Month: November 2018

#294) The Life and Death of 9413: A Hollywood Extra (1927)

OR “Walk-On, Bye”

Directed & Written by Robert Florey and Slavko Vorkapić

Class of 1997

The Plot: Mr. Jones (Jules Raucourt) arrives in Hollywood with dreams of making it big as an actor. When he meets with the studio, he has the number 9413 written on his forehead and is designated an extra. Endless casting calls always end with rejection, even though seemingly everyone around Jones has found success, including one actor (Voya George) with a drawing of a star on his forehead. There’s plenty of symbolism and visual treats in one of the earliest experimental films to come out of Hollywood.

Why It Matters: The NFR calls it “one of the most creative…and bleakest of the early avant-garde films.” There’s an all-encompassing essay by Library of Congress archivist Brian Taves.

But Does It Really?: Yeah, I dig it. “9413” has carved out a niche for itself in film history as the rare mainstream experimental film, and a silent one at that. The whole film is wonderfully stylized – from the art direction to the acting – and I can only imagine what a revolutionary viewing experience this must have been in its day. There’s a lot of symbolism going on in the film, but Florey and Vorkapić make it all accessible enough that even the casual viewer can make their own interpretation. “9413” never gets the attention of other movies (avant-garde or otherwise), but it’s definitely worthy of preservation, as well as a viewing or two.

Everybody Gets One: Robert Florey came to Hollywood from his native France in 1921 as a film journalist. He had an idea for a film about a struggling actor in Hollywood, but it never came to anything until he was inspired by a performance of Gershwin’s “Rhapsody in Blue”. He pitched the idea to cinematographer Slavko Vorkapić, who used his connections to get a camera and film for the production. How much Vorkapić ultimately contributed to “9413” is still up for debate.

Wow, That’s Dated: As longtime readers know, I love adjusting prices in movies for inflation. I find it helps make these older movies a bit more accessible, and the realization of just how awful the inflation rate has skyrocketed over the years gives you a good cathartic cry. Anyway, food in “9413” goes for anywhere from five to fifteen cents ($0.73 to $2.18 today), and Jones’ rent is $49 ($710.89 today).

Other notes

• The film got a general release thanks to Charlie Chaplin. Chaplin was friends with Robert Florey, and was so impressed with “9413” that he held a private screening at his house for such Hollywood heavyweights as Douglas Fairbanks, Mary Pickford, D.W. Griffith, and producer Joseph M. Schenck, who got the film screened at the United Artitsts Theater in New York. While there, the film was picked up by the Film Booking Offices of America (aka FBO Pictures) and shown in 700 theaters in North America and Europe.
• The film’s co-cinematographer is credited simply as “Gregg”. My instinct was correct: it’s Gregg Toland, then working as an assistant cinematographer at Samuel Goldwyn Studio, and a few short years away from his own legendary run of classics (see “Legacy” below).
• Both directors make cameo appearances in the film. Florey is the casting director, and Vorkapić is the man walking up the never-ending stairway to Success (get it?).
• The trees shown during Jones’ breakdown look an awful lot like the Spiral Hill from “Nightmare Before Christmas” (yep, that’s the official name of that thing).
• How different would this whole film be if SAG had been a thing back then?
• It’s not a spoiler if it’s in the title. Does Jones actually die at the end, or is he just dead in Hollywood? Heaven might not be literal heaven, but rather the world outside of show business, where Jones is no longer identified by a number. I’ve yet to see that interpretation anywhere online, so what do you eggheads think of that?

Legacy

• Robert Florey was able to parlay the positive reception “9413” received into a steady job directing B-movies for the next 25 years. Among his accomplishments were “The Cocoanuts” (the first feature starring the Marx Brothers), and future NFR entry “Daughter of Shanghai”.

• Slavko Vorkapić was offered a job with Paramount’s special effects department shortly after “9413” was released. He then became a freelance montage editor, whose work includes the montages in “David Copperfield” and “Mr. Smith Goes to Washington”.

• The Radio Corporation of America (RCA) bought out FBO in October 1928. That same month, RCA merged FBO with motion picture chain Keith-Albee-Orpheum to form a new movie studio: Radio-Keith-Orpehum, better known as RKO Pictures.

• Ironically, once Hollywood transitioned to sound, leading man Jules Raucourt found himself demoted to film extra.
• Gregg Toland went on to shoot “Citizen Kane”, “The Grapes of Wrath” and “The Best Years of Our Lives”, just to name a few of his more obscure titles.

• Robert Florey expanded the original short into the feature-length comedy “Hollywood Boulevard” in 1936. While also visually impressive, the general consensus is to stick with the original.

#293) The Outlaw Josey Wales (1976)

OR “Union Buster”

Directed by Philip Kaufman Clint Eastwood

Written by Philip Kaufman and Sonia Chernus. Based on the novel “The Rebel Outlaw: Josey Wales” (aka “Gone to Texas”) by Forrest Carter.

Class of 1996

The Plot: Following the murder of his wife and son by pro-Union redlegs, Josey Wales (Clint Eastwood) joins pro-Confederate Bushwhackers and fights in the Civil War. When the war ends, Josey is the only one of the guerrillas not to surrender, and is subsequently one of the few survivors of the ensuing massacre. With his former leader Captain Fletcher (John Vernon) and Union Captain Terrill (Bill McKinney) on his trail, Josey rides out of town with a bounty on his head. As he escapes from Missouri to Texas, he is joined by a ragtag group of outsiders, among them: fellow Bushwhacker survivor Jamie (Sam Bottoms), wise Cherokee Lone Watie (Chief Dan George), young Navajo Little Moonlight (Geraldine Keams), Kansas transplants Laura Lee (Sondra Locke) and her grandma Sarah (Paula Trueman), and an assortment of character actors from every Western you’ve ever seen. They arrive in Texas, where a final showdown awaits.

Why It Matters: The NFR praises Eastwood the director, Eastwood the actor, and Chief Dan George…the actor.

But Does It Really?: If you’re going to pick a Clint Eastwood movie for the Registry, and “Unforgiven” isn’t eligible until 2002, “Josey Wales” is the natural choice. I’m still not entirely sold on its cultural significance, but overall it’s a well-made, entertaining western. The anti-Vietnam parallels aren’t too obvious, and the inherent episodic nature gives the film a nice variety. Even more impressive, the film’s vision isn’t muddled by its well-known production setbacks (more on those later). I give “Josey Wales” a “minor classic” designation among the NFR entries: This isn’t the definitive Clint Eastwood movie, but it’s a well-crafted encapsulation of the man’s strengths as actor and director.

Everybody Gets One: Screenwriter Sonia Chernus was a story assistant on “Rawhide”, the TV western that gave Eastwood his big break. Eastwood and producer Robert Daley hired Chernus to pen the first draft of “Josey Wales” before Philip Kaufman came along. And shoutout to Cissy Wellman and Kyle Eastwood as “the vics”.

Wow, That’s Dated: As is often the case with period pieces, the hairstyles can be a giveaway of the times. Sondra Locke’s in particular looks downright Farrah Fawcett-ian.

Seriously, Oscars?: Despite mixed critical reception, “The Outlaw Josey Wales” became the first Eastwood-directed film to be nominated for an Oscar. Jerry Fielding was up for Best Original Score, losing to Jerry Goldsmith’s work in “The Omen”. Eastwood movies wouldn’t become automatic Oscar bait until “Unforgiven”.

Other notes

• The big story behind this film: original director Philip Kaufman was fired by Robert Daley during production at the insistence of Clint Eastwood, who frequently clashed with Kaufman on set. Eastwood took over production, alienating crewmembers and infuriating the Directors Guild of America (see “Legacy” below).
• It’s still unclear what parts of the final cut Kaufman directed, but that pre-credits scene is pretty great. Minimal dialogue, maximum storytelling; we are in for quite a ride.
• That’s the richly voiced John Vernon as Fletcher. He was no doubt cast in part because of his previous experience with Eastwood on “Dirty Harry”, and was a few years away from his most famous role: Dean Wormer in “Animal House”.
• So much mistreatment of horses; I’m gonna need to see this movie’s PETA disclaimer.
• This film has all kinds of character actors roaming around. Keep an eye out for Len Lesser (aka Uncle Leo from “Seinfeld”), Royal Dano (aka Mr. Lincoln), and Matt Clark (aka that guy who’s in everything).
• This movie really is a testament to Clint’s star power. I don’t care for Clint’s somewhat conservative film persona, but I was rooting for Josey Wales the whole time.
• How much tobacco juice does Josey go through? Does he have an unlimited supply just off-camera?
• I was not expecting this film to have such a dark sense of humor, most of it stoically delivered by Chief Dan George.
• I guess there was too much gunplay in this film, so let’s move on to attempted rape. Critics at the time said this film tested the limits of the PG rating, and they were right.
• I wouldn’t necessarily call what Josey and Laura Lee have “chemistry”, but there’s enough sparks there to hint at things to come. Sondra Locke’s naturally expressive eyes help sell it.
• Were Helen Hayes and Jeanette Nolan unavailable to play Grandma Sarah?
• One last cameo from a recognizable character actor: Will Sampson (aka Chief Bromden from “Cuckoo’s Nest”) as real-life Commanche leader Ten Bears, despite the fact that the real Ten Bears would have been in his mid-70s right after the Civil War.
• I’m still holding out for one final twist: They were all Civil War reenactors this whole time.

Legacy

• Shortly after production wrapped, the Directors Guild of America fined Clint Eastwood $60,000 for firing/replacing Philip Kaufman. The DGA also passed new legislation, stating that no actor or producer can fire a director and take over filming themselves, and that if a director is fired during production, the position will be filled by someone from outside said production. This legislation is still commonly referred to as “The Eastwood Rule”.
• Philip Kaufman may have been kicked off of “Josey Wales”, but his film career remained steadfast for the next 35 years. Highlights include the “Invasion of the Body Snatchers” remake, future NFR entry “The Right Stuff”, and the original treatment for “Raiders of the Lost Ark” with George Lucas.

• Clint Eastwood and Sondra Locke started their relationship during production, and stayed together until a very public separation in 1989. They made six films together, including “Sudden Impact” and “Every Which Way But Loose”.

• Original author Forrest Carter penned a second book: “The Vengeance Trail of Josey Wales”, which saw our hero heading down to Mexico to avenge the death of his friends. The book was turned into the film “The Return of Josey Wales”, starring and directed by…Michael Parks?

#292) The Philadelphia Story (1940)

OR “Save the Kate”

Directed by George Cukor

Written by Donald Ogden Stewart (and Waldo Salt). Based on the play by Philip Barry.

Class of 1995

The Plot: Two years after her divorce from yacht designer C.K. Dexter Haven (Cary Grant), Main Line socialite Tracy Lord (Katharine Hepburn) is engaged to fellow blue blood George Kittredge (John Howard). Tabloid-precursor Spy magazine uses its connections with Haven to get journalist Mike Conner (James Stewart) and photographer Liz Imbrie (Ruth Hussey) over to the Lord mansion, where the wedding is being held. Tracy objects, but Haven blackmails her into letting them stay. On the eve of the wedding, Tracy starts to get cold feet, but will she rekindle her romance with Dexter? Or start something new with Mike?

Why It Matters: There’s a plot recap, as well as references to the film’s two Oscar wins and Hepburn’s performance in the stage version. The only person the NFR gives a superlative to is George Cukor, who “elegantly directs” the proceedings.

But Does It Really?: “The Philadelphia Story” is the kind of romantic comedy that could only have come out of the studio system. Half the fun is watching three honest-to-God movie stars going head to head, bringing out the best in each other. The film sags a bit in the middle, and while its ending sticks the landing, it never recaptures the quick energy of the first half. Pacing problems aside, “The Philadelphia Story” is an entertaining comedy of a by-gone era, and a must-watch for classic movie lovers.

Shout Outs: Mike drunkenly sings “Someday over the rainbow”. I guess it wasn’t a classic yet.

Everybody Gets One: Ruth Hussey was the star of many an MGM “B” picture in the late ‘30s. “The Philadelphia Story” was one of her few forays into an “A” picture, and she received an Academy Award nomination for her performance. Hussey’s film career never took off, but she found continued success on radio and television.

Wow, That’s Dated: The dated gender politics I’ve come to expect from romantic comedies of the day, plus playful jokes about suicide, alcoholism, sexual harassment and spousal abuse. Another classic from the Dream Factory!

Take a Shot: Henry Daniell (as Spy editor Sidney Kidd) says the title once as a potential name for the article covering Tracy’s wedding.

Seriously, Oscars?: One of the biggest hits of 1940, “The Philadelphia Story” received six Oscar nominations, including Best Picture. The big winners that year were “Rebecca” and “The Grapes of Wrath”, but “Philadelphia” still managed two wins. Donald Ogden Stewart won Best Adapted Screenplay, and James Stewart took home Best Actor. Even Stewart eventually admitted that the award was a make-up win after he lost for “Mr. Smith Goes to Washington”. Stewart’s performance is lovely – and award-worthy – but is it really better than Henry Fonda’s Tom Joad?

Other notes

• After being dubbed “box office poison” in Hollywood, Katharine Hepburn was lured back to Broadway when Philip Barry wrote “The Philadelphia Story” specifically for her. The play was a smash hit, and Hepburn immediately accepted the film rights from Howard Hughes, who purchased them as a gift for her.
• Hepburn’s first choices for Dexter and Mike were, respectively, Clark Gable and Spencer Tracy. Both were already committed to other projects, so the historic first pairing of Tracy and Hepburn would have to wait another two years.
• This movie starts off strong with one of the greatest film pratfalls ever. Added bonus: Grant and Hepburn did their own stunts.

• Everyone in this movie is so sassy. Special mention to Ruth Hussey, as well as Virginia Weidler as Tracy’s smart-alecky sister Dinah. Where’s her Oscar nod?
• It’s fascinating to see how much Katharine Hepburn’s comic timing evolved in the two short years since “Bringing Up Baby”. Not that she’s awful in “Baby”, Tracy is just a much more refined, dimensional character than Susan, so the comedy styling is more sophisticated. Performing this role eight times a week on Broadway obviously did Hepburn some good.
• Jimmy Stewart is best remembered today as the kind of heroic everyman he played in “Mr. Smith” and “It’s a Wonderful Life”, so it’s a delight watching him play a more cynical character. Stewart felt he was miscast as Mike, and perhaps he is, but it works.
• Cary Grant is very good in a role that, on the surface, is not very interesting. But when you get a movie star to play a co-lead, it definitely elevates the material.
• Shoutout to John Howard as Tracy’s fiancé George. A lesser movie would have made him either a total loser or a jerk. George is neither of those things; he’s just not a match for Tracy.
• This movie tries really hard to make “yare” a thing. The problem is you can’t make one word mean all of that, unless you’re Humpty Dumpty.
• Three words: Drunk Jimmy Stewart. I’ll give him the Oscar right now.

• Was Katharine Hepburn ever sexier than she is in this movie?
• The whole “You’re lit from within, Tracy” scene is lovely, it’s just a shame the word “holocaust” took on a new meaning a few years later.

• Oooh, implications of premarital sex. How scandalous back now.
• Today in Code-era Profanity: “Class, my eye” and “Oh, my sainted aunt!”
• At first I was opposed to the film’s ending, but the more I thought about it, the more I realized that’s the only way it could have ended. Damn you, Production Code!

Legacy

• “The Philadelphia Story” was as popular in theaters as it was on stage, and not only succeeded as Katharine Hepburn’s comeback vehicle, but also cemented James Stewart’s status as a leading man with staying power.

• Cary Grant immediately followed up this film with another romantic comedy about fast-talking, wise-cracking exes: “His Girl Friday”.

• “The Philadelphia Story” was remade as a musical with 1956’s “High Society”. Grant, Stewart, and Hepburn are updated with Bing Crosby, Frank Sinatra, and Grace Kelly (in her final film). All this, plus Louis Armstrong!

• Cukor and Hepburn reunited several times over the years, including two of the Tracy-Hepburn vehicles: “Adam’s Rib” and “Pat and Mike”.

• The stage version of “The Philadelphia Story” has only been revived on Broadway once: in 1980 as a vehicle for Blythe Danner and Edward Herrmann. As best I can tell the only good to come from this revival was the Broadway debut of the actor playing Dinah: Cynthia Nixon. And now you know the rest of the story!

#291) A MOVIE (1958)

OR “Less-Than-Precious Images”

Directed by Bruce Conner

Class of 1994

The Plot: Edited down from hours of stock footage, B-movies, and newsreels, “A MOVIE” is 12 minutes of seemingly random clips set to three of the four movements of Respighi’s “Pines of Rome”. As the film progresses (albeit with a few false endings), the clips seem to take on a narrative, or possibly an examination of how and why we watch movies. And for those of you with no interest in ‘50s experimental film, stick around for some brief nudity.

Why It Matters: The NFR write-up is primarily a regurgitation of the film that, thanks to a presumed typo, refers to the director as “Brucer” Conner. Clearly they are fans. There’s also a more detailed (and orthographically accurate) essay by art history professor Kevin Hatch.

But Does It Really?: It’s short and represents a director not found elsewhere on the list, so this checks out for me. Added bonus: “A MOVIE” is the kind of experimental film you are encouraged to add your own layers to. PLUS you get to watch all kinds of cool clips from other movies! There’s something for everyone!

Shout Outs: Among the clips featured are two tragic events turned NFR inductees: “Hindenburg Disaster Newsreel Footage” and “Tacoma Narrows Bridge Collapse”. On a significantly lighter note, Bruce Conner was partially inspired to make this film by the comic use of stock footage in “Duck Soup”.

Everybody Gets One: An up-and-comer in the San Francisco underground art scene, Bruce Conner was known for his assemblages: art pieces using found objects. He wanted to create a similar experience using film, but quickly learned how expensive and time-consuming it is to do your own filming. One trip to the bargain bin later, Conner started editing stock footage while listening to classical music on the radio (hence the inclusion of “Pines of Rome”). “A MOVIE” is Bruce Conner’s first film.

Seriously, Oscars?: Unsurprisingly, there was no Oscar nomination for the avant-garde “A MOVIE”. The Live-Action Short winner of 1958 was the Disney nature film “Grand Canyon”, which is as different a movie from “A MOVIE” as you can get.

Other notes

• If you don’t know who made this film, the first thirty seconds have got you covered. I legitimately thought my computer froze on me.
• I never went to film school, so sometimes this blog experience can turn into a significantly cheaper alternative. Case in point: While researching “A MOVIE” I learned that the countdown at the beginning of a film reel is called a “film leader”. Thanks, internet!
• We begin as all movies should: with naughty footage from a ‘50s stag film. To the best of my knowledge, that’s Marilyn Monroe look-a-like Arline Hunter, whose footage Conner reused in 1973’s “Marilyn Times Five”.
• Among the titles Conner purchased for this film are such names as “Thrills and Spills” and “Headlines of 1953”. There’s also an indeterminate Hopalong Cassidy movies, which I believe is the closest Hopalong will ever get to the Registry.
• This whole thing is giving me very strong “Decasia” flashbacks. Though this footage is in much better condition; I would label it as “Pretty OK-sia”.
• The most highlighted section of the film: footage from a submarine mixed with the aforementioned stag clip, plus an atomic bomb. The onslaught of innuendos would make Hitchcock proud.
• All of this footage with motorcycles and car crashes leads to the obvious question: Where’s that fat guy taking a cannonball to the stomach? And while we’re at it, what about those clips of people testing out their flying machines?

• Surprise guest star Teddy Roosevelt. Bully!
• The third movement is when things get a bit dark. We got the Hindenburg and Tacoma, followed by plane crashes, firing squads, and malnourished children. It’s a real downer.
• The last shot is a scuba diver at a shipwreck. If that’s not a metaphor for the kind of found art that Bruce Conner makes, I don’t know what is.

Legacy

• Bruce Conner continued making all kinds of art up until his death in 2008, primarily repurposed found footage that deconstructs the movie-viewing experience. Most notable of his later work is “Report”, a meditation on news coverage following the JFK assassination.

• Future NFR filmmaker Peter Hutton has cited Bruce Conner as an influence. That still doesn’t excuse him for making a film that is nothing but 16 minutes of silent Hudson River footage.

• I’m still in a Muppet state of mind, so I’ll use this as an excuse to play “Hey, A Movie!” from “The Great Muppet Caper”.

• If “Pines of Rome” sounds familiar, you’re thinking of the flying whales from “Fantasia 2000”.

Further Viewing: “A Movie by Jen Proctor” is a 2010 shot-for-shot remake using YouTube clips. Be warned: This update contains 9/11 footage.

#290) The Wind (1928)

OR “Wuthering Plains”

Directed by Victor Sjöström

Written by Frances Marion. Based on the novel by Dorothy Scarborough.

Class of 1993

Not the original trailer, but a nice little snippet.

The Plot: Letty Mason (Lillian Gish) travels from Virginia to the Sweetwater, Texas of the 1880s to live with her cousin Beverly (Edward Earle). Beverly’s wife Cora (Dorothy Cumming) does not warm up to Letty and wants her out. At the same time, cattle buyer Wirt Roddy (Montagu Love), as well as neighbors Lige (Lars Hanson) and Sourdough (William Orlamond) vie for Letty’s affection, despite her protests. But Letty’s main problem isn’t with any of Sweetwater’s citizens, but rather its weather. Upon their first meeting, Wirt warns Letty that the wind has been known to drive women insane. Will Letty survive her new surroundings?

Why It Matters: No superlatives in the NFR write-up, just a rehash of the film’s plot and historical significance. An essay by silent film expert Fritzi Kramer is much more loving.

But Does It Really?: “The Wind” is one of the last silent films produced by MGM, and features Lillian Gish’s final (and perhaps most iconic) silent performance. So historically this movie was going to make the NFR sooner or later. As a film, it’s fine. Gish is a solid lead, and like many of the latter silent films, “The Wind” has an overall higher quality than most silents. The gender politics don’t hold up, but there are still a lot of pros to outweigh the cons. A pass from me for “The Wind”.

Wow, That’s Dated: The aforementioned gender politics. Also, for the love of God, everyone please stop saying “injun”! There aren’t even any Native Americans in this film! You’re making it worse!

Seriously, Oscars?: The 2^nd Academy Awards have no official listing for nominees, and there is no record that “The Wind” was under consideration by the Academy. Despite this, MGM still won Best Picture with one of their talkies, the all-singing “The Broadway Melody”. Lillian Gish would not be nominated for an Oscar until 1946, for her supporting turn in the Selznick Oscar-bait “Duel in the Sun”. The Academy finally gave Gish an Oscar in 1970, an honorary award for lifetime achievement.

Other notes

• This was a passion project for Lillian Gish. She knew that playing Letty would allow her show more range as an actor, and convinced MGM to produce it. She hand-selected Victor Sjöström as her director and Lars Hanson as her co-star, having worked with both of them on the 1926 film version of “The Scarlet Letter”.
• Research has confirmed my suspicion that with this much wind and sand blowing, it could not have been a fun shoot. Shooting on location in the Mojave desert was unbearable, with the cast and crew not only dealing with the constant wind, but also with the heat, with the temperature (according to various sources) ranging from 90 to 110 degrees.
• Nice of them to translate the intertitles into actual old-timey prospector talk. Now if only I had any idea what they were saying…
• Dorothy Cumming looks a lot like Anjelica Huston. Fun Fact: Cumming was also the evil queen in the 1916 silent version of “Snow White”.
• A woman driven insane while living with relatives? What is this, “A Stagecoach Named Desire”?
• I’m enjoying the special effects and model work throughout, especially during the cyclone scene. And this predates “Wizard of Oz” by a decade. Well done, uncredited effects team!
• Must Lige and Sourdough settle every dispute with guns? What if the dispute is over which gun to use?
• Oh crap, Lillian Gish is kind of hot. I’m attracted to a woman 94 years my senior. I’ve been watching too many silent movies.
• Nice staging of the scene between Letty and Lige that focuses solely on their feet. Very Tarantino-esque.
• This is one of the rare movies with singing intertitles. Sourdough croons “Bury Me Not on the Lone Prairie” (aka “The Cowboy’s Lament”), and the lyrics are italicized on the cards. This adds to some confusion later when select words in dialogue are italicized for emphasis. Are they singing those words?
• At this point, I’m just going to assume the book is better.
• Gish claimed that the studio forced her to reshoot the original ending after poor test screenings, but all available resources show the “happy” ending was always a part of the script.

Legacy

• Sjöström only directed a handful of films after “The Wind”, but continued work as an actor on the stage in his native Sweden. He eventually acted on film, and is perhaps best remembered for his performance in Ingmar Bergman’s “Wild Strawberries”.

• Sweetwater, Texas is very real and still going strong. Interestingly enough, Sweetwater is one of the leaders in wind energy and wind generators.

• Say what you will about this movie, it’s definitely better than “The Happening”.