Larry & Hardy

When reviewing great comedy duos, sooner or later, you're bound to think of Laurel & Hardy. Yet, the partnership could have been very different. In 1918, Stan Laurel began working with comedy star Larry Semon. Don't remember him ? I'm not surprised. At the time, he was Vitagraph studio's star and was producing, writing directing and starring in his films.

Larry Semon

His success grew throughout the following years, but the partnership with Stan Laurel did not materialize. Then came Oliver Hardy. He played many supporting roles in Larry Semon's two reelers. He even played the woodsman (and other roles) in Semon's 1925 feature The Wizard of Oz. The parts never were more important though, and it is likely that Semon wouldn't share his fame. Anyway, you know who ended up teaming with whom, right? Unfortunately, by 1923, Larry's star was beginning to fade and he died mysteriously in 1928 forgotten and penniless. A public amnesia that endures today.

Festival Films (remember my article about their awesome previous release?) is offering you a chance to see a Larry Semon film from 1922, at the peak of his success, in which Oliver Hardy plays the neighbor. It is called Golf and, naturally enough is part of their "Golf Mania!" compilation. Rest assured that you will enjoy it even if, like me, you know next to nothing about golf.

The film is pure slapstick and features everything you may expect from it: broken vases by the ton, people falling all over the place and even the obligatory chase finale. Festival Films presents the film with added sound effects by Derek J. Myers which is a very nice idea.

Other highlights of the DVD include several never-before-seen shorts with stars like Bing Crosby, Bob Hope, Phil Harris (Baloo from The Jungle Book), etc. enjoying their favorite sport and sports-reels like Follow Thru where golf pros teach you a thing or two about playing... and even cheating.

Sore looser W.C. Fields

Film fans will enjoy The Golf specialist, with W.C. Fields at his usual hilarious self. I love his way with kids in movies. As much as he hated them, he apparently couldn't get away from them as he has a whole scene with a winy little girl in this one too!

Jean Harlow on the golf course

I'll let you know about another Festival Films release soon. You may order from them or from amazon.
Please click like on the Facebook page to receive updates.
That's all for today folks!

Read More

Song Of The South

Disney has always had a policy of putting their films back into the vault to create demand and make sure that they meet with renewed interest when re-released theatrically or on home video once every ten years or so.
Yet, some films never get out of the vault.
Song of the South is probably the only Disney classic which seems to be shelved for an indefinite period of time. The film was made in 1946 and the story takes place during the "reconstruction era", right after the civil war.

Protest on April 2, 1947

Right from the original release, protest groups denounced the film as racist and through the decades, the Disney company announced several times that they would pull the film from release. The 1986 output apparently was indeed the last in an American theater.

The film was released on home video in Europe, and I clearly remember seeing the film on VHS. Today, Disney has a very shifting policy regarding its controversial titles. In the case of Fantasia, Melody Time, or others where only a few scenes in the entire feature are considered politically incorrect (a character smocking, a black character caricatured, use of guns, etc.), then the scenes are edited out or altered digitally.

But when the entire film poses a problem, they are released (like award-winning short Three Orphan Kittens or wartime feature Victory Trough Airpower) with a simple introduction by Leonard Martin warning viewers of the controversy.

Unfortunately, Song of The South being a feature, and something of a symbol of racism in mainstream Hollywood movies, the company decided to bury the film.

Storyboard mentioning a deleted shot

If you wish to see it anyway, look for an old VHS tape because so far, that's your only option. The film contains one of the company's award-winning signature song "Zip-a-dee-doo-dah", gorgeous Technicolor photography by Gregg Toland, a brilliant performance by James Baskett in his last role as Uncle Remus (and as the voice of the fox!), by underrated actress "Mrs.Kane" Ruth Warrick and of course Bobby Driscoll and Luana Patten are beyond cute in their starring roles. In case you didn't know, Bobby went on to star as the voice of Peter Pan in the animated classic. Unfortunately, the rest of his career and life went downhill from there. I will write about him some day.

Also, look for Oscar winner Hattie McDaniel from Gone With The Wind fame.
For each of these reasons alone, the film deserves another viewing, in the proper context.
Here is some rare silent behind the scene footage where the two little child actors seem right at home.

Don't forget to like the Facebook page to receive updates.
That's all for today folks!

Read More

The Mysterious Cities of Gold

One of the best animated TV series was born from the collaboration of a French idea and amazing Japanese artistry. Director Bernard Deyriès and producer Jean Chalopin had already collaborated with TMS for their previous production Ulysses 31 which met with great success. Now, the series was to be co-produced by Studio Pierrot (Creamy Mami, Naruto, Bleach, etc.).

Although both series were released around the world, the basis for the international version was the French edit, which differs from its Japanese counterpart. In the case of the Cities of gold, the title was Taiyo no ko Esteban (Esteban, child of the sun).

Deleted Opening shot in Japanese version

The difference is apparent as soon as the main title begins: the ever popular song (sung by Noam Kaniel) of the English version is completely different in Japanese. A quick glance at the animation proves that the sequence was designed to fit the Japanese song "Bouken Sha Tashi" (Adventurers) by "Pal" (a group with Masato Arai, Takaki Funabashi, Hiroki Harada, and Kayo Watanabe). A few shots were deleted in the International version to fit the length of the new song. The ending song is also different in Japanese: "Itsuka Dokokade Anatani Atta" (Meeting You Some Day) by "Pal" also. Here's is the opening theme :

Here's the shorter English version:

Alternate animation in episode 4

But the differences are not limited to the title sequences. Within the episodes, some scenes are included in one version and not in the other. The most obvious change is an entirely different ending in episode 4: in the international version, the heroes fight against shark whereas in the Japanese version, they quietly row ashore.

Japanese LP

However the main difference between the international and Japanese version is obviously the score. Nobuyoshi Kyoshibe composed a conventional score (available on LP) which has its merits, but it never quite stroke the same chord as the international soundtrack by Shuki Levy. The latter is available on CD also, both the original tracks and a re-orchestrated version. I always liked that score which somehow conveys Southern American or Spanish rhythms with mostly electronic sounds.

As if that wasn't enough, and even when the basis is the same international version, there are various cuts between the English and French version due to censorship. The popular live-action documentaries at the end of each episode are also omitted from most English language broadcast (they are on the DVD release though).

The series met with moderate success in Japan when originally aired in 1982.

If you get a chance to see the Japanese DVDs, be aware that they offer a entirely new dub with a new cast, made in 1998 and no documentaries. Even the main title song was mixed somewhat differently. Here is the DVD version:

Very little information transpired as to why they needed to record new voices but it would seem that the original dub is mostly lost (destroyed?) which is rather believable considering its relative obscurity and the fact that the same thing seems to have happened to Ulysses 31.
The omission of the documentaries is rather regrettable though, since the Japanese version originally contained more footage than the international one (usually a science professor introducing the sequence).
Here's an example:

A new series is currently under production in France. The first episode is due to air in december 2012 on the first network. Apparently the entire cast was replaced, even though, behind the scenes, some of the original crew was reused.

Here's a peek at the new series:

The 1982 series is available on DVD.
Please click "like" on the Facebook page to receive updates.
That's all for today folks!

Read More

Vertigo

Alfred Hitchcock’s Vertigo has recently been voted best film ever by Sight and Sound. In my book, it’s been competing for the title with Disney's Snow White for years (granted, in a very different style).

For legal reasons, that film has been lost for decades after its initial release during which its moderate success disappointed the director. After the long hiatus, Universal (new owner of the rights after Paramount and Hitchcock himself) re-released the film in 1983, and in the nineties, Robert Harris and James Katz, who worked on the restoration of My Fair Lady among others, decided to undertake the restoration of the 1958 classic.

Unused take with blood on Jean Corbett

Through their efforts, they managed to restore lost elements of the film like a brief scene, when Judy first meets Scottie, she accepts his offer to a date that same evening. Their brief exchange during which she says "you’d better give me time to change and get fixed up” was abridged. It may have been cut for timing as censorship would have cut the previous line instead “I’ve been picked up before”.

They also unearthed the so-called “European censorship ending” (offered as a bonus feature on the Blu-ray) that Hitchcock probably never seriously intended to use in any versions, although Herbert Coleman wrote (in his book The Man who knew Hitchcock) that the director had his doubts about revealing the culprit before the ending right up until it was too late to return the copies already shipped to exhibitors. Otherwise, the flashback sequence would have been trimmed before release. As a matter of fact, this sequence proved the most problematic during the restoration as the elements for the introducing fade-in were lost.

And here we come to the negative elements of the restoration. All fade-ins and fade-outs are problematic in the film. Since the original elements were apparently lost, it was unfortunately chosen to erase them and start the fade-ins later and the fade-outs earlier. Meaning that some footage is lost. In short, instead of restoring the footage, they just erased it. Here's an example : 

They did, however, improve the overall visual qualities of the film, since the Vistavision system used to shoot the feature enable the film to be restored unto 70 mm film, making fine detail apparent such as Kim Novak’s bruises on her leg when she is carried out of the water by James Stewart.
Anyone who has seen the film knows how important Bernard Herrmann’s score is to the atmosphere and overall quality of it. So going back to the original session tracks to create a new 5.1 mix was an excellent idea. Due to a 1957 strike of musicians in the USA and the UK, the score had to be recorded in 2 different places (London and Vienna). So unlike his usual habit, Herrmann had to let his work be conducted by Muir Mathieson. And the Vienna cues were recorded in mono.

It is very difficult for any technicians working on the restoration of a work of art to decide when they are crossing the line between restoration and violation. In my idea, if Robert and Katz did a great job with the picture (albeit what I already mentioned), and although their original idea was excellent, I do not hold their treatment of the sound in very high esteem. For one thing, the all important music cues are at times slightly off sync. If it were obvious only to a fan like myself, it wouldn't be so bad, but in order to keep some of the dialogue (like James Stewart’s cry when going up the stairs) they had to keep snippets of the original mix (correctly synchronized), creating a brief albeit revelatory cacophony.

And although I love the score (available on CD), some moments were very disturbing. One of these was the church sequence where the cue is supposed to be some kind of diegetic music heard in the background to convey a religious atmosphere. In the new mix, the music has been given a boost, making its presence much more obvious and even intrusive. And the cue “The Park”, even though beautiful, was obviously deteriorated quite beyond what was necessary for a smooth listening pleasure. The final mix, although, not in stereo should have been used for a section of it, instead of a damaged original music session.The foley track creates another problem. 

Unlike the dialog, anything that could be replaced by a newly created sound was. The same process was applied with Psycho, though the help of a new technology that dissects the “DNA” of a mono sound track and enabled the restoration team to work more with original elements. Though the sound of a door knob can sound quite different to someone who knows the film by heart, the difference is not as jarring as the Vertigo mix. In the documentary about the restoration, they explain that they actually recorded the sound of the motors of the actual same cars seen in the film. While that sounds impressive, I was somewhat disturbed by how different the sound was during this many awkward moments. I feel that it would have been best to reproduce the sound of the film as it was, not as it should have sounded. Who are we to tell that Hitchcock wanted the sound of that particular vehicle? It could very well have been looped in post production for something completely different that somehow pleased the director.

Some elements were downright wrong : I read in the scriptgirl’s report that the bells of Mission Dolores were recorded especially on the day of location to be used for the tower scene (there is no bell tower at San Juan Bautista). The very famous final shot is now spoiled by an out-of-tune chime. Also, the thump heard when Madeleine hits the roof, although realistic, is quite different from the original. The film is now available on Blu-ray (part of box set) and a brand new 5.1 mix has been created that adresses these issues and others. The original soundtrack has wisely been offered as an option. I recommended it!
I also recommend Dan Auiler's fascinating book.

Remember to click "like" on the Facebook page where you'll find more pictures.

Thats all for today folks!

Read More

Beyond The Rocks

"That, after all, was supposed to be the great virtue of pictures - that they would last forever." Gloria Swanson naively wrote in her 1980 autobiography. But she had to admit that there was no remaining copy of her 1922 film Beyond The Rocks, in which she starred with legendary Rudolph Valentino (or Rodolph as he was called then).


Two stars of such magnitude at the time just did not appear together in a film because their contracts usually prevented it. And indeed, Gloria Swanson had such a clause in hers. Although she was thrilled at the idea of playing opposite the latin lover, she affected to do producer Jesse Lasky a favor, in exchange of which she was offered a paid vacation in France. This was her occasion to escape the very roles that she played in Beyond The Rocks.

In the Kevin Brownlow documentary "Hollywood", Swanson refers to her roles of the time:
"Every picture I made, the train got longer, and the hairdo got more complicated until I got so fed up, I started screaming: I don't want to be a clotheshorse". So she went to France for more artistic parts like Zaza.

Beyond The Rocks is clearly a good example of what she meant. She wore over a million dollars worth of jewelry and very elaborate costumes.

Even as it was made, censorship forced the director to shoot two versions of the love scenes. One for the USA, in which kisses were not supposed to last more than 3 yards of film, and another for the foreign market with no limitation.

In 2000, Joop van Liempd, a Dutch collector of old films died, leaving behind 2000 cans of films, mostly unlabeled. It took another three years for all seven reels of Beyond The Rocks to be discovered among them.

It would seem that seven minutes are still missing, probably owing to poor storage conditions. In fact some scenes show very heavy signs of film decay. But van Liempd's print is obviously the European, uncensored version.

What about the film itself? Sam Wood offers a competent, if rather unimaginative, direction of a phoned-in love triangle story by Elinor Glyn. And yet, the film is still captivating, thanks to the efforts the two stars.

If you wish to make your own opinion, the film is available on DVD .


Please click "like" on the Facebook page.
That's all for today folks!

Read More

The Paradine Case

Alfred Hitchcock came to America to work for Selznick in 1939 when the latter was involved in the production of his masterpiece, Gone With The Wind. Yet their first completed project together was Rebecca, a great success which won the Best Picture Oscar the year later. Hitchcock's filmography shows that his producer then loaned his services to other studios (RKO, Universal, Fox...) while a frustrated Hitchcock still received the same weekly payment from him.

In 1946, the end of the contract was near and Selznick couldn't count on a future collaboration with him. Though he still had one pet project called The Paradine Case. He intended to make it a prestige picture with an all star cast, with none other than Greta Garbo in the title role. Unfortunately for him, the diva of the screen had no intention of leaving her retirement, especially to play a part she hated. So it was decided that Mrs. Paradine would be played by a young hopeful that Selznick wanted to launch in the USA, much like Vivien Leigh in Gone With The Wind. In retrospect, the part of a cold-blooded murderess may not be the ideal choice to introduce a new personality like Alida Valli (nicknamed "Valli" for the occasion).

In any case, Selznick was so eager to have another big success that he made a nuisance of himself, rewriting the script (he eventually got sole credit for it), demanding retakes, and even supervising the editing and sound mixing himself. The end result was the explosion of the budget. Would you ever guess, watching the film, that it cost more money than Gone With The Wind? Well it did!

Although Hitchcock objected many things (like Louis Jourdan who did a fine job but was, in his idea, badly miscast), some elements are obviously his. Ann Todd has trouble shining in a rather unattractive part but she is definitely part of the cool blonde Hitchcock canon. The intricate camera moves inside the Keane mansion will be developed in his next productions like Rope or Under Capricorn. And the sadistic personality of the judge must have appealed to him. Also, his often used character actor Leo G. Carroll plays a lawyer here and John Williams, another lawyer, would go on to play more substantial parts in two other Hitchcock films.

More to the point, the film, in its rough cut ran approximately 3 hours. At the premiere, it had been cut down to 132 minutes. The version generally available today runs about 115. According to Bill Krohn, a "flood" has destroyed the negative of the 3 hour version in the 1980s. He also reports that the 132 minute version is all that remains and yet even that one did not find its way to home video. In addition, two of the missing scenes from the 3 hour version are still extant, only without the sound; These are apparently kept at George Eastman House in New York.

One of these scenes originally took place right before the trial and is featured on a lobby card with Ethel Barrymore, Gregory Peck, Charles Laughton and the actor who plays the painter (possibly Alec Harford), Peter De Lindstrom (an obvious nod to Selznick star Ingrid Bergman whose husband was Petter Lindström and who was considered for the lead at one point). In it, Sophy, the judge's wife, met Keane secretly in an art gallery to ask him to save Mrs. Paradine's head because she couldn't cope with another evening with her husband when he has to sentence the death penalty. They ran into the judge talking to the artist who kindly offers to show Sophy his drawings, sensing the uneasiness in the air. Left alone, the judge tells Keane he has considered placing his wife in an institution.

I do not know if the scene was cut to reduced the length of the feature or to suppress the underlying implication that the Judge enjoys sending people to their deaths and the very obvious fact that he mistreats his wife. I should point out that, in the novel, the scene took place earlier in the story and that it had been discarded by the original script writers (including Hitchcock and his wife).

This re-release trailer contains a few alternate shots and deleted moments (check out Ethel Barrymore trying to hide in the audience).

The music of the film, although composed by famed composer Franz Waxman in an attempt to recreate the Rebecca atmosphere and success (particularly obvious when Kean explores Mrs. Paradine's bedroom), has not met with the same success and is now available only as reorchestrated rhapsody on CD. The music-only track of the DVD is the only way to hear it in its entirety.

The main title gives you an idea of the rushed job that was the whole affair: since Selznick could not decide between a plethora of working titles (Fascination, Bewitched, Under Oath,...), he finally went with the book's original title on the eve of the premiere, causing the font of the title to be different from the rest of the credits.


Don't Forget to click "like" on the Facebook page!
That's all for today folks!

Read More

Lizabeth Scott

In her autobiography, Lauren Bacall explained how, after making the cover of Harper’s Bazaar, she was discovered by Howard Hawks and put under contract by Warner Brothers in a legendary film where she met her husband Humphrey Bogart: To Have and Have Not.

You may not remember her, but a few years later, a young lady with very similar characteristics was launched by Paramountin a Hal Wallis production. Since the vamp at her studio was Veronica Lake, she was marketed as a kind of clone, even though she was closer in looks to Lauren Bacall and even played opposite Humphrey Bogart. Yet, even if she played mostly in the film noir genre, she had an interesting career all her own. Her name was Lizabeth Scott. She is still alive today, although she made her last film in 1972.

I strongly suggest you buy her second film, which was recently released on Blu-raycalled The Strange Love of Martha Ivers. The transfer is a little soft due to DNR but the film still looks good and is definitely worth a look.

Confidentialmagazine once printed a story hinting that she was a lesbian. She sued, along with other stars like Robert Mitchum and Maureen O’Hara. You can read more about that in this article.

I’d like to share a page from a Belgian magazine called Ciné Revue dated August 31, 1951 regarding the release of the film Dark City (also available on Blu-ray), with a young Charlton Heston in one of his first roles. His love interest in the film is Lizabeth Scott, a nightclub singer who performs the standard “That Old Black Magic” in a fairly straightforward yet poignant fashion. Although Lizabethlater cut her own record album, she is dubbed here by Trudy Stevens.

Please click "Like" on the Facebook page!
That's all for today folks!

Read More