Happy to see that much of the motion in these motion-paintings involves snow or animals – in fact, when there are humans in a scene, they’re the only things that don’t come alive. The visuals sometimes remind of The Mill and the Cross, and sometimes you can’t tell they’re based on still photos at all.

Here’s me, pointlessly taking stills of motion versions of stills:

Crows are prominent. Rare is the scene without any birds in it. The movie is as attuned to outdoor bird behavior as I am, always wondering what the crows and ducks and sandpipers are up to. Whenever there are birds seen through a window we hear opera. Not all the animals survive… tense music in frame 5 before a deer gets shot, and there are more bird fatalities in this than in The Lighthouse. In the most narrative scene, a seagull gets shot and another mourns him. Great ending: a Disney-sounding song, a sleeping motion designer, a classic film on an iMac rendering at about 1fps, the wind in the trees outside.

Nice to see this at the Landmark before it disappeared onto the small screen (bragging). Quiet movie – there are long stretches with low conversations and no background music. I don’t want to say it’s too quiet, but its epic length and contemplative air didn’t resonate as much with me as others – I didn’t feel a great sadness that the hit man’s family wouldn’t talk to him and he ended up friendless, puttering around a retirement home and choosing his own casket. Still, from scene to scene, undeniably a heck of a movie. Scorsese with his Gangs of New York screenwriter. Starring all the actors I recognize, plus a few I almost do (The Captain from USS Callister as Hoffa’s foster son).

After Keystone and before Mutual, Chaplin spent a year at Essanay Studios in Chicago.


His New Job

Oh man, these Essanay shorts are a half hour long? And there are seventeen of them, so that’s gonna be… about a hundred hours of dudes opening doors into other dudes’ faces and knocking them down. But if I wasn’t amused, I’d quit… the only thing that definitely has to go is the generic silent-film music on the blu-ray. If they’re gonna play music with no regard to the visuals’ mood or editing anyway, next time I might as well just put on something of my own. Anyway, Charlie comes to a film casting office, gets hired as an extra but fucks that up, is made a carpenter until a lead actor is fired, then Charlie replaces that guy in the film-within-film. So many asses get kicked and stabbed and sawed and thwacked, and finally a hammer-wielding Charlie flies into a workplace-violence rage. With Charles “no relation” Hitchcock as the late-arriving male lead, and Gloria Swanson as a background stenographer… I love that extras played movie stars, and stars played extras.

That must be Gloria in the back:


A Night Out

Katy joined me for most of this, making it the first Chaplin we’ve watched since The Gold Rush in 2010. I suppose it’s better than the previous short, but not much. Chaplin plays a fucking asshole, out drinking with his crosseyed friend Ben Turpin, who tries to keep him out of trouble and whom Charlie will later try to murder with a brick. In the meantime he gets into hijinks with Edna Purviance (her first Chaplin film) and hides from her husband Bud Jamison (a Three Stooges sideman who died in the 1940’s from being a Christian Scientist). This one’s more notable for the personnel involved than anything that takes place in it.


The Champion

Charlie is down and out, but still offers a bulldog some of his lunch. He signs up as a human punching bag for boxer Spike Dugan (Ernest Van Pelt, on loan from the Broncho Billy cowboy series) and gets his face kalsomined, then fights back with a horseshoe in his boxing glove. So Charlie is pitted against Bob Uppercut (Bud Jamison) for the championship (featuring some fun long-take boxing shenanigans) and wins with help from the bulldog. Also, the movie stops dead for a while when a shady character arrives (prolific mustache villain Leo White) trying to bribe Charlie into throwing the fight while continually stopping to talk into the camera and do his Snidely mustache thing. Edna appears as an obligatory love interest. I listened to Bill Orcutt, which didn’t really work at all, but I got used to it.

That must be Essanay cofounder Broncho Billy next to our black-hatted villain:

Charlie and Edna heard us looking:


In The Park

In the park are: (2) romance-novel-reading Edna and her would-be-man (Bud Jamison in a short tie), (4) a pair of lovers (Leo White with his nogoodnik mustache, and Leona Anderson, Broncho Billy’s little sister), (5) the world’s most obvious pickpocket (future film director Lloyd Bacon), (7) a couple of violent bumpkins with a pot of sausages, (8) a cop, and (9) Charlie, going around being an absolute ass to everyone. More people get whacked in the head with bricks, the rest get kicked into the lake, and this terror spree is all fun and charming because Charlie is the one doing it.


A Jitney Elopement

Wow, a car chase, with Chaplin driving and being filmed from another car alongside. This is advanced stuff, but not very funny, as he spends 85% of the movie running away from his girl’s dad, her suitor and two cops, pausing to kick them in the ass or throw bricks at their heads. A promising intro section though, Chaplin pretending to be “Count Chloride” to get dinner at Edna’s house, but has table manner troubles. Some prop stuff we didn’t follow – the servants keep destroying the food and dishes, I’m not sure why, and Chaplin is constantly fidgeting with cigarettes. All the same actors as usual, now joined by Irish theater star Paddy “Bungling Bill” McGuire as one of the butlers.


The Tramp

More bricks to heads, in fact there are some worrying head injuries in this one, but now some new actions, as Charlie jump-kicks a guy, gets shot, and sits in a drain pipe cuz his ass is on fire. Naive Edna has two dollars, and everybody wants them, but Charlie wants mostly to protect the girl from his fellow tramps because she is his true love. When it turns out she’s not in love but just helping him out, and he sees her with fiancee Lloyd Bacon (also one of the tramps!), he sneaks away and walks off down the road, an ending he’d keep coming back to.

Edna and her two dollars:

Edna’s dad Ernest has more than two dollars:


By The Sea

Filmed at Crystal Pier, reportedly because Chaplin was between studio locations, having found the Essanay sets unacceptably low-rent. Chaplin gets mixed up with a mustache man because their hats, both tied to their coats with string because of the high wind, get tangled. He torments the guy, who ends up punching a cop, they make up then antagonize big Bud Jamison and an ice cream man, while Charlie takes time to flirt with all the wives. After minor roles in the previous films, Billy Armstrong has his big moment as the mustache man, with newcomer Margie Reiger as his wife, and extremely prolific sideman Snub Pollard as the ice cream man. I played a mix of Book Beriah songs, which worked great, especially Banquet of the Spirits.


His Regeneration

What is happening… it’s a crime drama with a cameo by Chaplin but mostly starring Broncho Billy with creepy glowing eyes as a thief and murderer. He gets shot, apparently not too badly, in a bar fight over a girl, then breaking into the same girl’s house that night he kills his partner Lee Willard. Lee was a Broncho regular, likewise the girl Marguerite Clayton, who agrees to tell the cops that she shot the partner breaking in, while Broncho promises that he’ll turn over a new leaf because of her kindness. More Book Beriah: Secret Chiefs and Julian Lage worked fine, but Abraxas just reinforced how unexpected this thing is.


Work

Charlie drives an equipment rickshaw up a steep hill, narrowly missing the streetcar, whipped the whole way by his abusive boss Charles Inslee (he played bosses and professors, made it to 1921’s Adventures of Tarzan before dying at 52). They are meant to wallpaper a house full of its own petty dramas (with the usual suspects plus housewife Marta Golden), but of course these workers are incredibly incompetent – and it’s kinda a mess of a movie too, feels excessively padded. One good bit: Marta puts her silver in the safe, and in response the workers safety-pin their watches into a pants pocket. I played my new guitar+cello CD from Drag City but it proved too dissonant for slapstick, so back to Zorn.


A Woman

Even before the crossdressing second half, this is an improvement in the action. Opens with more messing about in a park – a “flirt” is aggressively picking up guys, and family man Inslee fights Charlie over her and ends up in the lake. Charlie in turn picks up Inslee’s wife Marta and daughter Edna and they invite him home for doughnuts (whatever conditions these movies were filmed in, you can see the table is crawling with flies). When the man of the house comes home and Charlie realizes who it is, he dressed as a woman (even “shaves” his mustache) to escape, pauses to taunt dad and his new friend Billy Armstrong, then declares his love for Edna. Pretty much nonstop activity, with one delicious pause trying to find the perfect lakeside spot to kick in the blindfolded Inslee. One of five Chaplin shorts on the Anthology Film Archives Essentials list.

Edna is not impressed by Charlie’s initial attempt to be a woman:


The Bank

Back into filler territory already… cute bank vault intro, then it’s mostly Charlie feuding with fellow janitor Billy Armstrong and playing havoc with his mop, and a mixup where Edna is in love with a cashier also named Charlie. Things pick up when Lawrence Bowes (a newcomer but wearing the same fake mustache as all the heavies, so who can tell) brings some guys to rob the bank after his meeting with the president goes badly, our Charlie singlehandedly takes them all out while Cashier Charlie hides under a desk, and the girl switches Charlies… but in the apparently deleted final minute, the janitor wakes up kissing his mop, the robbery just a dream. Cashier Charlie was Carl Stockdale, bit actor and alleged murderer of director William Desmond Taylor in 1922.

A Tale of Two Charlies:


Shanghaied

More intricate than usual, and with some good acrobatics, mostly involving keeping things upright while a boat sways – even while doing flips! – then smashing everything anyway, because the general public didn’t pay their five cents to see Chaplin carefully protect a bunch of dishes. Ship owner pays captain (Bowes again) to destroy his boat for the insurance, captain needs a bunch of men onboard who I guess are supposed to drown to make it look convincing, so he pays Charlie to bonk sailors on the head and toss them into the boat until the sailor pile is large enough to go out to sea. Charlie was also dating the owner’s daughter Edna, so everyone ends up on board along with a barrel full of gunpowder. Newcomers: the cook in the best scene (Charlie absolutely ruining the soup) is John Rand, who would get minor parts in Chaplin films through Modern Times, cabin boy Fred Goodwins, who would make the jump to the Mutuals before dying of bronchitis at 32, and as the owner: Wesley Ruggles! After ten more Chaplin shorts, Wesley started directing, made about 50 movies in the 1920’s, then won best picture with Cimarron and directed Mae West in her censor-defying I’m No Angel.

Conspirators Bowes and Ruggles:


A Night in the Show

A very drunk Posh Chaplin, predating his excellent drunken Mutual short One AM, is seated up front in the richie section for a variety show, while a Poor Chaplin with completely different mustache and eyebrows sits in the balcony cheap seats. On the plus side, it’s all very funny – on the minus, there’s Leo White in blackface. Newcomers: As the chuckling fat boy who brings two pies to the performance (guess where those end up) we’ve got Dee Lampton, whose final film would be the Harold Lloyd short Haunted Spooks before he died at age 20 of appendicitis. May White (no relation to Leo?) plays a performer, and Carrie Clark Ward (woman with the feather hat that Charlie destroys) appeared in the first screen version of The Awful Truth (the Cary Grant was its second remake).

Cheap Charlie grabs the firehose:


A Burlesque on Carmen

Atypical Chaplin short for a number of reasons… for one, his character has a name: Darn Hosiery. He’s a guard who turns on his fellow officer Leo White for the love of Carmen Edna, who has seduced him into helping him admit her smuggler friends through the gates. She runs off with bullfighter John Rand and Chaplin chases her to Seville, demanding that she belongs to him, then murder-suicides (kind of – it’s the second movie I watched this month to end with a gag knife trick). Added to the usual gang of idiots is Jack Henderson as a barkeep – his career of bit parts would fizzle after the silent era. Based on the famous novel/opera, which has also been filmed by Lubitsch, DeMille, Raoul Walsh (twice!), Jacques Feyder, Christian-Jaque, Charles Vidor, Otto Preminger, Terence Young, Radley Metzger, Carlos Saura, Francesco Rosi, Joseph Gaï Ramaka, Mark Dornford-May, Alexander Payne, Jean-Luc Godard, and Lotte Reiniger. I played an excellent Roberto Rodriguez album.


Police

“Each man kills the thing he loves” – I didn’t realize this Mike Patton & Jean-Claude Vannier album would have lyrics, but they’re appropriate, Patton croaking “where’s the money at” during the heist scene. Charlie gets robbed on his way out of prison by a fake preacher and fails to get into a flophouse. Why does he put an alarm clock in his pocket? A costarring role for Wesley Ruggles as Chaplin’s ex-cellmate who ropes him into burglarizing Edna’s house, and who later shoots Charlie multiple times in the butt. Charlie takes Edna’s side during the ensuing tussle, so when the cops arrive, she acts like he is her husband – shades of the fake-Chaplin His Regeneration. Consistently good movie – they’ve come a long way since the plotless slapstick nonsense of the earlier films.


Triple Trouble

The most poorly restored and shoddily edited of the bunch, cobbled together by Essanay after Chaplin had left the studio from outtakes stitched together with a newly-filmed framework starring unknown actors. I listened to Steve Gunn and William Tyler in honor of Hanukkah night one. Chaplin works as a janitor for explosives inventor Nutt, torments Edna the maid then retires to the flophouse from Police, where Billy Armstrong is robbing the residents and chewing the scenery. This ends in a pretty good brawl, then we’re out of fresh Chaplin footage, as he meets Ruggles in a couple scenes directly recycled from Police to get back into the inventor’s house, where a bunch of cops are flailing about. Thus ended Chaplin’s Essanay era. It’s a considerable amount of output for a single year. Essanay barely lasted past the Chaplin year as a studio; signed Max Linder and merged with Vitagraph before becoming part of Warner Bros.

Funniest movie I saw all year. Excitable white boy Adam is “studying” battle rap for a thesis (Anthony Michael Hall is his professor, also his dad), starts to hang out with the participants, including Behn Grymm (Jackie Long of Idlewild). Adam rhymes with mixed results, until he goes full-racist, destroying the competition in battles, drunk with power and success, alienating all his new friends. Ends with a crushing/triumphant battle against Behn then a jaw-dropping cut from homeless Adam to credits, implicating both Kahn and producer Eminem.

Adam’s soon-to-be-ex girlfriend: “Do you really want to be another white guy shamelessly appropriating African-American culture? I mean, we don’t need Macklemore, we need Mackle-less.”
Kahn has been a music video director for 20 years, has also made a high-school horror and a biker-gang action movie, both with Dane Cook. Writer Alex Larsen works on battle-rap series Drop the Mic. Adam is Calum Worthy (a former Disney TV star), and most of the supporting cast is composed of celebrated battle rappers, including violent villain rapper Megaton (Dizaster).

Devine, Prospek, Behn, Che, Adam:

Adam Nayman:

It’s almost beside the point to say that Kahn’s direction and staging are wonderfully fluid (like Edgar Wright, if he gave a shit about anything beyond his own iPod), or that the actors are all great, or that the raps are dazzling and appalling, but all the provocation in the world is worthless if it isn’t put across with some skill. In this case, it is…

Steven Shaviro, in the Cinema Scope cover story that made me track this down:

His self-imposed formal challenge in Bodied is how to make a kinetic and dynamic movie from a screenplay that is word-heavy, largely composed of one-on-one verbal exchanges. I have never seen a movie that does so much with that old staple of narrative cinema, the basic shot-reverse-shot setup … these sequences also feature flips of perspective (often by the deliberate flouting of the 180-degree rule), confusions of address (when trying to hold two conversations at the same time), expressionist camera movements used as emotional punctuation, and textual and sonic interpolations (words appearing on the screen, or voices booming within a character’s head). All these devices are sometimes deployed for comedic effect; at other times, they underline the rappers’ strategic moves during the battles; at still other times, they work to amplify the stakes of everything the characters say and do.

Yes, I’m stealing twice from Cinema Scope, but somehow they’re the only publication that noticed this movie? Guess it doesn’t help that it got no distribution and after playing fests in 2017 it showed up on the paid version of Youtube for a year before finally coming out on blu-ray a couple months ago. Also watched Swiped, Kahn’s short from the same year. It’s a one-joke premise about a guy who matched himself on a dating app, but only three minutes long with lots of fx, so it doesn’t get tiresome.

Our three lead murderers were definitively killed at the end of The Devil’s Rejects, gunned down in slow-motion, so how will Zombie make a sequel? They’re not dead, they were just wounded, and all better now! Sid Haig, alas, didn’t stay better for long, so he gets a brief scene before being replaced by Baby and Firefly’s half-brother Midnight Wolfman.

A decade after the previous movie ends, Wolfman springs Firefly (they murder a cameoing Danny Trejo along the way), then they threaten the cartoonishly facial-haired warden into freeing Baby, and the three run off to Mexico. That’s about a half-hour’s worth of movie – the rest is them deciding to fuck with strangers, then murdering them, or getting in trouble because strangers recognize them, then murdering them. It’s not a bad movie, surely a step up from the terrible 31, but it’s pretty unnecessary, and there’s no tension – the stakes are always low in a movie where no lives matter. Zombie exercises his TV/film texture fetish in the news footage covering the escaped outlaws, and builds to a big showdown in Mexico when the son of Danny Trejo comes with twenty armed dudes.

The Howling star Dee Wallace plays the vindictive prison guard in chage of Baby (Sheri Moon Zombie, always good in these things). Richard Edson (Sonic Youth, Stranger Than Paradise) is the dude in Mexico who puts them up (and turns them in). Bill Moseley was in about 40 movies between Zombie’s Halloween and this, mostly crappy horrors, and Wolfman Richard Brake played the only person Cage doesn’t kill in Mandy.

Edson:

The Night Before Christmas (1933, Wilfred Jackson)

Classic color Disney short. Santa does his thing at a poor family’s house, repairs their torn stockings, dresses their tree with the help of many pre-Toy Story living toys, laughs a LOT, then wakes them up with all the noise and runs. We saw the uncensored version where the youngest boy gets sooty and blackfacey. Jackson directed about fifty Disney shorts while still in his 20’s.


Peace on Earth (1939, Hugh Harman)

Meanwhile, they’re having a post-apocalyptic Christmas at MGM, with talking woodland creatures who started wearing pants after an encounter with a bible. I remembered this short well enough to recall the “good will to men” line kicks off the backstory, when a kid asks his squirrel grandma what men are, but did not recall that they sing that line a hundred times in the first two minutes. Inspired by WWI battles the animators lived through, this is a hell of a movie, rightly acclaimed.

Before Pants:

After Pants:


Santa’s Workshop (1932, Wilfred Jackson)

And tonal whiplash, as we return to the predecessor to the other Jackson/Disney movie, Santa pre-delivery-day building all the toys for tots. Some of the assembly line stuff was cute, anyway.


Bedtime for Sniffles (1940, Chuck Jones)

This was rough going – Katy was already tired, and it’s eight minutes of a mouse struggling to stay awake. A few puns (Haxwell Mouse coffee) and mouse-in-human-world gags (eyedroppers for water faucets) can’t compete with the movie’s desire to make us sleepy. Still better than the Disneys, at least. Katy asked why rival studios would make a mouse their lead character – we didn’t realize there were about ten more Sniffles shorts.


The Snowman (1982, Dianne Jackson)

Storybook-looking animation of a non-Frosty snowman who comes alive at midnight, gets invited into the house by his creator, becomes the boy’s friend and goes on a flying adventure, meets Santa Claus, then melts in the sun the next day. It’s all perfectly nice, but I think more for six year olds (or grown-ups who first watched it as six year olds). Oscar-nominated against a Will Vinton claymation short and winner Tango. The same producer made a sequel thirty years later, and he and Snowman codirector Jimmy Murakami made a feature based on the same author’s story of nuclear devastation.


Pluto’s Christmas Tree (1952, Jack Hannah)

We put on a 2000’s Disney special which was just unbearable, throwing every character from every movie into a room with nonstop dialogue and incident, so we skipped ahead to the classic shorts contained within. This featured Chip & Dale vs. Pluto, with Mickey intervening to protect the chipmunks at the end. A huge improvement over the Santa shorts and the House of Mouse framing story, so we’re happy.


Mickey’s Christmas Carol (1983, Burny Mattinson)

Maybe the only version of A Christmas Carol named after the “actor” who plays Bob Cratchit. Mickey Mouse had inexplicably been sitting in Disney’s Vault for thirty years, and Scrooge McDuck, named after the Dickens story, had been a Disney comics feature for decades, when some corporate genius realized they could use the two characters to profit off some public domain literature. Goofy plays Marley, Jiminy Cricket is Christmas Past, the rest are characters from Robin Hood, Mickey & The Beanstalk, and Wind in the Willows (not Great Mouse Detective, which was my guess for the charity collectors below). In 26 minutes it’s all a bit rushed, and no match for the Muppet version. Burny worked on everything from Lady and the Tramp to Big Hero 6. Codirector Richy Rich followed up with The Black Cauldron before forming his own studio to make an animated Book of Mormon.

They Might Be Giants “I Left My Body” still has the edge, but this was good too. Told out of order, we see two-handed Naoufel stalking a girl he likes, getting a job with her carpenter uncle and building her a wooden igloo (Neil: “isn’t a wooden igloo just a hut?”). Meanwhile his hand, severed through his incompetence with power saws, can apparently see eyelessly, kill pigeons, and have little hand-flashbacks on its quest to get back to Naoufel. When it arrives, he’s listening to tapes of his dead parents and thinking about jumping off buildings, and the hand wanders off again.

Mark Kermode:

The primary tone is gentle and melancholic – an almost existential evocation of memory, and the longing to be made whole … Just as the themes of I Lost My Body dextrously juggle light and shade, so the film seamlessly blends 2D and 3D-animation techniques with elements of rotoscoped live-action to create what Clapin calls “an animated world halfway between the tangible and the imaginary”.

We saw Clapin’s Skhizein in an animated shorts program a decade ago – can’t remember it well, but it’s also about a guy who lives in two different places at once. The writer worked on my favorite Jean-Pierre Jeunet movies. Played (won!) Cannes Critics’ Week with a bunch of fascinating-looking features that I could spend all week watching, if I could find any of them.

Named after the song, for some reason, since mostly it’s a Christmas movie – a semi-remake of The Shop Around the Corner, with Van Johnson as the insensitive lunk. Tom Hanks and Jimmy Stewart are extremely likeable actors, offsetting the insensitivity of their character, but here the producers were mostly focused on finding excuses for Judy Garland to sing old-fashioned songs, so they changed the shop to a music store, hired a bunch of comedians for the support roles, and accidentally cast a lunk to play the lunk.

Cuddles Sakall (this is his latest film that I’ve heard of) is their boss, a music store owner who plays his expensive violin very badly, with his Devil and Miss Jones costar Spring Byington as his secretary/fiancee, plus nordic-sounding Minnesotan Clinton Sundberg (Good Sam), and Buster Keaton! Keaton gets to smash the offending violin (actually another violin, long story) and directed the chaotic scene when Judy and Van meet – which we knew because the P-Bog doc just showed it. Van’s violinist friend was actually a violinist, who had just appeared on a Life magazine cover.

Opens with heavy narration, which thankfully peters out. Judy looked and sounded great onscreen – this was a brief productive spell between The Pirate and Summer Stock during the period when she kept getting fired from movies. Mostly she sings period-appropriate songs for shop customers looking to spend 15 cents on sheet music, but she gets to stretch out at a company party, following a lively barbershop song with the crazy-energetic “I Don’t Care.”

The MGM musicals on Criterion Channel are starting to blur together – musically, at least. This one has a memorable plot: a Broadway star walks out, and auditions narrow down her replacement to three girls, each the favorite of one of the casting men.

Producer Larry Keating talks show director Gower Champion into auditioning his former partner Marge Champion (the Champions had remade Ginger & Fred’s Roberta the year before) – she’s a established star and right for the role, but they’re both uneasy about it. Composer Kurt Kasznar (Anything Goes, Kiss Me Kate) is hot for the extremely flexible Helen Wood (a future porn actress). Kurt is mostly terrible but surprisingly competent as a dance partner.

For some reason, these three give the time of day to the coffee boy (Bob Fosse!), who falls for Debbie Reynolds. I mean you can’t expect a girl to be excellent at everything, so the better the dancer, the worse the actress. Debbie Reynolds does tap, and is somehow in competition with super-flex girl and established star – but she’s Debbie freakin’ Reynolds so we’re rooting for her.

The dance sequences are fun – conveyor belts, dream sequences, a dance mostly in reverse featuring balloons unpopping. The poor composer does not get his girl, since she turns out to be married and pregnant, and the Champions decide to reunite romantically instead of working together, so Debbie’s dream comes true (plus she gets to date a coffee boy, but Fosse is cute and enthusiastic). From the screenwriting couple behind The Pirate, and IMDB says both movies bombed. Our seventh Stanley Donen movie!