Archive | October, 2013

3rd Annual (or whenever) One Woman Film Festival report…

25 Oct

Probably this is not a festival you’re familiar with. It’s kind of exclusive. To wit:

redcarpetThe Wife and I invite a friend over to hang out in pyjamas all day one Sunday and watch movies. Said movies are curated in that a) it’s a trendy word and b) we put together a loose list that acts as kind of a mood-flexible flowchart (e.g., Stage Door can lead to Sunday in New York (young woman in the city) which in this case it did, but also potentially to The Great Garrick (backstage tales made in the 1930s), Baby Face (a very different sort of young woman in the city tale) or Vivacious Lady (more Ginger Rogers) which in this case it did not. Because we all liked the sound of Sunday in New York this time.

We’ve only done this twice before. Once was a double feature and was in no way organized. Next came another friend who watched three, maybe four with us in a semi-organized fashion. Then, this past Sunday, shit, as they say, got real.

A dear friend is moving to a fancy NYC job very soon. So we had her over at last for her One Woman Film Festival.

(Gender Note: there is no particular reason for excluding men from being invited. The proportion of our friends who would even want to do this are just overwhelmingly female.)

11am-2am. Fifteen hours. The slate, as it turned out:

The More the Merrier (1943);

Stage Door (1937);

Sunday in New York (1963);

The Apartment (1960);

From Hand to Mouth (1919);

His Girl Friday (1940);

and Theodora Goes Wild (1936).

I think the themes are clear. Rather than summarize these, follow the links for synopses or previous posts if they are by chance unfamiliar. I’m going to focus on the accidental connections that showed up, and then share a few group thoughts on each offering in the context of this festive day.

LITTLE THOUGHTS

The-More-The-Merrier-1943-3The More the Merrier:

Surprisingly erotic, this one, considering the presence of Charles Coburn, not usually a diapered cupid;

-This is one I should be throwing out more often in future Comedy vs. Drama arguments, because the craft on display here all around is at the highest possible level;

A really good Doff in this one by the man from the newspaper;

-This may also feature the most plausible floor show in classic film.

stage-Door)_01-788209Stage Door:

-Previous Post here;

I love the pace of this style, and yet fascinated by how Hepburn work in the middle, in-but-not-of the style;

-The fallacy of personal-tragedy-equals-Acting! bugs me as much as the equivalent buffoon-becomes-comic-genius trope – Almost Never True!;

-This is where the day’s conversations about women from pre-WWII into the mid-60s, dealing with the workforce changes of that era. We don’t jut sit around eating lentil soup and giggling, you know. We’re pretty high-toned.

sunday in nySunday in New York:

-Previous post here;

-Peter Nero is no Chico Marx, nor is he Henry Mancini – it can be tough to deal with a sex farce when it has a Charlie Brown score;

apart1The Apartment:

-This has been one of my favorite movies since I first saw it in, I suppose, high school, but it’s even more so with age and life experience. The Robinson Crusoe speech brought a few tears this time, because I have become a total sap;

-No one blinks in unwilling disbelief like Shirley Maclaine;

-I think this movie is why I take my hat off in elevators, but not why I wear a hat;

-Santa Otis Campbell IS the face of urban decadence.

from hand to mouth lloydFrom Hand to Mouth:

-Oh, for the days when bikes and cars differed little in speed;

-This was a lucky one – it’s an early Lloyd and the sort of slapsticky thing that doesn’t always work for guests, but ours enjoyed it so she’ll surely like the really good later ones;

-Next to Keaton’s Cops, one the better uses of a silent comic hero’s tendency to be a police magnet.

his girl fridHis Girl Friday;

Besides the connections below, there was much talk about the careers of John Qualen and Cliff Edwards. I beg of you: ponder them.

theodoraTheodora Goes Wild:

-Previous Irene Dunne post here;

-This one just sort of washed over us all, exhausted, film-weary, and all with some experience with small town New England – simple pleasure, though there are always social depths to dive into another time.

 

And now the fun part…

UNEXPECTED CONNECTIONS

apatmentI mean, clearly, yes, young woman comes from small town (New York believes all other places are small towns) to find housing, work, and human connection. This hovers around all of the above-named movies.

But the ways in which political machinations get in the way of people’s lives (Theodora Goes Wild, The More the Merrier, His Girl Friday) was unexpected. As were the mores of boys  and girls being left alone in apartments (pretty much all of them bring this up except the Harold Lloyd). These are odd, but not shocking.

But there were many surprising little synchronicities, like:

two consecutive unexpected appearances by Grady Sutton (The More the Merrier, Stage Door);

two rakish bowler hat (Snub Pollard and Jack Lemmon);

something we called “Sleazeball Gets a Shoeshine” (Menjou in Stage Door, Macmurray in The Apartment);

Lady Buys a $12 Hat (Arthur in The More the Merrier, Russell in His Girl Friday, and Theodora bought a LOT of hats, so surely one of them);

Take Off Those Wet Clothes, Mister (Sunday in New York, His Girl Friday);

Counterfeit money (From Hand to Mouth, His Girl Friday);

Apartment 2B (The More the Merrier and Dr. & Mrs. Dreyfus in The Aparment);

people just had spare toothbrushes and bathrobes around in the 60s (The Apartment, Sunday in New York);

Albany Sucks + a failed fiancée refuses a civil drink (His Girl Friday, Sunday in New York);

Women jumping out of windows (His Girl Friday, Stage Door, and brought up in The Apartment);

and, strangely, the literal pratfall, which is to say a very specific slip-on-wet-surface-and-slide-onto-keister in at least four, though my notes are unclear. There were, naturally, Manhattans.

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Dilatory Avuncularity: A Night at the Opera (1935)

19 Oct

Annex - Marx Brothers (A Night at the Opera)_01Yes, yes it has been almost a month. I’ve been building a show, doing some Big Life Decision deciding, and cutting Hamlet down to ninety minutes. So I have plenty of excuses.

I’ve also been daunted by the DVR – while TCM has been showing some terrific stuff, much of it silent and/or foreign, thanks to the otherwise-not-my-cuppa that is The Story of Film: An Odyssey, I’ve been exhausted into a comforting-and-stupid stupor to the point that it’s been difficult to muster up the focus required to engage with such high art. And we finished all the Torchy Blanes.

But I realized that I failed to report on one last entry in the Avuncularity Excursion – The Nephews’ viewing of A Night at the Opera.

The enjoyed themselves, though they weren’t as frantically, viscerally excited as I was back in the days of my first Marx viewings. Or theirs.

A year ago or so, I showed them Duck Soup in conjunction with The Blues Brothers (I got parental dispensation; they’ve heard worse from their grandmother) – they noticed connections between the two I had never thought to attend to: not just all the “hi-de-hos,” but the pilings-of-furniture-to-block-doors and the endless cavalry approaches of the climax (though the authorities are after the Blueses and aiding the Marxes), to the point where we all left the evening fairly certain that the creators of one had spent a good amount of time watching the creations of the other.

But Opera has an important element (that I never minded) that clearly registers differently with different people – opera. Clearly there was much focus to be regained after Allan Jones and Kitty Carlisle did the things they do, which are resoundingly (you should pardon) Not the Funny Part.

Fortunately there is a stateroom to pack, some remarkably false beards to dampen, an apartment to rotate (for the record, they laughed harder here than at the stateroom), an orchestra to destroy (they both play in the school band now, so this particular bit of Marxian Decorum Arson resonated) and some Keaton gags to recycle marvelously in the wings and flies of a performance of Il Trovatore, so the movie-style high-culture didn’t get in our way too much.

Also a surprise hit: the very fact of the visual of Groucho and Ruman in each other’s suits. And they’re right. It’s funny.

gottlieb night at the opera

NB: Watch this space in the coming weeks as I a) return to semi-regular blogging and b) report on a pair of One-Woman Film Festivals to be hosted by The Wife and I for a couple of friends of ours. What does that mean? The next post will make it clearer, no doubt…