The Circus (Charles Chaplin) ****

Director: Charles Chaplin

Cast: Charles Chaplin, Merna Kennedy, Al Ernest Garcia, Harry Crocker

Background: Charlie Chaplin was one of the biggest box office stars in the silent era and was coming off the huge success of The Gold Rush three years earlier. However, the making of The Circus came at a time of personal turmoil for Chaplin. He was dealing with numerous issues that delayed the making of the film, such as a bitter divorce, an IRS investigation, and a studio fire.

The Story: The Tramp wanders into a travelling carnival and immediately gets himself in trouble with police. During an extended chase, he finds himself in the middle of a circus show, where the audience thinks he's hilarious. The ringmaster immediately hires him, but finds he cannot be funny on purpose, so the Tramp is made a janitor and tricked to put himself in funny situations. The Tramp aslo falls in love with the Ringmaster's daughter, but must compete for her affections with a rival performer.

Thoughts: The Circus doesn't get as much attention a Chaplin's other work, but this is an absolutely beautiful piece of filmmaking. You couldn't tell that this was a troubled production, because Chaplin is in top form throughout. The opening chase sequence is among my favorite chase sequences that have ever been portrayed on film, particularly the dazzling sections with the mirror maze. Chaplin's Tramp is a very empathetic character, instantly likeable as the underdog just trying to get by and win the heart of a girl he loves. The romance is understated and sweet. One of the best moments is Chaplin playfully sliding down a tree to impress the girl. Still, the comedy is never sacrificed and this is among the funniest films I've seen. There are countless memorable set pieces, including a memorable scene where the Tramp is trapped in a cage with a lion, However, it's the ending of this film that sets it apart. The Tramp makes a remarkable moral decision at the end of the film and the final iconic moment contains a unforgettably brilliant final shot.

Postscript: The Circus ended up being one of the highest grossing silent films of all time. It doesn't get as much attention as Chaplin's other classics, but is still generally regarded by critics as a great film. Chaplin was still at his peak, and would make several more classics, including City Lights and Modern Times before eventually being threatened to stay out of the United States as part of the red scare.

The Lodger (Alfred Hitchcock) ***

Director: Alfred Hitchcock

Cast: Marie Ault, Arthur Chesney, Ivor Novello, June Tripp

Background: Alfred Hitchcock had made 4 films before this one, but none of them stood out in a major way. In fact, his previous outing The Pleasure Garden was a major failure. Attempting to keep his career going, Hitchcock decided to adapt a novel by Marie Belloc Lowndes that was inspired in part by the Jack the Ripper legend.

Story: An older couple rents out a room in their house to a stranger (Novello), who quickly takes a liking to their daughter (Tripp). She's dating a detective who soon begins to suspect that this new stranger may be "The Avenger", a serial killer known for murdering young blonde women.

Thoughts: Very interesting early film from the master. It's clear that Hitchcock already had a great talent at building tension. The terrific central performance of Ivor Novello captures the nuances of the character and really helps with the story's attempts to keep you guessing. What I really liked was that Hitchcock takes time to build the little parts of the story and make each of the characters interesting. There are a couple problems, though. The big payoff sequence just isn't very well done. The editing is a little off and it could be much creepier. Hitchcock would certainly get much better at that later in his career. Also, he was forced by the studio to change the ending of the film. Having heard Hitchcock's original idea for the ending, it is far more interesting than what he was forced to do. Despite the faults, this is still an impressive piece of work from a future legend.

Postscript: The film was almost not released and massive edits were ordered by the studio, who hired someone to take over and present a final cut, although apparently not many changes were really made. The film was a box office success and helped get Hitchcock's career going. His first classic, The Man Who Knew Too Much, would come six years later.

Speedy (Ted Wilde) ****

Director: Ted Wilde

Cast: Harold Lloyd, Ann Christy, Bert Woodruff, Babe Ruth

Background: Harold Lloyd was at the height of his popularity at this point. His most recent films The Freshman and The Kid Brother had performed very well at the box office. After making several films with Jobyna Ralston as his leading lady, Harold cast little known actress Ann Christy for the lead in Speedy. Ted Wilde had not only directed Harold the previous year in The Kid Brother, but he also helped write several of his biggest hits, including Girl Shy and The Freshman.

Story: We are introduced to Harold "Speedy" Swift, an average guy trying to keep his job as a soda jerk while catching the score of the latest Yankees game. His girlfriend's father runs the last horse drawn trolley in the city, and Harold is determined to help him keep it against the pressure of the big business interests.

Thoughts: Speedy is a wonferful film filled with a lovely, infectious spirit. Safety Last! is often considered to be Harold Lloyd's masterpiece (and rightfully so), but this is right behind that one. The romance here is sweeter and more interesting than in many other silent comedies, where it is usually just a backdrop for the silly situations. There's a hilarious trip to Coney Island that is not only a great time capsule moment, but it also contains one of my favorite movie moments since starting this project. After inadvertently causing trouble, Harold and his girlfriend have to use all their money to pay a vendor for damages and are flat broke without a ride home. They eventually get a ride in the back of a moving truck, where they arrange the furniture within and imagine what their lives will be like when they get married. It's such a sweet, sentimental moment that definitely gets you on Harold's side and sets up the fast paced (the film definitely has an appropriate title) third act very well. This film also features a hilarious cameo by none other than Babe Ruth.

Postscript: This would be the last silent comedy that Harold Lloyd would release. His next film Welcome Danger was actually filmed as a silent, but later edited to be a sound film. Lloyd found some success in the sound era, but it was mostly mixed and he would be done by the end of the 30s. Harold returned in the 40s to work with Preston Sturges on one last film before giving it up for good.

The Passion of Joan of Arc (Carl Dreyer) ****

Director: Carl Theodor Dreyer

Cast: Maria Falconetti, Eugene Silvain, Andre Berley, Maurice Schutz, Antonin Artaud

Background: Carl Theodor Dreyer had already made his mark as a provocative and controversial director with films like Leaves From Satan's Book and Michael. In the late 20s, he decided to make a film about the trial of Joan of Arc. In doing so, he heavily relied on historical records of the trial. Maria Falconetti, an actress who had only appeared in two films over a decade earlier landed the lead role.

Story: Tells the historical story of French hero Joan of Arc (Falconetti), specifically focusing on her 1431 trial for heresy after the English captured her. The trial consisted of biased judges and hateful priests attacking her for saying she had holy visions.

Thoughts: It's easy to see why this is one of the most acclaimed films of the era. Dreyer's minimalist approach to the trial is very interesting. Despite spending a ton of money on sets, almost everything is shot in close up, so we don't see much of that. Instead, we get the intense presence of Falconetti, unwavering in her faith even under the most intense scrutiny; and the increasingly angry reactions of the judges and priests, aghast that this woman withstands their threats and humiliation. The reliance of close ups gives the film a claustrophobic feel, appropriate for a film about a doomed prisoner. Dreyer only uses enough dialogue to tell the story of the trial. He trusts everything else to his skilled actors. Dreyer even intended the film to be seen without music, and that is how I recommend it as well since it is consistent with the style he used throughout the film. For all of his directorial talent, it is Falconetti's passionate performance that really sells the film. He entrusts the film to her, and she absolutely nails it every step of the way.

Postscript: The film definitely had a controversial reception, and was immediately banned in Britain. Over time, it would come to be considered one of the best films of all time. It appeared on Sight and Sound's 10 Best List in 1952, 1972, and 1992. Dreyer's cut of the film was thought to be lost forever, until it was found in 1981 in a janitor's closet of an Olso mental institution, which would seem to be the very last place you would want to show such a film.

Steamboat Bill Jr. (Charles Reisner) ****

Director: Charles Reisner

Cast: Buster Keaton, Ernest Torrence, Tom McGuire, Marion Byron

Background: Buster Keaton was just coming off the debacle of The General, which was a critical and commercial failure for him, and would only be considered a classic much later.

Story: Gruff steamboat captain William Canfield (Ernest Torrence) is excited to meet his son for the first time in years, but is disappointed by the when he meets the skinny, silly young man that steps off the train. He tries to train his son on how to be a steamboat captain, but is frustrated at the many mistakes the kid makes. He's also not happy that his son is in love with the daughter (Byron) of one of his biggest rivals (McGuire).

Thoughts: This is definitely my favorite Buster Keaton film so far, mainly because it avoids many of the problems that have plagued some of his other films. One of my biggest complaints about Buster is his seeming need to show that he doesn't care about anything (with his trademark stone face expression), but then asking the audience to root for him to win in the end. That's tempered a bit here, because the story is actually told from the point of view of the steamboat captain, and Ernest Torrence delivers a beautiful performance as a solid hardworking man who just wants his son to follow in his footsteps. The underlying story is very sweet, and Buster is a little more empathetic here than usual. There's a funny early scene when he tries to cheer up a baby. Also, the film doesn't falter in the one area that Buster does usually get right; the big third act stunt sequence. This one features some of Buster's finest comic moments and for once it is in service of characters that are worth caring about.

Postscript: Steamboat Bill Jr. was another box office failure for Keaton. Back to back box office misfires, plus the inciming wave of sound meant the loss of Keaton's creative freedom. He would continue acting regularly for a long time, but he never returned to the stardom of the 20s. Ernest Torrence would continue as a notable supporting actor for a few years, but he passed away in 1933.

Year 2 - 1928

And only 80 more years to go! I only saw 19 films for 1927, but I'll be aiming for a more ambitious schedule in 1928. There is an exciting mixture of films this year. The most acclaimed film of the year is The Passion of Joan of Arc. There are several early films from great directors including Hitchcock's The Lodger, John Ford's Hangman's House and Four Sons, and Howard Hawks' A Girl in Every Port, There are some interesting films by directors who would be considered veterans at this point, including Sergei Eisenstein's October, DW Griffith's Battle of the Sexes, Erich von Stroheim's The Wedding March, and Victor Sjostrom's The Wind. We also get entries from all three of the big time comedians with Chaplin's The Circus, Lloyd's Speedy, and Keaton's Steamboat Bill Jr. and The Cameraman.

My experience going through the films from 1927 helped influence the films I chose to watch. Von Sternberg's Underworld was good enough to make me seek out and purchase copies of his two 1928 entries The Last Command and The Docks of New York. The Frank Borzage, Janet Gaynor, and Charles Farrell team worked so well in Seventh Heaven that I added their next collaboration Street Angel. Once again, there are movies that have an IMDB listing for 1928 but didn't make US release until later. Notable films from this year that will be pushed to later years include GW Pabst's Pandora's Box, Vseveolod Pudovkin's Storm Over Asia, and Fritz Lang's Spies.

There are quite a few unavailable films. Please email me if you have any idea how or where I can watch these:

Show People (King Vidor)
The Patsy (King Vidor)
Sadie Thompson (Raoul Walsh)
The Power of the Press (Frank Capra)
That Certain Thing (Frank Capra)
The Tournament (Jean Renoir)
White Shadow of the South Seas (WS Van Dyke)

Towelhead (Alan Ball, 2008) **1/2

Dir. Alan Ball

Starring Summer Bishil, Peter MacDissi, Aaron Eckhart, Maria Bello, Eugene Jones III, Toni Collette

Alan Ball is one of the most interesting writers in Hollywood today. If anyone doubts that, then they simply must not have seen American Beauty or Ball’s TV series Six Feet Under. He also directed several episodes of that show, and did a good enough job to win several awards. He makes his feature length directing debut with Towelhead, an adaptation of a novel of the same name written by Alicia Erian. Unfortunately, his well-intentioned screenplay and the mostly strong ensemble performances cannot survive the uneven direction that proves Ball maybe wasn’t ready to take on a feature length film.

Towelhead is set in the early 90s, just as the US was getting ready to fight the Gulf War. Summer Bishil stars as Jasira, an Arab-American girl whose flighty mother sends her to live with her strict father (Peter MacDissi), a Lebanese man with strict moral values, but who also happens to despise Saddam Hussein and is angry when people automatically assume the opposite. He’s not afraid to strike Jasira when he doesn’t like something she’s done and is completely unprepared for handling Jasira’s sexual awakening, which the story explores through two very different relationships.

The first is with her next door neighbor, known simply to us as Mr. Vuoso (Aaron Eckhart). He’s an Army reservist who is married and has a young son that likes to spout off racial epithets directed at Jasira (see the film’s title for an example). One day he catches Jasira reading one of his pornographic magazines and begins to take an unhealthy interest in her. Alan Ball is an expert at exploring humor in the darkest of situations, and this time he pushes it so far that he closes in on territory only previously covered by Todd Solondz in Happiness. However, he is successful because of the stellar performance of Aaron Eckhart, who walks a tightrope in exploring all the dimensions of this guy and comes away with a memorable character.

Ball is much less successful in exploring the relationship between Jasira and her teenage boyfriend Thomas (Eugene Jones III). The setup is atrociously handled. Thomas insults Jasira and the next scene he apologizes to her. The next thing we see, she’s been invited to dinner with his parents. It appears that Alan Ball is in such a rush to get through the book he’s adapting that he doesn’t have time to develop this relationship. There’s very little chemistry between the two actors, and there’s little reason for the audience to root for them to stay together, although the movie clearly wants us to do that. Ball says that the character is supposed to be 14 years old, but the actor that was cast isn’t convincing at all at that age, making it all the more awkward because Bishil is certainly convincing as a 13 year old.

As a director, Ball’s pacing is off so bad that the story almost plays like a highlight reel. It’s as if Ball wanted to make sure to include all of his favorite moments from the book that he didn’t have time for little things like character development or natural story progression. The main problem is that scenes are awkwardly strung together and end at artificial points. For example, Jasira becomes friends with a girl from her school and they have a slumber party. The slumber party basically lasts barely a minute until Jasira’s friend tells her she should apologize to Thomas, and then we immediately cut to Jasira apologizing to Thomas. Most of the story is told in this format, and at times it feels as if you're playing connect the dots instead of watching a movie.

Ball also has some problems with the way he stages certain scenes. There’s a scene late in the film where Thomas walks into a room and starts talking, completely unaware that Jasira’s father is there. It’s not like the guy is hiding in a corner. He’s standing right at the door, yet we’re supposed to believe that Thomas doesn’t see him until he says something awkward. That’s when we get the “comic” payoff, sold to us when the actor turns his neck so stiffly that I looked for the puppet strings that Ball was holding from above.

Alan Ball is a man who likes to explore dark themes with comic underpinnings, and the way he deals with such themes is commendable. Towelhead certainly has the right ingredients to fit in with his best work, but it just doesn't come together. Somewhere along the way he forgot to let his story breathe and give his characters room to grow. Outside of the brilliant Aaron Eckhart portrayal of Mr. Vuoso and an appealing lead performance from newcomer Summer Bishil, this is a seriously flawed movie that could have been so much more.

Safety Last! (Fred C. Newmeyer, Sam Taylor, 1923) ****

Dir. Fred C. Newmeyer and Sam Taylor

Starring Harold Lloyd, Mildred Davis, Bill Strother

Harold Lloyd is often forgotten when it comes to the great comedy stars of the silent film era. It usually boils down to a (sometimes pretty heated) debate between Buster Keaton fans and Charlie Chaplin fans, and Lloyd gets lost in the mix. Part of the reason is that he held on to the rights to his films, not rereleasing them as frequently as the best of Chaplin or Keaton, and many people just haven’t heard of most of his work. That’s a real shame, because Harold Lloyd was an incredibly gifted comedian and Safety Last is a splendid comedy that stands tall with the best work of Chaplin or Keaton.

As was often the case with silent comedies, the names aren’t important. Harold is billed here as “The Boy”, his girlfriend (Mildred Taylor) is billed as “The Girl”, and his roommate is billed as “The Pal” (Bill Strother). The story involves Harold moving from his small town to the big city, promising to bring his girlfriend along when he has become successful out there. Of course, things haven’t worked out as Harold planned. He’s stuck in what appears to be a dead end job at a department store, making a meager living and spending a great deal of energy avoiding the tyrannical floorwalker (Westcott Clarke). However, Harold write home to his girl that he’s a big success and sends her jewelry to prove it. When she decides to come to the city to visit, he must act quick to turn into the success that he’s been pretending to be all along.

This is a classic American story of an average guy trying to make it in the big city. With his big glasses, he looks like Clark Kent (and it’s been rumored that Kent’s look was based on Lloyd). Whereas Charlie Chaplin played a poor guy that inadvertently caused trouble and Buster Keaton played a range of characters with his stonefaced expression, Harold Lloyd represented the hardworking middle class. The villains are the oppressive managers that are trying to keep hard working people down, and the rich demanding customers who won’t give Harold a break. Most audiences will be able to identify with Harold’s plight. One of my favorite gags early on in the movie is when Harold and his friend are able to hide themselves inside two hanging coats when the landlord comes by looking for the rent.

Of course, Safety Last! is mostly memorable for the comedy sequence that dominates the last half of the picture. In his effort to make some money and prove his success to his girlfriend, Harold arranges for his friend (who had previously demonstrated climbing prowess) to climb the side of the high rise department store. If enough people come by to watch, Harold’s boss will give him $1000. Things don’t go as planned, because Harold’s friend is in trouble with a police officer, who has decided to show up and witness the climb. This means Harold must make the climb himself, dodging numerous obstacles along the way.

This sequence is mostly famous for the iconic image of Harold Lloyd hanging on to the hands of a clock high above the street. It’s a memorable shot, but what makes this scene so great is the real sense of danger involved. Modern audiences are so used to the cartoonish CGI effects and the work of expert stuntmen that most of the death defying action scenes we see today amount to nothing more than an impressive pyrotechnics show. There’s not necessarily anything wrong with that, but watching Harold hang high above the building is far more exciting because the shots clearly aren’t done with a fake backdrop or by superimposing Harold Lloyd against a blue screen. I won’t spoil it by telling you how it was done, except to note that it is still an extremely dangerous stunt.

I may have made this sound like nothing more than a long thrill sequence, but that is far from the case. This is one of the funniest extended gags in any film I’ve seen. Harold has to dodge tons of obstacles during his climb, all while his friend is trying to dodge the cop. Each gag builds on the next in hilarious fashion. It’s really amazing how many ideas Lloyd and his filmmakers came up with here. Just when you think they’ve run out, they come up with another one to throw at you.

The film doesn’t ride completely on this sequence alone. There are numerous gags in the first half of the picture, including a clever trick with the opening shot and Harold’s attempts at pretending to be the store manager to impress his girlfriend. Harold is a very ingratiating performer and he is ably assisted by Bill Strother, who does a terrific job in the only film he would ever make. And behind it all we have a simple, but timeless story of a hardworking man (literally) climbing to the top.

1927 - Top 10 and Year in Review

1927 was considered by some to be one of the greatest years in cinema history, but it was a bit of a disappointment for me. A couple of the classics (The Jazz Singer, Wings) were actually pretty bad, while one of the supposed masterpeices (The General) is very good, but quite a bit overrated. I saw 19 films this year and only liked 12 of them, barely giving me enough for a top 10. Thankfully, the 10 that did make it were all very good and I'm not embarassed to have any of them on a top 10 list.

I saw fewer films than expected for this year for a couple reasons. A few films just lost my interest for various reasons. I was convinced that De Mille's King of Kings and Fairbanks The Gaucho really were not going to make my top 10. Also, I declined to watch the 1927 version of Uncle Tom's Cabin, because the racial attitudes of the time (as evidenced in Siren of the Tropics and College) already made me uncomfortable and it didn't appear this film would change that feeling.

There were also a few films that I planned to see but later discovered they did not meet my criteria for 1927. Films are placed in the year that they debuted in the United States, as long as that is within 3 years of the international release. If it is later, or if it never got released in the US, then it counts for the international release year. That's why Bed and Sofa qualifies for 1927, but Hitchcock's The Lodger, Pudovkin's The End of St. Petersburg, Eisenstein's October, Gance's Napoleon, and Ruttmann's Berlin: Symphony of a Great City will be placed into later years.

And here is the 1927 Top 10 List:

10. Bed and Sofa (Abram Room)

This surprisignly mature film for 1927 really caught me by surprise. I figured it would be a serious melodrama, but it contains a breezy score, delicate performances, and a hilarious ending. Brilliant treatment of subject matter by Abram Room.

9. Seventh Heaven (Frank Borzage)

Melodrama done right. Everything is over the top, but Janet Gaynor and Charles Farrell know how to make it work. Gaynor was ahead of most other actresses of her time, in her ability to play dramatic scenes without going over the top.

8. The Cat and the Canary (Paul Leni)

Every haunted house movie owes something to this one. Leni does a terrific job with the premise, creating suspense through some vivid atmosphere and utilizing early sound effects very well. Martha Mattox's brilliantly droll turn as Mammy Pleasant is a delight.

7. The General (Clyde Bruckman, Buster Keaton)

This might not be the masterpeice that everyone claims, but it is still a very funny film. Contains some very impressive and hilarious stunts performed by Buster Keaton. If only he was a more likeable guy, it would be easier to root for him.

6. The Kid Brother (Ted Wilde)

Harold Lloyd doesn't quite have that problem. He's instantly likeable here, as usual playing an underdog that just wants his brothers to quit picking on him and for his dad to believe in him. Has a stronger story than most silent comedies, and some memorable comedy gags throughout.

5. The Student Prince in Old Heidelberg (Ernst Lubitsch)

This is the first of what will likely be very many appearances by Lubitsch on these lists. He takes a standard romance, puts his special touch on it, and makes it feel completely new. Novarro and Shearer are a great romantic pair, and Hersholt is memorable in a supporting role.

4. The Unknown (Tod Browning)

Tod Browning tells a fascinating story about outcasts in a travelling circus troupe. The story is filled with wonderful surprises and brilliantly realized dramatic moments. There is a reaction scene in here where Lon Chaney does some of the finest acting ever captured on film. Works as a great horror/suspense, but also works as genuine drama.

3. Underworld (Josef Von Sternberg)

It's a shame that this film is not currently available on DVD, because it's a wonderful example of classic silent cinema. Like The Unknown, it works on multiple levels. Here we have a classic gangster story with a memorable tough guy at the lead, but we also have a fantastic story of loyalty and redemption at the core. Outstanding performances by all three leads.

2. Metropolis (Fritz Lang)

Fritz Lang was just operating at a level much higher than most other directors of his era. Here he gives us an amazing vision of a futuristic city and the divide between the privileged (who live in the clouds) and the workers that literally power the city. Lang manages to give us a story with in depth political themes, but also a very fast paced and exciting one.

1. Sunrise: A Song of Two Humans (FW Murnau)

When I first saw it, I wasn't sure this would be my #1, mainly because I had some major questions about the ending. However, this is the film that has stayed with me the most. Murnau's style is very impressive, telling a story with very few title cards and trusting his actors to get the message across, and his beautiful shots of city life are memorable. Janet Gaynor is particularly impressive with her ability to play dramatic scenes without going over the top. The ending still haunts me, but if anything, that's a good thing.




Awards

Best Director

Tod Browning, The Unknown
*Fritz Lang, Metropolis
Ernst Lubitsch, The Student Prince in Old Heidelberg
FW Murnau, Sunrise: A Song of Two Humans
Josef Von Sternberg, Underworld

Best Lead Actor

George Bancroft, Underworld
*Lon Chaney, The Unknown
Harold Lloyd, The Kid Brother
Ramon Novarro, The Student Prince in Old Heidelberg
George O'Brien, Sunrise: A Song of Two Humans

Best Lead Actress

Evelyn Brent, Underworld
Greta Garbo, Love
Janet Gaynor, Seventh Heaven
*Janet Gaynor, Sunrise: A Song of Two Humans
Norma Shearer, The Student Prince in Old Heidelberg

Best Supporting Actor

William Austin, It
Clive Brook, Underworld
*Jean Hersholt, The Student Prince in Old Heidelberg
Rudolf Klein-Rogge, Metropolis
Warner Oland, The Jazz Singer

Best Supporting Actress

Eugenie Besserer, The Jazz Singer
Joan Crawford, The Unknown
Brigitte Helm, Metropolis
*Martha Mattox, The Cat and the Canary
Jobyna Ralston, The Kid Brother

Adapted Screenplay

The General (Buster Keaton, Clyde Bruckman)
*Metropolis (Thea von Harbou)
The Student Prince in Old Heidelberg (Marian Ainslee, Ruth Cummings)
Underworld (Ben Hecht, Charles Furthman)
The Unknown (Tod Browning, Joseph Farnham)

Original Screenplay

Bed and Sofa (Abram Room, Viktor Shklovsky)
The Kid Brother (John Grey, Ted Wilde, Thomas J. Crizer)
*Sunrise (Carl Meyer, Katharine Hilliker, HH Caldwell)

Best Editing


Metropolis
The Student Prince in Old Heidelberg
Sunrise
Underworld
The Unknown

Best Cinematography

Chang: A Drama of the Wilderness
The General
Metropolis
Seventh Heaven
Sunrise

Best Art Direction

The Cat and the Canary
The General
Metropolis
Seventh Heaven
Sunrise

Best Costume Design

Love
Metropolis
Seventh Heaven
The Student Prince in Old Heidelberg
Underworld

Best Makeup

The Cat and the Canary
Metropolis
The Unknown

Love (Edmund Goulding) ***

Director: Edmund Goulding

Cast: Greta Garbo, John Gilbert, Brandon Hurst, Philippe De Lacey

Background: MGM was eager to recreate the success they had with Flesh and the Devil, a romance which had starred Greta Garbo and John Gilbert. They decided to film a scripted adaptation of Leo Tolstoy's Anna Karenina with the two stars paired up once again. The studio settled with the title Love so they could have ads saying "Greta Garbo and John Gilbert in LOVE".

Story: Anna Karenina (Garbo) is a married woman who falls in love with military officer Captain count Vronsky (Gilbert). Despite initial reluctance to betray her vows, she starts spending more and more time with him. However, the lovers are forced to make a difficult decision when Vronsky's military career is put in serious jeopardy as a result of the affair.

Thoughts: Greta Garbo. That's really all you need to say. The camera really loves her, and she's filmed with incredibly soft lighting that actually does make her glow. It's definitely a challenge for anyone to be her leading man, but John Gilbert does as good a job as can be expected, and the chemistry between the two is strong enough to support the love story. Goulding is a sophisticated director, and moves things along nicely with plenty of style. Where the film runs into problems is when it departs from Tolstoy's novel at the end. There's nothing wrong with departing from your source material, but you better have a good reason to do so and the ending to this film is absurd. Give me a break, but also give me more Greta Garbo. (Note: There is an alternate ending in the international version that follows the ending of Tolstoy's novel, but I have not seen it.)

Postscript: Greta Garbo would of course go on to become one of the most famous actresses in history, with her most famous roles coming in 1932's Grand Hotel and 1939's Ninotchka. She even did another adaptation of Anna Karenina in 1935, this time paired up with Frederic March. Gilbert would reunite with Garbo a couple more times, but his career faltered during the sound era, although it is doubtful his voice had anything to do with it. Director Goulding had a successful directing career, which included the 1932 Best Picture winner Grand Hotel.

Bed and Sofa (Abram Room) ***1/2

Director: Abram Room

Cast: Nikolai Batalov, Lyudmila Semyonova, Vladimir Fogel

Background: Director Abram Room had 4 films under his belt before Bed and Sofa, but none of them distinguished enough to be available today. Nikolai Batalov was just coming off a lead role in a classic Russian silent film called Mother. Vladimir Fogel also had a notable performance in the 1925 film Chess Fever (which is packaged with Bed and Sofa on DVD release).

Story: Kolia (Batalov) and Liuda (Semyonova) are a married couple living in a tiny Moscow apartment. When Kolia's unemployed friend Volodia (Fogel) comes to Moscow, the couple invite him to stay. Volodia sleeps on the sofa, while Kolia and his wife share the bed just a few feet away. However, when Kolia goes away on a business trip, Liuda and Volodia begin to fall for one another.

Thoughts: Well, this is certainly an interesting film. Who would've thought that in Communist Russia of all places would we have the 1927 version of Melrose Place? And I don't even mean that as an insult. This is a fun and totally surprising comedy that really takes you places you wouldn't expect from a silent film. I mean, just imagine the situation of a man who leaves his cheating wife, only to find no place to live and now forced to sleep on the sofa just a few feet from where his wife sleeps with his former best friend. That is just crazy and totally messed up, and I loved every minute of it. This definitely has some cleverly subtle political points, but I love that Room avoids the melodrama and plays this mostly for the humor. The three cast members have excellent chemistry together, creating an interesting dynamic. The final scene is one of the biggest laughs I've had outside of a Chaplin, Keaton, or Lloyd film. Well played, Mr. Room.

Postscript: Abram Room would continue directing until 1971, but none of his movies got much notice. The same can be said for the actors, none of whom had a substantial career after this film was released.

Wings (William Wellman) *1/2

Director: William Wellman

Cast: Charles "Buddy" Rogers, Richard Arlen, Clara Bow, Jobyna Ralston, Gary Cooper

Background: Paramount granted director William Wellman an unheard of budget of $2 million for a story about heroism in World War 1. Wellman had not yet distinguished himself with any film work, but he was given the gift of Clara Bow in a major role, which back then meant almost guaranteed success.

Story: Jack (Rogers) and David (Arlen) are two young men from the same hometown that go off to fight in World War 1. They're both in love with the same woman (Ralston), although Jack's next door neighor Mary (Bow) is the one in love with him. Jack and David become friends while training to be fighter pilots, and put aside their differences to take on the enemy.

Thoughts: If Michael Bay was alive in 1927, this is the film he would've made. Wings has battle sequences that were certainly advanced for the time period, but it features a brainless story and some particularly awful acting. As much as I liked Clara Bow in the flawed It, she is incredibly annoying here. She goes way overboard in making her character perky and is practically hopping up and down after every line. The story takes a major detour from the action in the 2nd act for an excessively long and annoying sequence where Jack is drunk and doesn't recognize Mary, who is trying to inform him that leave has been cancelled. The scene would be stupid no matter what, but it is seriously derailed by the awful performance from Buddy Rogers, who is even worse here than he was in My Best Girl. Then there's a major event that happens in the 3rd act that has some interesting psychological implications, and the right director could've done something interesting with it. William Wellman is apparently not that director. This is just really, really bad storytelling and the fact that the Academy chose to honor this film with the first Best Picture Oscar just shows they were just as stupid in the 20s as they are today. (Note: They did get No Country For Old Men right, but I'm still pissed about Crash.)

Postscript: This not only won the first Best Picture Oscar, but it was one of the most succesful movies of the silent era. The formula would be aped countless times over the years. Wellman would have a long and distinguished career, directing some very notable films, including Public Enemy and The Ox-Bow Incident. Richard Arlen would continue acting through the 70s, mostly in supporting roles. Wings also marked one of the first film appearances of Gary Cooper. Nothing notable here, but we will run into him again shortly.

Quality Street (Sidney Franklin) **

Director: Sidney Franklin

Cast: Marion Davies, Conrad Nagel, Helen Jerome Eddy, Flora Finch, Margaret Seddon

Background: Marion Davies was probably most notable for being the mistress of William Randolph Hearst, and this caused some negative press for her, especially since he would end up financing her films. She was said to have strong comedic skills, but Hearst preferred her to star in expensive costume dramas and this hampered her career a bit. Quality Street was an adaptation of a play by JM Barrie.

Story: Phoebe Throssel (Davies) is ecstatic to be engaged to Dr. Valentine Brown (Nagel). Unfortunately, he goes off to fight in the Napoleonic Wars before their marriage. When he returns 10 years later, he is shocked at how much she has aged. She decides to pose as her younger niece Livvy to try and entice him.

Thoughts: Hearst liked her in the expensive costume dramas, and this fits that bill despite a premise that seems ripe for comedy. Part of the problem is director Sidney Franklin, who just doesn't have the light touch of a Lubitsch. The film takes forever on a rather dull courtship between Phoebe and Valentine, when this really should have been the first act. Of course, they may just have followed the play, but if you've got weak source material, you pay the price for sticking to it. The film is surprisingly humorless and does not take advantage of Marion Davies obvious comedic skills, which are hinted at in a few scenes when the director decides to lighten up. Nagel is a listless leading man, but there are some nice supporting performances, especially from Helen Jerome Eddy as Phoebe's best friend. It's a shame that this is one of the very few Marion Davies films available on DVD, because it is not representative of her best work at all.

Postscript: Davies would be very successful the next year with two King Vidor pictures, The Patsy and Show People. She was able to successfully transition to the sound era with performances in musicals like Marianne and Peg O' My Heart, but would retire in 1937 to spend more time with Hearst. There was a remake of Quality Street in 1937 with Katherine Hepburn in the Davies role, but it flopped badly at the box office.

The Student Prince in Old Heidelberg (Ernst Lubitsch) ****

Director: Ernst Lubitsch

Cast: Ramon Novarro, Norma Shearer, Jean Hersholt, Gustav von Seyffertitz

Background: Ernst Lubitsch is mostly known for his delightful sound pictures, such as The Shop Around Corner, Trouble in Paradise, and To Be or Not to Be. However, he had already made 47 films before 1927. Some of these silents received strong critical acclaim, including Lady Windemere's Fan and The Marriage Circle. Unfortunately, his films weren't financially successful and Warner Brothers terminated his contract. MGM/Paramount picked up the remainder of his contract, and his first film for them was an adaptation of a Wilhelm Meyer-Förster novel, The Student Prince in Old Heidelberg.

Story: Prince Karl (Novarro) lived a mostly sheltered childhood, unable to take part in games with normal children. He was being groomed to be King and that wouldn't be appropriate. Things change a bit when he is assigned an understanding tutor (Jean Hersholt) and goes off to college in Heidelberg. It is here where he is treated like a normal person for the first time. It is also where he will meet and fall in love with beautiful barmaid Kathi (Shearer), but class distinctions and family loyalty threaten their romance.

Thoughts: They don't make them the way Lubitsch did anymore. What seems to be a fairly standard romantic story (rich boy/poor girl) is energized by Lubitsch's wit and creativity. Lubitsch was always pretty advanced in the ways he dealt with sex (see Trouble in Paradise) and this one is no exception. There's a great scene where the Prince sees Kathi serving drinks to the gang, and he watches as they lift her up in celebration (she's just one of the guys) and she downs a full glass of beer in one shot. Karl is at first disgusted, but his expression quickly turns to one of lust. Lubitsch is also great at coaxing wonderful performances from his cast. Jean Hersholt has a memorable turn as the Prince's tutor, bringing so much life to his character that by the end of the movie, you feel like you've known him for years. Novarro and Shearer make a compelling romantic pair, although Shearer overplays her dramatic scenes a bit too much. By the end, Lubitsch has us fully invested in these character, and the delicately handled final few scenes of this wonderful film pack an emotional wallop.

Postscript: The film had a decent critical reception, but it lost money at the box office. Today, it is widely considered Lubitsch's best silent film. He would go on to great success in the 30s and 40s, with notable classics like Trouble in Paradise and The Shop Around the Corner. He was also a major inspiration for another great Americna director, Billy Wilder. Novarro kept working steadily for a few decades, but most of his success was as a supporting player. Norma Shearer would go on to play some major roles, including the lead in 1938's Marie Antoinette and Juliet in 1936's Romeo and Juliet. She was also part of the stellar cast that appeared in 1939's The Women. Jean Hersholt would continue his remarkable career as a supporting player and become President of the Academy of Motion Piicture Arts and Sciences in 1945.

The General (Buster Keaton, Clyde Bruckman) ***1/2

Director: Buster Keaton, Clyde Bruckman

Cast: Buster Keaton, Marion Mack

Background: By 1927, Buster Keaton had already made a name for himself with some classic feature length comedies such as Our Hospitality, Sherlock Jr., The Navigator, and (my personal favorite) Seven Chances.

Story: Johnny Gray (Keaton) is a railroad engineer in pre-Civil War south. When war breaks out, his girlfriend Annabelle (Mack) urges him to sign up and won't speak to him until he's wearing a uniform. When he goes to sign up, he is rejected because he's more valuable as an engineer, but of course she doesn't believe him. Time has passed and he's now engineer of a southern locomotive called the General. The Union attempts to steal this train (with Annabelle on board), and Johnny must rescue both his train and his girl.

Thoughts: Definitely a night and day situation when comparing this with Buster's other 1927 release College. Interestingly, while that one was derailed by a racist blackface sequence, this film where he plays a man wanting desperately to be a Confederate soldier features no such racial stereotypes. The situation boils down to a stolen train, and Buster's attempt to retreive it. This leads us on a long and hilarious chase sequence, which eventually doubles back on itself. There's some really funny stuff here. My favorite gag involves his miserable attempts to fire a cannon at the other train. One complaint I'd have about this film is that the chase sequence often feels repetitive. Buster constantly leaps from the front of the train to the back of the train, and while the stunts he performs are very impressive, they don't get more impressive through repetition. Despite that complaint, this is still one of Buster's best films.

Postscript: The General was an enormous failure at the box office and the critics savaged it. It was considered a classic later on and is commonly considered one of the greatest films ever made. It was #18 on the AFI 100 list and Buster Keaton was #21 on the AFI's Greatest Stars list.

Chang: A Drama of the Wilderness (Merrian C. Cooper, Ernest Shoedsack) ***

Director: Merian C. Cooper, Ernest Shoedsack

Cast: Kru, Chantui, Nah

Background: Inspired by the 1920 film Nanook of the North, which is considered the first documentary, directors Shoedsack and Cooper collaborated on the 1925 documentary Grass. This film followed the long journey of a Persian tribe through the mountains. Grass was very successful, leading the filmmakers to rejoin two years later for Chang.

Story: Chang follows the story of a farmer in Siam and the hardships he faces in trying to protect his family, his livestock, and his home from the many dangers lurking in the jungle.

Thoughts: Definitely some interesting stuff going on here. Much of it is certainly faked, but Shoedsack and Cooper do a good job at making everything look authentic. There's an expertly handled extended sequence where Kru sets a trap for a tiger. There's also what I assume must be the first talking animal. We get several title cards throughout the film informing us what Bimbo the pet monkey is saying. It's an interesting and sometimes amusing technique, but perhaps calls more attention to the dramatized nature of the events than Shoedsack and Cooper had intended. Can't really argue with the artistry of the final sequence, which is a bravura depiction of an elephant stampede.

Postscript: Chang was successful, making Shoedsack and Cooper major players. They would go on to direct one of the most well known films of all-time, 1933's King Kong. This would be Cooper's last film, but Shoedsack continued directing through the 40's, including The Son of Kong and Mighty Joe Young.

Underworld (Josef von Sternberg) ****

Director: Josef von Sternberg

Cast: George Bancroft, Evelyn Brent, Clive Brook, Fred Kohler, Larry Semon

Background: One of the early admirers of Sternberg was none other than Charlie Chaplin, who enjoyed Sternberg's directing debut, The Salvation Hunters. Sternberg was quickly snapped up by Paramount pictures, who asked him to take over directing duties on a gangster film called Underworld, where he would replace fired director Arthur Rosson.

Story: Bull Weed (Bancroft) is the toughest gangster in town and he likes to let people know it. One way he does this is to protect a lowly drunk (Brook) from the threats of a rival gangster. He helps the man (who now has the nickname "Rolls Royce") get back on his feet, and makes him one of his few trusted lieutenants. A problem arises when Bull's girlfriend Feathers (Brent) and Rolls Royce begin to fall for each other, but both are conflicted because of their loyalty to Bull.

Thoughts: The first thing I must point out is that Bull Weed is a fantastic character; a true badass on the level of the best of Cagney and Eastwood. There's a great early scene that illustrates this so well. After a confrontation with a rival gangster, Bull sends his few allies away. All by himself, he walks back into the bar and stares right at the gangster and his several accomplices, knowing that none of them have the courage to take him on. After all, he's Bull Weed. Bancroft completely sells the gravitas of this character, but what makes this movie great are not just the badass moments, but the fascinating complexities in this story of loyalty and ethics. The three main characters (especially Bull and Feathers) could easily be developed as stereotypes, but von Sternberg's direction and Ben Hecht's writing probes the emotional conflicts each of these characters are facing. There's even some fun wordplay in this silent film (ex. "I was framed!" - "What are you, a picture?") Bancroft, Brent, and Brook are completely convincing at every step and make for one of the few movie love triangles where you're really not rooting against anyone. The brilliant twists in the third act amp up the moral dilemma faced by Rolls Royce and Feathers, and the fantastic resolution to this dilemma could only be sold by filmmakers and actors working at the very top of their craft.

Postscript: The studio thought this was going to be a bomb, so it only started with a very small release. Screenwriter Ben Hecht even asked to have his name removed from the credits. Good word of mouth eventually made this movie a success, and Hecht would go on to win an Oscar for Best Screenplay. Von Sternberg would go on to a long and successful directing career, often pairing up with Marlene Dietrich. We will definitely be visiting many more works of his in the coming years. This film helped define Bancroft as a classic tough guy, and he would play off that image in future films with characters such as Cannoball Casey, Two-Gun Nolan, and Thunderbolt Jim Lang. He continued acting through 1942, including supporting roles in Angels with Dirty Faces and Stagecoach. BRent made a remarkably successful transition to sound and would continue acting (often in Von Sternberg films) through the 40's. Clive Brook also had a successful career, including several appearances as Sherlock Holmes.

The Siren of the Tropics (Henri Etievant, Mario Nalpas) 1/2*

Director: Henri Etievant, Mario Nalpas


Cast: Josephine Baker, Pierre Batcheff, Regina Dalthy, Regina Thomas, Georges Melchior

Background: Josephine Baker started dancing proffessionally at the age of 13 and later performed as a chorus girl on Broadway. In 1925, she became a huge star in Paris where she didn't have to deal with the same prejudices that would'v elimited her in the United States. As her popularity began to rise, she began to appear in French films designed to take advantage of her talents. The first of these was The Siren of the Tropics.

Story: Andre Breval wants to marry his girlfriend, but her godfather also has his eyes set on her, and refuses to allow the marriage. He sends Andre on a business trip to the tropics, with a plan for him to never return. While there, he interrupts the attempted rape of an island girl named Papitou (Baker). She returns the favor and later saves his life. She falls in love with him, but he spurns her advances. Undaunted, she flees the islands to make her way to Paris and try to win his love.

Thoughts: Wow, this is a big pile of steaming crap and by far the worst silent movie I have seen to date. Josephine Baker is certainly a talented entertainer, but like Al Jolson, she is not a very good actress (at least she wasn't at this point). Her reactions are overwrought when they should be subtle and blank when they should be overwrought. She isn't helped by the (maybe unintentionally) racist screenplay. For some reason they have Papitou speaking in horribly broken language like "Papitou not go there" throughout the film. However, her father is a white man who speaks perfect English eventhough he's a drunk. It doesn't make any sense. Not only that, but they constantly have her hopping around on bookshelves and chairs and tables like she's an uncivilized creature, despite no one else in the movie acting like this. Maybe the intent was to show off her physical skills, but it came across all wrong. The French may have been more progressive on racial matters than the US at this time, but this film sure makes it look like they still didn't have an overall positive view of minorities. Of course, there are problems of this nature in many films during this era and some people argue that exceptions should be made. The problem with this film is even if you do that, it's still an incredibly stupid story with dull direction and an idiotic resolution.

Postscript: Baker would make a few more movies after this, but would never really gain notoriety as a movie star. She attempted to come back to the U.S., but received terrible reviews from critics and audiences not used to work, or they wer ejust plain racist. Afte rthis, she returned to Paris where she was a major star. She did join the civil rights movement later on and even spoke at rallies with Martin Luther King Jr.

The Unknown (Tod Browning) ****

Director: Tod Browning

Cast: Lon Chaney, Joan Crawford, Norman Kerry, John George

Background: Tod Browning was a film actor who had minor parts in several DW Griffith films. A serious car accident laid him up for an extended period of time, and during this time he wrote scripts. Two years after this, he begam directing and never looked back. By 1927, Browning already had more than 40 films to his credit, including several with Lon Chaney. The most notable of these were London After Midnight (now lost) and The Unholy Three.

Story: Alonzo (Chaney) is a circus performer who has no arms. His act consists of using his feet to throw knives at a woman. He falls in love with Nanon (Crawford), the daughter of the circus owner, but isn't happy to find out that he has a rival for her affections in fellow circus performer Malabar the Mighty (Kerry).

Thoughts: That's about all I'm willing to say about the story, because this is a film filled with wonderful, shocking surprises. Browning has created a fascinating world of castoffs marking their existence in a travelling circus show. Nothing that happens in this world is as you would expect it. Browning was really ahead of many other directors of his time. The final sequence is a masterpeice of precision editing that creates more excitement than you'll find in most modern thrillers. Chaney's performance at the center is one of the most remarkable I've ever seen. There is a sequence where he goes through several emotions at once, all while trying to hide these emotions from people standing right in front of him. It's an incredible scene that every aspiring actor should watch. There's also a very nice performance from a young Joan Crawford. She would later state that she learned more about acting from Chaney than anyone else, and it's not hard to see the connection between Chaney's powerful performance here and the intense Joan Crawford we would see in a few years.

Postscript: The film received mixed reviews upon release, but was a box office success and is regarded as one of the best of the many Browning-Chaney collaborations. Browning would go on to make a name for himself with Dracula in 1931 and Freaks in 1932. Chaney would die from lung cancer just three years after this film completed. Crawford would go on to be one of the most notable stars of her time.

College (James Horne, Buster Keaton) **1/2

Director: James Horne, Buster Keaton

Cast: Buster Keaton, Anne Cornwall, Harold Goodwin, Snitz Edwards

Background: Not much info can be found on the making of this one, but Buster Keaton said he did not get along with co-director James Horne and ended up directing most of the movie himself. It is also rumored that a scene of Buster playing football was removed to avoid the appearance of copying Harold Lloyd's 1926 comedy The Freshman.

Story: Ronald (Keaton) is a very smart high school student who is named valedictorian of his high school class. During his graduation speech, he derides athletics as being worthless. This upsets his girlfriend Mary (Cornwall), who can't stand his elitist attitude. To win her back, he decides to try and be an athlete when he gets to college. His attempts at being an athlete result in consistent disaster.

Thoughts: You can't deny that Buster is a gifted physical comedian. There's an extended baseball sequence early on that is absolutely hilarious. However, this film contains one of the more blatantly racist moments I've seen. There's a sequence where Buster pretends to be a soda clerk to spy on Mary and the jock she is spending time with. The way he's able to hide from them is by doing blackface. The sequence is awful for many reasons. First of all, it's obvious that he is a white man doing blackface. I mean, it's possible we're to believe that the jock is stupid, but if Mary's that dumb, then perhaps Ronald should move on (more on that later). It's even worse that they've cast actual African-American actors as the other soda clerks, making it even more obvious that Buster would easily be caught. The absolute nadir of this sequence is when it looks like Ronald may be caught, but he saves himself by walking away with a limp. This is far more bothersome than the blackface sequences in The Jazz Singer. I guess we're supposed to think this is okay because Buster gets found out by the black characters when his makeup comes off, and they're really angry at him for it. This still doesn't excuse the fact that this scene is patently stupid because it makes no logical sense or that Buster used a limp for comedic effect. This sequence is so stupid and offensive that it drowns out everything else that goes on, which is a shame, because there is some funny stuff here. Another problem is the character of Mary. We're never given a reason why Buster likes her, and she's mean to him for most of the movie. I'd like just once for Buster to give up at the end of one of these movies, and say the girl isn't worth it.

Postscript: This is not one of Buster’s more memorable films. He would have more success with The General, which was released the same year and followed that up with a pair of highly praised films in 1928: The Cameraman and Steamboat Bill Jr. The sound era came and Buster kept working, but he was never as successful as he was in the silents. Perhaps his most notable performance was a supporting role in 1952’s Limelight, where he appeared alongside none other than Charlie Chaplin.