Bellows on the series, also did an episode of “I Love Lucy” and recently appeared on “Here’s Lucy” as a Judge.

In the first scene, Craig is wearing a top hat with a flower in it. The other actors (Mary Jane Croft and George Niese) seem a bit taken aback by it.

MARY JANE: “Oh! I like your hat. (under her breath) Bless your heart.”

MR. FROST: (Points at the hat, surprised) “Oh! Oh ho ho ho.”

Perhaps it is something Desi Jr. saw in the props pulled for the scene and took a liking to? It also many have some sentimental significance to the actor, but for such a visual statement, it does not figure into the plot, which is unusual.

At the start of the episode, Kim is holding a heart-shaped throw cushion that may be a tribute to the opening credits of “I Love Lucy.”

Lucy gets a Western Union telegram from the (fictional) Murphy Soup Company to tell her she’s won a contest.

Lucy's prize-winning soup jingle is to the tune of “Jingle Bells,” a song that was heard many times on “I Love Lucy.”

Aside from Ann-Margret, Craig would wish for two tickets to the sold-our Rams Football game. After a dramatic thunder clap, Craig gets a call from his friend Alan who offers him a ticket. Craig says “How sweet it is!” Sex symbol and singing sensation Ann-Margret charmed Craig in a season 2 episode of “Here's Lucy.” The Los Angeles Rams would have been the Carters' hometown football team. “How sweet it is” was the catch phrase of actor / comedian Jackie Gleason (“The Honeymooners”), who made a cameo appearance in the second episode of the series.

Craig reads the October 1968 issue of McCall's with English actress Samantha Eggar on the cover. In “Ricky Has Labor Pains” (ILL S2;E14), pregnant Lucy Ricardo is reading the January 1953 McCall’s, which clearly has a cover that says “Why I Love Lucy” by Desi Arnaz.

Kim wishes for Jamoca Almond Fudge Ice Cream, her favorite. After a dramatic thunder clap, Uncle Harry promptly arrives at the door to deliver it! Jamoca Almond Fudge is a signature flavor of Baskin-Robbins, who first marketed it in 1959. It is made by combining Jamoca coffee ice cream with roasted almonds and a chocolate ribbon. The bag Harry is holding, however, is not branded with their logo: pink and brown polka dots encircling a large number 31, the number of flavors they offer.

The second scene opens with Harry and Lucy coming to work with a happy Harry (dreaming of great wealth if he got access to the lamp) paraphrasing Robert Browning’s verse drama Pippa Passes (1841). The original goes:

The lark's on the wing; The snail's on the thorn: God's in his heaven - All's right with the world! — from Act I: Morning

Harry’s version replaces mention of larks and snails with “The sun is shining; the birds are singing” and omits any reference to the Deity altogether.

When Lucy won’t let Harry make any monetary wishes on her lamp, he storms off pouting and Lucy calls him Attila the Hun. Attila the Hun, was the ruler of the Huns from 434 until his death in March 453. During his reign, he was one of the most feared enemies of the Roman Empire.

Mary Jane tells Lucy that there's a sale on Italian knits at Morton's Department Store. Morton is Lucille Ball's married name since her marriage to Gary Morton (nee Goldaper) in 1961. Gary Morton is also a producer on “Here’s Lucy.” The fictional Morton’s Department Store joins Morton’s Service Station, Morton Pictures, and a number of other businesses named Morton on the series!

The janitor comes to empty the waste paper baskets idly singing “When Irish Eyes Are Smiling.” The song was written by Chauncey Olcott, George Graff Jr., and Ernest Ball in 1912. It was sung by William Frawley (Fred Mertz) in the 1936 film It's A Great Life! and was heard on “I Love Lucy” in “The Star Upstairs” (ILL S4;E25).

Harry says the Unique Employment Agency is located in office #1506. This implies that they are on the 15th floor.

Finally finding the bottle in a dumpster, there is just one thing preventing Lucy from getting it back: a glass bottle! Preparing himself for Lucy to hit his finger with a hammer to get a bottle off it, he says “If John Wayne can do it, so can I.” John Wayne appeared with Lucille Ball as himself on “I Love Lucy” and “The Lucy Show.” Both episodes were titled “Lucy Meets John Wayne.”

At the end of the episode, Craig reveals that the lamp is just a novelty store item manufactured in Pittsburgh. A disappointed Lucy corrects him.

The Mexican border city was the location of “Lucy and Viv Visit Tijuana” (S2;E19) aired a year earlier.

It wouldn’t be “Here’s Lucy” if Gale Gordon didn’t get wet!

Garage Sale Treasures!

Hanging above the steamer trunk is Lucy Ricardo's iconic blue polka dot dress from “I Love Lucy.” It was designed by Elois Jensen and was seen in many episodes of the series.

Next to the blue dress is an art deco poster of Sarah Bernhardt by Alphonse Mucha (1897). The poster was previously seen in the dorm room in “Lucy, the Co-Ed” (S3;E6) and in the studio of the knife thrower in “Lucy, the Cement Worker” (S2;E10).

The zebra lamp with the red shade was on the tables of the Red Devil nightclub “Lucy and Ma Parker” (S3;E15, left). Unboxing items for the garage sale, Lucie finds her favorite doll, Clarabelle. Clarabelle made an appearance in “Lucy, the Part-Time Wife” (S3;14), although she now has on a new frock.

Lucy pulls out a fur-lined jacket she says was worn by Joan Crawford in Mildred Pierce. The 1945 film won Crawford an Academy Award. Joan Crawford guest starred on “The Lucy Show” in “Lucy and the Lost Star” (TLS S6;E22). Craig says that judging by the shoulder pads she could have worn it in The Spirit of Notre Dame. Craig is referring to a 1931 football-themed movie starring Lew Ayres.

Search through the building’s trash for the lamp instantly brings to mind when the Ricardo’s and Mertz’s searched through the trash of 623 East 68th Street to find the pieces of Lucy’s torn-up roman a clef in “Lucy Writes a Novel” (ILL S3;E24).

Lucy and Harry were also up to their necks in trash in “Lucy the Process Server” (S1;E3) - this time in a department store basement - searching for an envelope of cash.

Leaky ceilings in need of plastering was also a plot point in two episodes of “The Lucy Show”: “Lucy and Viv Put in a Shower” (TLS ) and “A Loophole in the Lease” (TLS S2;E12). Both times the leaks were caused by overflowing tubs and showers, but here the cause is the continual rainfall.

Sound vibrations and not water was the cause of the ceiling collapse that ended “Breaking the Lease” (ILL S1;E18).

Flashing way back to 1813, prolific novelist Maria Edgeworth (1768-1849) penned a children’s book titled Harry and Lucy. In it, they marvel at the power of steam bursting through a kettle spout, comparing it to the magic of Aladdin’s Lamp. Not only did Edgeworth foresee the era of the steam-powered engine, she may have foretold “Here’s Lucy” as well!

Do You Live in a Barn? His arm in a sling, carrying an umbrella, and taking off his hat, Gale Gordon is unable to properly shut the front door, despite the fact it is pouring rain outside. Lucille Ball’s eyes dart over at it, doubtless wondering if she had time to close it without spoiling the take. She doesn’t - and it stays open for the rest of the scene.

Where the Floor Ends! When the hole in the ceiling breaks open, the camera is back too far and viewers can see where the carpet ends and the stage floor begins.

Sitcom Logic Alert! Only Lucy would find a miraculous lamp that grants wishes and hide it in a trash can in order to go on a shopping trip for discount sweaters!

“Lucy and Aladdin’s Lamp” rates 4 Paper Hearts out of 5

A fun episode that straddles the reality / fantasy line effectively. The Easter eggs in the garage sale scene are a treat for Lucy lovers!

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furederiko · 7 years

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9 MARVEL CHARACTERS I WANT TO SEE IN THE CINEMATIC UNIVERSE

Just spitballing for fun here!

To celebrate September 9th, here are 9 Marvel Heroes I would like to see making their debut in the next phase of Marvel Cinematic Universe. By MCU, that means for the movies... NOT for TV. I'm not saying because the TV side is... bad (even if I do lean towards that conclusion, it would be a subjective opinion), but I just don't think TV would be able to do justice with these characters due to various constraints (budget, VFX quality, etc).

It's already widely reported that the 2019 "UNTITLED Avengers" will serve as the culmination of MCU since 2008. That means, the door to welcome new characters and IPs would be wide open. So these are the names I would like to see getting the spotlight, and perhaps, assemble into a new set of Avengers. One might easily notice that the names I'm including here are characters from the animated "Avengers Assemble" series. That's actually... INTENTIONAL. One, because that means Marvel Studios obviously has the rights to use them (or at least partially, like the Spider-Man characters). And two, because I want this post to have a similar look and feel. But I'm NOT leaving behind other characters who have yet to show up in that series. That's why there's a special 'Bonus' section afterwards... (^^)v

Now that the explanation is out of the way, let's start right away! Here they are, in alphabetical order:

Agent Venom

Coincidentally, the first one is already a tricky situation. Eugene "Flash" Thompson is a Spider-Man character, so the rights to him is owned by SONY. That company is already working on a "Venom" movie that might not (or might?) be part of the MCU, with Tom Hardy as the lead. On the other hand, a modern-bully version of Flash has already debuted in the MCU via this year's "Spider-Man: Homecoming", as brought to life by Tony Revolori. Of course, the prospect of seeing a talented actor like Revolori becoming a headlining hero, is just too good to ignore. Mind you, it might take him a very long time (until after the high school characters graduate?) before arriving in a possible bittersweet situation (in the comics, Flash had to lose his legs first). But overall, Marvel Studios has already sown the seed for Agent Venom's debut. I can only hope this idea will be realized somewhere in the future...

Hercules

Odd choice, huh? But hear me out. We haven't had a great Hercules movie for a long time (my favorite was still Disney's animated-musical version, and it differed massively from the mythology). So why not leave it to Marvel Studios to do justice for the figure, and make a HUGE name out of him? The comic version of Hercules Panhellenios is a struggling, washed-out, unemployed hero, who spends his time slacking around and being a disappointment to others. True to his metaphorical title as a fierce male lion, huh? This situation and condition would carry massive potentials to explore in the movies. He can also take over Thor Odinson's position to expand the MCU towards more Greek-based mythological stories. Would you like to see Herc fighting Cerberus or Hydra (the monster, not the NAZI organization) in live action? I sure do. Good ol' Herc has seen a return to spotlight recently, with his own solo comic series. So what an excellent time to promote him for his own movie too! Since Chris Hemsworth and Pratt are already in the MCU (IMO, both are giving off a strong Hercules vibe!), perhaps Marvel Studios can hire... I don't know, Joe Manganiello as the lead actor?

Hyperion

Another mythological-esque hero! Unlike Hercules though, Marcus Milton has a completely different origin, being descendant of... the Eternals. Yes, the "Guardians of the Galaxy" movie series have already introduced this powerful race, which means, the route to Hyperion's debut is more or less smooth sailing. Interestingly, Hyperion is well known as part of the superhero team "Squadron Supreme". That means, if ever Marvel Studios needs a 'replacement' for the Avengers, this group is a good candidate. Just like Herc, Hyperion has returned to the limelight with a new comic series lately, eventhough it was cancelled after a few volumes. I admit, being a copy/parody of a certain DC hero, the character doesn't really have deep potentials. But that's why I trust Marvel Studios to give him the push he needed! As for the actor, for some reason, I would love to see John Krasinski in the role. Dude was considered to be Captain America before, right? And he's not another Chris. LOL.

Inferno

We're back to another tricky business. Dante Pertuz is a relatively new character, a modern version of Human Torch that FOX doesn't own. LOL. He's introduced in the recent years with the NuHumans storyline, which exactly leads to THE tricky situation. Yes, he's an Inhuman, and his origin story is deeply connected to the Inhumans Royal Family (specifically Gorgon). We all know that Marvel TV had taken over the Inhumans IP and turn it into a TV series (complete with bad writing, bad design, bad reviews *smh*). I'm VERY concerned the division would also want to capitalize on Inferno to boost the show's appeal, and I personally don't think that's a wise decision. Visual-effect wise, Mark Kolpack has admitted that creating Robbie Reyes' Ghost Rider's flaming head and chains for the 4th season of "Agents of S.H.I.E.L.D." was taxing and demanding. It's basically a movie-level VFX that required extra hours and patience, not something that can usually be rushed in a TV deadline. Now imagine doing that with Inferno, who emits flame from all over his body! But there's a bigger stake, here. You see, Dante's clearly a latino hero, and we haven't had one headlining an MCU movie until now. With his visual powers and relatable storyline (struggling with being Inhumans, a minority, rock star, and all), a movie would privilege Dante with the justice he deserve. I'm aware that highly likely Marvel Studios will be going with a cosmic Sam Alexander's Nova instead, and that's okay. But Inferno would be more current, if not more likeable choice.

Ka-Zar

Kevin Plunder came in to this list, with the same reason to Hercules. Because he's Marvel version of Tarzan! Hollywood has been trying to create a good Tarzan movie over and over again, and they're either an okay hit or a sad miss. As far as I know, none of them were ever able to please every audience, not even Disney's animated version. But Ka-Zar is different, because he carries more 'fantasy' than just trying to ape the King of the Jungle. The setting of his adventures, the "Savage Land" that's hidden deep in Antarctica, would be something magnificent to feature in the big screen. We've got Asgard, Kamar-Taj, Wakanda, why not add Savage Land too! Don't forget Zabu, his saber-toothed best friend, which would require massive CGI work. Suffice to say, the things I'm reading and hearing about Ka-Zar only leads to one conclusion: I want to see him in a live action movie! Now, who can portray him? Hmmm... a natural blond Brit like Charlie Hunnam, perhaps?

Ms. Marvel

All concerns I had for Dante, goes for Kamala Khan as well. Being a fellow Inhumans, there's been a rampant rumor recently that she'll be getting a TV series (supposedly the one John Ridley is working on). For me, that's a HUUUGE NOOOO. And due to THREE major reasons. ONE, similar to Inferno, TV budget won't be able to handle the VFX required to showcase her Inhuman ability with the right look and feel. Look no further than that underwhelming looking "Inhumans" series as example! Would you like to see an iconic figure like Kamala being reduced to a 'disaster' with the excuse of making her 'grounded'? You know, like what Marvel TV have already done to Medusa? I certainly DON'T. Kamala is basically the modern version of Mr. Fantastic, and we all know that even FOX have tried to do Reed Richards right in the movies several times, but still couldn't perfectly nail it. Downgrading this situation to a TV level would only make it worse. TWO, Kamala is a genuinely likeable and well-beloved character that easily captures the heart and attention of many readers throughout the world. If the 60s-90s had Peter Parker, Kamala's the youth representative for the modern world. Hip, cool, and current (being a social media freak and all), but also kind and caring... eventhough she's a triple-decker minority (Female, South Asian heritage, and Moslem) living in a racist country. Which leads me to the final reason. THREE, her story will have a MUCH BIGGER impact to the world as a movie. Releasing a Marvel Studios movie with her as the lead in an international market (including countries with Moslem as majority), would not only bank a great amount of money, but also sends the right messages: one, unlike its current government, Hollywood is NOT racist; two, that everyone can be a hero, regardless of their gender, race, and religion! Relegating a character this HUGE to a small-scoped TV series that not everyone can gain access to, would be a massive disservice. Kamala is the hero the world currently needs, so please don't undermine her into disappointments.

She-Hulk

Another tricky situation, though in this case, due to the confusing copyrights. Actor Mark Ruffalo has repeatedly said, that a Hulk solo movie won't be coming along the road because Universal has the distribution rights. What about his super-powered cousin, Jennifer Walters? It's unclear, but I can only assume that she has the same legal limitation. Thankfully, it also doesn't mean that she can't be used in a Marvel Studios movies. She just need to be included as part of an ensemble, that's all. The great thing about Jen, is that she's a lawyer and later a judge. Not only she's strong physically, but also academically. Won't that be a strong role model for young women and girls all around the world? We haven't really had a law angle in the superhero movies until now, with Daredevil occupying the Netflix universe. So bringing Jen into the light would be fresh and promising. As for who should play him, I don't have a particular choice, but someone with Award prestige like Emily Blunt, Charlize Theron, and/or Jennifer Lawrence would be a great get...

Songbird

Former villain turned Avengers? Yep, that premise alone would make a great story. Melissa Gold started off as a troubled woman, with broken family and harsh situation. Giving in to the world of crime (known as Screaming Mimi) was clearly her way to stay alive. Eventually she stumbled into the road of heroism with the Songbird moniker, and ended up becoming a full-time member of the Avengers. Just like the other characters I've included here, Melissa would be a great role model, especially for troubled teenagers. Her path of redemption proves that anyone, regardless of their past and issues, can be a hero too. An inspiring message that Marvel Studios need to share to the world. She doesn't sell enough as a solo movie? Well, then debuting her as part of the "Thunderbolts" would be equally okay for me. All the ingredients are already in the MCU anyway (Thunderbolt Ross, Helmut Zemo?). As for the actress, for some reason, I want to see Anna Kendrick in this role. Yeah, basically I just want to see her in a Marvel Studios movie, but I believe she would really bring justice to the gorgeous-designed Songbird.

White Tiger

We've already gotten an African "Black Panther", now it's time for a hispanic White Tiger! Her powers come from the mystical side, and since "Doctor Strange" has opened up the gateway to supernatural, we can have more heroes with this kind of origin story! I'm personally going with Ava Ayala, and not Angela del Toro, eventhough either of them would be wonderful. Why White Tiger? Same reason to Dante, and in a way, Kamala. Sure, the MCU have included numerous Latino actors who either got lost in the background (Jonathan Pangborn?), or turned out to be a scene stealer (looking at you Luis!!!), but we haven't really had a major hispanic hero in the MCU until now. More importantly, a female one! Debuting Ava in the MCU would also, once again, sends off a great message. The US government have been really discriminative about immigrants lately, including the hispanics. Putting Ava in the spotlight would remind everyone that South Americans CAN be heroes, and not criminals like what they're being wrongfully accused for. We truly need characters like this right away! As for who should play her, I'm currently setting my eyes on Gina Rodriquez of the hit series "Jane the Virgin".

Honorable Ment... SPECIAL ADDITIONS

The next characters are those who (as far as my memory serves) haven't made their debut in the "Avengers Assemble" series. So they sort of... didn't fulfill the basic requirement for my initial list. But it'd be unfair leaving them behind like that, right? That's why they are special 'Bonus' additions. Without further ado, in alphabetical order:

Brother Voodoo

For the record, I'm not being racist by sidelining the only black character to this section. The reason I put him here, is because his debut in the MCU movies is pretty much confirmed. Daniel Drumm, big brother to Jericho Drumm, has already made his appearance in "Doctor Strange" as the original protector of New York Sanctum Santorum. And director Scott Derrickson has already hinted that his death would lead to consequences, including the arrival of Jericho. Debuting Jericho as a sort of sidekick to Stephen Strange would be nice, but it would be much better if he gets his own movie too. Yes, there's an issue regarding his name, because using Voodoo might... well, attract criticsm. But titles can be tweaked, right? Considering Jericho ends up becoming a Sorcerer Supreme too, I believe he'll be perfect as the next black hero to headline his own movie.

Shang-Chi

I've already repeatedly mentioned that Marvel Studios NEED a major hero representing minorities, and this is another great candidate. Marvel Studios have brought several prominent Asian characters into the MCU, like Wong, Mantis (eventhough she's an alien), and Helen Cho. Yet they all share similar characteristic: they are all supporting cast. If Marvel Studios want to play it 'safe' and headline an East Asian lead character, then Shang-Chi is the go-to-guy. Nope, I'm not undermining him, but just pointing out how easy he would appeal to the audience. Shang-Chi is in a way, Marvel Comics' response to Bruce Lee. We all know that the world LOVES some Bruce Lee. And Shang is more than just a Bruce Lee copy, he's also a master of espionage who's determined to take down his own father's criminal empire. Pretty much a solid recipe for a James Bond-styled wuxia blockbuster hit, am I right! "Doctor Strange" has teased the use of martial arts to support magic, a hero like Shang would put it upfront as the star of the party. Marvel TV might have taken the stamp on Iron Fist (with mixed response), so Shang is the opportunity for Marvel Studios to do it RIGHT! Jon Woo, Ang Lee, or Jacky Chan can direct this, and as for the actor, Godfrey Gao is my top pick. But Ludi Lin, Philip Ng (star of the fictional Bruce Lee biopic "Birth of the Dragon"), or even Yoshi Sudarso (who is Chinese-Indonesian) would be fantastic nonetheless.

Spider-Woman

The last tricky affair of the day! Jessica Drew is called Spider-Woman, but she uses the 'Spider' moniker by name only, and unrelated to Spider-Man. That's why until now, it's currently unclear whether her movie rights is owned by SONY or not. She's actually one of the superheroine I've been itching to see in the MCU, but admittedly, these questions surrounding her place always put me on a weird crossroad. Drew is connected to Hydra, the High Evolutionary, and has always been a full-blown Avengers. And all of those screams MCU. She's also the best friend of Carol Danvers, so I honestly want to see her show up in "Captain Marvel". Her comic origin story sort of fits with "Captain Marvel" 90s setting too. Have Jessica encounter Carol when she was a child, then Jessica was put into stasis for years, only to wake up as a superpowered woman in the present day. And then she meets Carol again, and team up as the new Avengers. All's well ends well! I personally want to see Tatiana Maslany of the famous "Orphan Black" for this character, but Marvel Studios can always cast an Asian actress (like Constance Wu or Celina Jade) due to Drew's ambiguous background.

Young Avengers

This one initially started off with just William "Billy" Kaplan and partner Theodore "Teddy" Altman. A sweet pairing more famously known as Wiccan and Hulkling. My way of thinking was, it'd be rude and unfair to name just one of them, right? If Marvel Studios wants to go ahead and feature an LGBT representation, these guys are the one they should use. Is it possible? There's a hint that we'll be seeing Vision and Wanda Maximoff's relationship evolve in "Avengers: Infinity War". Perhaps somehow they end up bending reality, and Billy is magically conceived? Meanwhile, "Captain Marvel" confirmed that the alien race Skrull CAN be used in the MCU, so a half Kree-Skrull (his biological father is the original/male Captain Marvel) like Teddy is more than just possible. Basically, that movie is the only gateway needed for his debut in the MCU.

But then I began thinking. Why am I leaving behind Billy's twin brother Thomas "Tommy" Shepherd? Poor Pietro Maximoff was killed off in just one movie, why am I sidelining another Speed-ster? That's NOT right. Then the more I think of it, the bigger the scope gets. We have a Hawkeye and Ant-Man who are both fathers in the MCU. Why not include their protege/child? Katherine "Kate" Bishop might not be Clint Barton's daughter, but the two shared a special connection that would be great to depict on the big screen. And then there's Cassandra "Cassie" Lang who looks up to her father Scott, and aspires to be a size-shifting heroine of her own. Cassie has already debuted in the MCU as played by Abby Ryder Fortson, why not promote her into a hero too? And how could I miss out the lesbian latina America Chavez? Fitting in comfortably to all the diversity talk I've stated above, America is not only female, latina, she's also an LGBT representative. Another triple-decker like Kamala. JACKPOT!

So yeah, that's how I ended up with Young Avengers instead. If Marvel TV has "The Runaways", then Marvel Studios can have these equally (if not more prospective) young heroes! If we assume that we will no longer see the Avengers following the 2019 movie, then introducing the Young Avengers would be the most logical continuation. This movie doesn't even to take place in the present time, but a bit further in the future, or even in an alternate reality. That's the function of Reality Stone and Multi-verse, right? This team represents youth, fun, and diversity, sending all the right messages to the world. And at the same, enabling older actors like Jeremy Renner, Paul Rudd, Benedict Cumberbatch and others to serve briefly as mentor figures. There's also one other reason why this special team ends up being the last entry on this post (which is unintentional, to be honest): because I REALLY want them to show up in the MCU! \(*v*)/

So there you have it, the 9 (plus 4+) Marvel Heroes I want to see coming to the big screen. In the end though, this is nothing more than a personal opinion. It's obviously a very subjective thinkpiece, so anyone else might not have the same idea (if you do have your take, then do post them, I'd gladly read it!). I do however, hope that someone, anyone from Marvel Studios would somehow stumble upon this, read it, and put these names into considerations. I sincerely feel they will bring something NEW to the MCU, while continue conveying message of hope, inspiration, kindness, and good. After all, that's what Marvel Studios movies are for, right? Thanks for reading... enjoy your September 9th! Even if it might be just a regular day for most of us... XD

#Just for Fun #movie #random #marvel #Marvel Studios

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