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fibula-rasa · 4 years ago

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12 Christmas Films of a Century Past

For some reason, I thought it would be a good idea to watch somewhere around 50 Christmas and Christmas-adjacent silent films from before 1920 to put together a playlist for you all. So, I hope you enjoy!

I chose these twelve as a representative selection. My general criteria were:

Christmas should be central to the story

The plot should be novel to a modern viewer or something a modern viewer would be surprised to see so early on film

The list on the whole should have a variety of settings and narrative structures

Here’s a direct link to the YouTube playlist if you want to watch them all in one go. (They are all shorter than feature length!)

Two quick presentation notes: 1. Some of the videos have music and some don’t, so you may want to check your volume level. 2. The intertitles for some of these films are not in English, so be sure you have captions turned on for English translations.

See the whole list BELOW THE JUMP!

1. Santa Claus (1898) (UK)

Directed by George Albert Smith

Short and sweet, this film sees children put to bed by their nanny on Christmas Eve and Santa Claus coming down the chimbley to fill their dutifully hung stockings. Director G.A. Smith used his own patented technique of double exposure to show Santa’s arrival without cutting away from the children’s room. Santa Claus might not pack the punch of a Méliès trick film, but it’s a fun novelty and is purportedly the first appearance of Santa Claus on film.

2. The Little Match Seller (1902) (UK)

Directed by James Williamson

This one’s quick but effective adaptation of the Hans Christian Anderson tragedy featuring impressively well-coordinated superimpositions.

3. The Christmas Angel (1904) (FR)

Directed by George Méliès for Star Film Company

The Christmas Angel follows an impoverished girl driven into the city to beg on a snowy winter night. First she’s chased away from a church by more seasoned beggars; then she’s thrown out of a poultry seller and harassed by police. On the verge of falling asleep in the snow, a rag-and-bone man rouses her and offers her help. Later, the girl passes out beside a road but is luckily spotted by a wealthy couple on a car ride. When they learn of her plight, they bring her home along with food and gifts.

Though not as fantastical as some of Méliès’ more famous works, The Christmas Angel is still highly stylized (and stylish) and features special effects that photograph beautifully. It’s also worth noting that the version of the film included here is the American cut. The original French cut, titled Détresse et Charité (Distress and Charity), did not include the sequence with the wealthy couple and instead ends with the girl dying in the snow.

4. The Night Before Christmas (1905) (US)

Directed by Edwin S. Porter for Edison Manufacturing Company

This is the first time the poem “Twas the Night Before Christmas” was put on film. Loosely following the poem, we see Santa Claus prepare for his yearly trek while a middle-class family prepares for his visit. When Santa heads out, we are treated to an extended panning sequence with a fully painted backdrop for a mini Santa and his reindeer to glide across. When Santa arrives at the family home, he chaotically dumps presents and decorations around their living room and makes a large, decorated tree appear out of thin air. (Across many of the movies I watched to put this post together, this seems to be a favored scenario for the jolly fat man around this time–and it’s delightful.) The family then wakes to find their gifts and the film closes with Santa directly wishing us a Merry Christmas.

5. A Little Girl Who Did Not Believe in Santa Claus (1907) (US)

Directed by J. Searle Dawley and Edwin S. Porter for Edison Manufacturing Company

Even at the risk of this list being too Edison heavy, I couldn’t leave this great short out. While walking with his mother, a rich little boy encounters a poor little girl alone in the cold. They take her home to play and warm up. When the boy learns that the girl doesn’t believe in Santa because apparently Santa doesn’t visit poor children, he hatches a scheme. On Christmas Eve, the boy has a stake out near the fireplace and takes Santa hostage, tying him up and holding him at gunpoint. The boy then forces Santa to visit the girl–going so far as shimmying down the chimney himself to let Santa in the front door. When the girl wakes up to a beautifully decorated tree, new toys, and a full stocking, she can finally believe in Santa Claus. While I’m generally not so into stories about supposedly benevolent rich people, I do love the implications this story has on how Santa Claus works and I also find the means with which the boy gets his way hilarious.

6. Il Natale di Cretinetti / Foolshead’s Christmas (1909) (IT)

and Come fu che l’ingordigia rovino il Natale di Cretinetti / How Greediness Spoilt Foolshead’s Christmas (1910)

and Il Natale di Cretinetti (1911)

Directed by Andre Deed for Itala Film

This entry is a three-for, which I hope you’ll excuse, but I couldn’t decide which Cretinetti Christmas to share! Cretinetti, the comedic persona of filmmaker Andre Deed, is an absolute agent of chaos.

In the 1909 film, Cretinetti attempts to bring a tree home for a Christmas party. The destruction escalates wildly, culminating in an entire building falling to pieces.

If you can believe it, the stakes are even higher in the 1910 film, when Cretinetti can’t resist sneaking out of bed on Christmas Eve to snack on the candy decorating the tree. When Santa sees what Cretinetti has done, he chides him and takes him back to his workshop, which is apparently in heaven. Destruction ensues. Cretinetti then proceeds to cause havoc for Saint Peter, annoying god so much that he calls the devil to come get Cretinetti. Cretinetti is then chased to hell where demons try to cook him alive. Thankfully, spoiler alert, it was all a bad dream and he wakes up on Christmas morning with a terrible stomach ache.

The 1911 film returns to localized chaos. Cretinetti has a run-in with a mail carrier and his Christmas packages get mixed up with one of the carrier’s parcels. The parcel contains three bottles of ether which then begin to emit gasses in the middle of the family Christmas party.

I wasn’t familiar with Cretinetti before reviewing films for this list, but I’m definitely going to seek out more of Deed’s movies. Each of these films had well-executed chaotic slapstick; over-the-top in all the right ways.

7. Making Christmas Crackers (1910) (UK)

Produced by Cricks & Martin Films for Clarke, Nickolls, & Coombs Confectionery

To start, if you’re not sure what a Christmas cracker is, it’s a colorfully decorated paper tube that makes a cracking noise as you pull it open. Inside the tube is a paper hat, a joke, and/or a small toy. It’s a traditional part of UK Christmas celebrations.

This short starts as a documentary of the workers at Clarke, Nickolls, & Coombs constructing the crackers. It’s a fun thought that as early as 1910, people were interested in watching how mass-produced consumer goods were made. It’s also fun to see these skilled workers ply their trade so deftly (even though I’m sure wages and working conditions were less than ideal). The film ends with a family celebrating around a Christmas tree topped with a functional giant cracker.

8. A Christmas Carol (1910) (US)

Directed by J. Searle Dawley for Edison Films Manufacturing Company

There are so so so many film adaptations of Charles Dickens’ A Christmas Carol made before 1920 that it was hard to choose which one to include on this list. In the end I chose this 1910 version for its economy of storytelling, fluid use of special effects, and for Marc McDermott’s great performance as Scrooge.

9. Broncho Billy’s Christmas Dinner (1911) (US)

Directed by Gilbert M. Anderson (Broncho Billy) for The Essanay Film Manufacturing Company

Gilbert M. Anderson was an incredibly prolific and popular filmmaker and star of early American film, particularly in his role as Broncho Billy. As was typical for Anderson, he’s pulling triple duty on Broncho Billy’s Christmas Dinner as the star, director, and producer. The film features a simple and heartwarming story.

On Christmas, Billy comes across a young woman in peril as her horses got startled and are now pulling her cart along wildly. Billy manages to wrangle the horses and in gratitude she invites him to Christmas dinner at her parents’ home. Unfortunately, her father happens to be the sheriff. But, all is well, as it turns out that Broncho Billy’s been given a pardon and the sheriff welcomes him to the table gladly.

The enduring appeal of outlaws or criminals getting into the Christmas spirit is fascinating to me and it’s cool to see such an early instance of the story!

10. Le Noel de la princesse / The Little Princess’s XMas Gift (1911) (FR)

Produced by Société Générale des Cinématographes Éclipse

In all honesty, this is the least Christmassy of all the films I included here, but its style and novelty stood out. The sets, costuming, and production design are lush. It might also be one of the weirdest Christmas stories I’ve even encountered.

After Lord Othberg passes away, the conniving Otto plans to assassinate the baby prince in order to inherit the lordship himself. He poisons the baby, but the princess prays for her baby brother to come back to life as her Christmas gift. An angel appears to her and they summon Jesus, who resurrects her baby brother. Of course, they then place the revivified baby in the castle’s nativity scene, to the joy of all but Otto.

11. Ida’s Christmas (1912) (US)

Directed by Van Dyke Brooke for Vitagraph Company of America

With a more classic Christmassy story, Ida’s Christmas tells us of a family who are facing hard times. Ida (played by a very small Dolores Costello) has her eyes on a pricey doll. Meanwhile, her mother seeks out employment with a wealthy family. The matriarch of the wealthy family overhears Ida’s wish and decides to buy the doll for her as a surprise. Later, Ida is distraught to find that the doll has been purchased but comes across a wallet that someone has dropped. She considers taking the money, but chases down the owner instead. The old man gives her some reward money for returning the wallet. Ida rushes to see if she can buy the doll, but has second thoughts when she thinks about how much her family could use the money. She arrives home with the money just in time for a Santa-esque old man to show up bearing packages and an assurance that the wealthy family has work for her father. The film ends with the family celebrating an unexpectedly Merry Christmas.

It’s a sweet story that hits so many beats of what we now consider traditional Christmas tales.

12. Rozhdestvo obitateley lesa / The Insect’s Christmas (1913) (RU)

Directed by Władysław Starewicz for Khanzhonkov

Fair warning, if you thought The Princess’s XMas Gift was odd, you might need to ready yourself for this one. Stop-motion virtuoso Władysław Starewicz (Ladislas Starevich) spins a tale about a tiny ornament of Santa/Ded Moroz coming to life on Christmas and going out into the wild to bring Christmas joy to creatures small and smaller, including a frog and a ladybug. Starewicz’s animation is as impeccable as ever and the short is imaginative and quirky.

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patrickjones-blog · 4 years ago

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“When a movie character is really working, we become that character. That’s what the movies offer: Escapism into lives other than our own.” ~ Roger Ebert, Chicago Sun-Times film critic from 1967-2013

Although Chicago’s 1863 World’s Columbian Exposition was home to the world’s first movie screening, the storied history of the Chicago film industry officially dates back to the early 1900s. At that time, Chicago was a world leader in the rental of moving picture films and general patronage of motion pictures. By 1907 more than 15 film exchanges were in operation in Chicago, controlling 80% of the film distribution market for the entire country. Even after Chicago studios departed for Hollywood, Chicago remained an important distribution market. The 800 to 1500 blocks of South Wabash in the Loop housed high-profile distribution offices for MGM, Columbia, Warner Brothers, Republic, Universal, RKO, and Paramount.

During the early 1900s, Chicago also had more film theaters per capita than any other city in the U.S., with five-cent theaters or nickelodeons playing a significant role in commercial development throughout its neighborhoods. The Balaban and Katz chain was the largest theater chain in the studio era (1919-1952), with 50 theaters in Chicago alone. They were known for building beautiful movie palaces to show movies and present popular stage shows. Among these are the still thriving Chicago Theatre (formerly Balaban and Katz Chicago Theatre) which opened in 1921 and the James M. Nederlander Theatre built-in 1926 (formerly Oriental).

Early Chicago Movie Studios

Based in Uptown, Essanay Studios (originally The Peerless Film Manufacturing Company) was founded in 1907 by George Spoor and Gilbert Anderson. The studio released more than 2,000 shorts and feature films in their 10 years in Chicago, most notably 15 comedy shorts starring Charlie Chaplin. The studio produced silent films by other great stars such as Gloria Swanson, Wallace Beery, and Gilbert “Broncho Billy” Anderson, who won honorary Academy Awards for his time at the studio. While Essanay packed up and moved to Hollywood in 1917, the building at 1345 Argyle Street was designated a landmark in 1996. The original Essanay lettering and terra cotta Indian head Essanay trademarks still greet visitors.

In 1907, William Selig, a former magician and theatrical troupe manager founded the Selig Polyscope Company at 3900 N. Claremont. Bordered by Irving Park Road and Western Avenue, the studio covered three acres, employed more than 200 people, and specialized in animal productions. When Thomas Edison’s motion picture patents became a barrier, Selig “borrowed” technology from the competing Lumiere Brothers. In 1909 when legal issues caught up with him, Selig moved to Los Angeles, where he created the first Hollywood movie studio. Selig stopped film production in 1918, transitioning from an animal and prop supplier to other studios and a zoo and amusement park operator.

The Windy City is Home to Many Film Productions

The Chicago Film Office, a division of the Department of Cultural Affairs and Special Events, has been instrumental in attracting the production of feature films, television series, commercials, and documentaries. Since 1980, more than 1,100 feature films and television productions have been shot in Chicago, including the popular and award-winning films Ordinary People, Risky Business, Sixteen Candles, The Color of Money, The Untouchables, Home Alone, A League of Their Own, Groundhog Day, Chicago, and The Dark Knight. Together, these 10 films won 14 Oscars. Recent television programs filmed partially or entirely in Chicago include Chicago Fire, Chicago PD, Empire, and the fourth season of Fargo.

Famous Chicago Movie Locations

A beautiful lakefront, Lake Shore Drive, the Loop and “L”, landmark architecture, attractive suburbs, and more offer enticing backdrops for movies and television shows. Here are a few locations you’ll likely recognize if you’re a movie buff who calls Chicago home.

The Dark Knight: Lower Wacker Drive, LaSalle Street

Ferris Bueller’s Day Off: Chicago Board of Trade, Wrigley Field, Art Institute of Chicago

High Fidelity: Wicker Park

Home Alone: Winnetka, Oak Park

My Best Friend’s Wedding: Lake Shore Drive, Comiskey Park, Union Station

Public Enemies: Biograph Theater

The Untouchables: Union Station, Chicago Cultural Center, Blackstone Hotel, Chicago Theater, etc.

In the long tradition of movies and filmmaking in Chicago, ScanCafe is proud to offer film digitizing services in the Windy City. Converting old movies is the best way to preserve celluloid memories for posterity.

The post History of Chicago Film and Movies appeared first on ScanCafe.

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whatislatinidad-blog · 5 years ago

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Bronco Billy and the Greaser (1914)- An Introduction to Latinos in Hollywood

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Poster: Angelica Pavesio, Film Expert

Broncho Billy and the Greaser is one of Hollywood’s first films featuring a Latino. In this film, the main character’s name is Broncho Billy and the film begins with Broncho Billy greeting a white woman by the name of Marguerite Clayton, and entering the town’s post office. Not long after, we are introduced to our Latino character, the greaser. The greaser is depicted as a Mexican “half-breed,” and he enters the post office, cutting the line and wielding a gun. Concerned with the greaser’s behavior, Broncho Billy escorts him out of the office. This angers the greaser, who then plots revenge. We can see that the Latino in this film continues to be depicted as an immoral individual, for he is seen getting drunk, holding the “hero” Broncho Billy hostage, and trying to kill him.

This film clearly shows the United States’ attitude towards Latino during this era. To white people, Latinos were dangerous and incapable of acting civil. We know that these were the sentiments of white people because there were no Latinos involved in the production of this film. Despite the greaser’s depiction as a Latino, the actor himself was white and used blackface to attain the appearance of a dark-skinned Latino.

Why were Latinos depicted in such a negative manner? In “Latino Cinema,” professor David R. Maciel explains “[Latinos’] treatment [in cinema]— just as was the case with Anglo American academic and literary works of the era — was characterized by a questioning of their lack of assimilation of Latinos into North American society” (Maciel 312). During a time before World War I, many Latinos immigrated to the United States to flee the poverty and violence occurring in Latin America. But when World War I started in 1914, Americans became hyper-aware of foreigners after hearing about the tragedies occurring in Europe. Due to this hyper-awareness of foreigners, there was a significant move for foreigners to assimilate into American culture. Maciel explains that many Latinos chose not to assimilate, and white Americans were uncomfortable with this choice. Due to the fact that this film was released during the first year of World War I, we can assume that the depiction of Latinos in Broncho Billy and the Greaser came as a result of wartime paranoia, causing white Americans to hold racist notions towards Latinos.

During 1914 which is the year this movie came out, Hollywood still had a long way to becoming Latinx. Hollywood was an all-white industry at the time, and Latinxs had no voice in the making of this film. We cannot view Latinxs’ true identities through this film because the Latino identity shown in this film was merely reflective of white Americans’ xenophobia, which was, in part, a result of the start of World War I.

Citations:

Anderson, Gilbert M, director. Broncho Billy and the Greaser. The Essanay Film Manufacturing Company, 1914.

Maciel, David R. “Latino Cinema.” Handbook of Hispanic Cultures in the United States: Literature and Art, Arte Público Press, 1993, pp. 312–331.

#film

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