by ·Comments Off on Hamlet (1948, Laurence Olivier)

Opens unpromisingly with text onscreen accompanying a narrator, but then we get a castle in the mist, the camera roaming to show off its fancy sets. I don’t think “this is the tragedy of a man who could not make up his mind” is from the original text.

Hamlet’s first monologue is in partial voiceover, a really good portrayal of someone tormentedly talking to themself. Elsewhere Ophelia narrates Hamlet’s wordless visit to her room, and he performs every word she’s saying in flashback-pantomime, a bit overkill. The zoom inside Hamlet’s head before “to be or not to be” was also odd. I would understand if other versions cut the scene where Hamlet gives long-winded direction to the actors before the play (and so they do). There are only two women in the movie and he throws both of them onto the floor. Hamlet gets kidnapped by pirates before the finale, did I dream this?

HAM-let:

Queen, King, Ophelia, Laertes:

Won best picture over The Red Shoes, a travesty, and Olivier got actor, but at least John Huston beat him for director. The king-uncle was in Went the Day Well and Disney’s Treasure Island, the queen in John Huston’s Freud movie, Horatio in The Projected Man, Polonius in The Mummy, and Laertes in that movie’s sequel/reboot The Curse of the Mummy’s Tomb. Speaking of mummies, we get Peter Cushing as the silly-ass courier, also officiating the swordfight. Ophelia is Jean Simmons of Guys and Dolls, Estelle in Great Expectations, soon to be seen in The Big Country.

The actors:

The duel:

The Peter Cushing:

by ·Comments Off on Segundo de Chomón shorts (1906-1908)

I’ve got no handy documentary on Chomon like I did with Alice Guy, just watching some films. I’d only previously seen The Golden Beetle – these all turned out to be less colorful and more coherent.

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Electric Current (1906)

Pretty good one-minute gag film. A couple steals from the grocer, has a picnic then goes back for more, but the grocer has rigged his wares to the electric lights. When they grab the food they’re paralyzed from electricity – and so are the cops who arrive to arrest the thieves, so they arrest the grocer instead.

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Kiriki, Japanese Acrobats (1907)

Splendid gravity-defying stunts, using the same which-way-is-up technique as Massive Attack’s “Protection” video. The actors really sell it, trembling and straining in their positions.

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En Avant La Musique (1907)

If we’re meant to believe that elite Japanese acrobats have developed incredible skills of strength and balance, this one tosses believability out the window. Just a Mr. B Natural-type conductor transforming the musicians into musical notation and miniaturized song-slaves.

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The Diabolical Pickpocket (1908)

A liquid-metal T-1000 criminal escapes two clueless cops by making a mockery of spacetime physics.
Looks like this was part of a series about uncatchable thieves in checkered suits, along with The Invisible Thief and Slippery Jim.

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The Electric Hotel (1908)

Before people knew what electricity could do, this imagines a fully automated hotel. Guests get a small electric switchboard and accompanying instruction manual. Each switch causes a whirl of stop-motion – shoe-shining, hair-cutting, suitcase-unpacking. One writes letters home using AI. I was waiting for something to go comically, catastrophically wrong, but all the tech works properly, until a drunken basement employee starts throwing switches haphazardly and all the hotel’s objects violently revolt against their masters.

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Legend of a Ghost (1908)

At 14 minutes this is over twice the length of the others, a de Chomon epic. Old fashioned set building and fireworks create a hellscape of dancing demons, or maybe tortured souls, or reveling partiers – in the cavernous set I can’t make out faces. Yeah, it’s either a Halloween parade float or the beginning of the apocalypse, maybe the point is not to know. Then we got hula-girl vikings in a Meliesian underwater scene? An anarchist blows up the parade float and we’re sent to heaven for a minute. It’s almost halfway through the movie before the grim reaper provides some transformative camera tricks, then back to cavorting with fireworks and costumes. The death parade reaches its cavernous destination and the participants celebrate with a scythe dance (The Seventh Seal was a remake of this). But the movie’s not over – the viking frog queen’s servants do an involved dance with the lizard people, layers upon layers. Morning comes and everyone lays dead, except for Death Himself, who transforms into a fancyman. Certainly more expensive than the shorter films, not necessarily more fun to watch.

by ·Comments Off on Cartoons watched April 2024

The Emperor’s New Clothes (1953, Ted Parmelee)

Everyone pretends they can see the emp’s “invisible clothes” until a kid gives the game away. The writing and dialogue is odd, Emp’s face-symmetry oval is visible, UPA maybe not firing on all cylinders here.

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The Unicorn in the Garden (1953, William Hurtz)

A pleasant man finds a unicorn eating his flowers one morning, wakes up his shrew wife to show her. She calls the cops instead to have him committed, but when they arrive he acts cool and she’s hopping around talking unicorns so they nab her instead.

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Steamboat Willie (1928, Walt Disney)

My favorite out-of-copyright Disney short… but wait, why did I not know that this movie is a cavalcade of animal cruelty? Mickey throws things at a parrot, a cow is force-fed, A goose and a goat and pigs are turned into musical instruments, a cat is swung by its tail, a baby pig is kicked. On top of this the ship captain aggressively chews tobacco and Minnie gets lifted by her undies. On the plus side, Mickey invents the Anvil Orchestra.

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A Corny Concerto (1943, Robert Clampett)

Two mini-musicals as Elmer conducts Strauss.
McKimson, Tashlin, and Stalling – all the boys turned out for this one.

1. Porky and his dog hunt Bugs in time to the music.

2. A quacking swan rejects the grey duck until he violently rescues her babies from a vulture.

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Felix in the Ghost Breaker (1923, Otto Mesmer)

Why does the Felix DVD open with a text crawl telling us that after Mickey Mouse stole Felix’s merchandise sales, producer Pat Sullivan’s wife “fell or jumped from a hotel window?” Why not add that Pat had a history of incompetence, was a convicted child rapist, and drank himself to death the following year? Anyway, we’ve all decided to give New Jersey’s own Otto Mesmer the credit for Felix and these films, and Otto continued the Felix legacy for another sixty years.

A ghost is tormenting a farmer and his animals, Felix leads it away with a bottle of rum (which ghosts love) then holds it at gunpoint (future note: Felix is armed) until the farmer arrives for the scooby doo ending. When did ghost breaking become busting… there were Ghost Breaker films through 1940, and Ghost Busters and Chasers in the early 1950s, then busting became the default after the famously unprofitable 1984 film.

In the 1920s Felix looked like a snaggletoothed black cat – I’m more familiar with his 1930s character model.

Useful meme for later this election year:

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Felix in Hollywood (1923, Otto Mesmer)

That’s more like it – now Felix is pranking people. He makes his wannabe-actor owner rich through shoe sales, then the owner is off to Hollywood to find a job in the movies. Felix does get another gun… his magic bag of tricks wasn’t invented until the 1950s but he disguises himself as a black bag to stow-away to Hollywood, where he meets caricatures of nobody I recognized (reportedly Gloria Swanson, Ben Turpin, Tom Mix, and Cecil De Mille) and poses with Chaplin. These are mildly meta, then, since he’s already in a movie, and in the previous one the ghost came towards camera and threatened the viewers.

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Face Like a Frog (1988, Sally Cruikshank)

Absolutely wild all-things-possible animation at a frantic pace, like a PG-rated 1980s Superjail. I guess a frog gets seduced into entering a spooky house, then escapes through the basement. I was gonna say this has insane music for a short, turns out it’s by Danny Elfman, same year as Beetlejuice.

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Quasi at the Quackadero (1976, Sally Cruikshank)

Quasi (pronounced KWAH-zee) lives a decadent life in bed watching TV programs of other people doing work. Anita and Rollo take him to a psychic carnival, plotting to lose him there, and succeed in knocking him down a “time hole” into the dinosaur age. All the best animators come from New Jersey. The score composers wrote a book called “The Couch Potato Guide to Life” which is also about getting warped from watching too much TV.

After Quasi’s disappearance, Chairy found a new home in Pee Wee’s Playhouse:

The roll-back-time mirror also rolls back your clothing:

And with that I’ve seen all of Jerry Beck’s 50 Greatest Cartoons, and written up all but nine in the book – five of those being Tex Avery shorts. Now to rewatch those nine, and find the sixty-ish runners-up. A man’s life work (watching cartoons on the couch) is never finished.

by ·Comments Off on Look Into My Eyes (2024, Lana Wilson)

Rae Fitzgerald again, solo this time, and better suited for the Globe venue. No music during the psychic/medium sessions – was there any music at all? Some false leads and wrong guesses during the sessions, some spot-on apparent knowledge of strangers’ lives, and lots of affirmation – it’s posed as a form of counseling/therapy, for the mediums as well as their customers. Present, but uncaptured by DP Stephen Maing (who was down the street introducing Union) were the ghosts of beloved partners, children, a great(x5) grandfather, and a bearded dragon. Some humor but the crowd never laughing at the film’s participants, and breaking scenes to talk to the director/crew is left in, the cameras welcomed to the mystery. An A24 release so hopefully this will play out, and all the Everything Everwhere / Past Lives fans will watch it.

Scott Tobias in The Reveal:

Most admit that they’re improvising through uncertainty, working from an intuition that often betrays them. A cynic might consider them con artists. Wilson’s film frames them as seekers.

by ·Comments Off on Five More by Tod Browning (1929-1936)

The Thirteenth Chair (1929)

After London After Midnight came three more Lon Chaney pictures including West of Zanzibar. Now, Browning’s love for headscarves leads him to India, and his love for Hungary leads him to Bela Lugosi. This is quite good for a 1929 sound film, but it hurts to exchange the long, lingering silent facial expressions for inane upper-class British conversational pleasantries. There’s no transitional period, the movie is crammed wall-to-wall with dialogue as if spectators were paying by the word.

Madame LaGrange is played by an actress named Wycherly, which would’ve been a cooler name for her medium character. Yes, we’re back in Mystic territory, and to prove her authenticity she explains the mechanics of the usual tricks used by mediums, then proceeds to her spiritual work uncovering a murderer. Someone dies during the first of two lights-out seances (during which the movie achieves maximum talkie-ness, becoming a radio play) so Inspector Lugosi arrives, and star Conrad Nagel’s girl Leila Hyams emerges as chief suspect, but it turns out some other blonde lady killed both guys.

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Dracula (1931)

Written about this before… watching now with the Philip Glass / Kronos Quartet score, hell yes. The music is mixed higher than the dialogue, as it should be. Now that I’ve seen Thirteenth Chair I have to say this is extremely awesome in comparison, dispensing with the constant dialogue and returning to beautiful image-making with big Lugosi close-ups.

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Freaks (1932)

Wrote about this before, too. More movie-worthy characters in this hour-long film than in Browning’s whole pre-Dracula career combined. Over 50 years later Angelo had a plum role in Mad Max Beyond Thunderdome. Before Dracula, Browning made that Outside The Law non-remake, before Freaks came boxing drama Iron Man, and afterwards was Fast Workers… a comedy?

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Mark of the Vampire (1935)

John Fordian Dr. Donald Meek busts into an inn just as idiot tourists are getting the talk about why we don’t go out at night (bad idea to watch the same night as Dracula since it’s all the same vampire explanations to incredulous people). Inspector Atwill, a large mustache man, arrives to investigate a mysterious death. Fedor and Irena are survivors, swoop-haired Otto is her guardian. Meanwhile, Dracula himself (played as a wordless zombie monster with no suave dialogue) and his undead daughter Luna lurk in a nearby castle. Professor Barrymore arrives to do some Acting, a welcome diversion, while Irena’s dead dad Sir Karell has become a zombie Drac-follower, and Irena has begun acting vampy herself.

Somehow the plot gets even more convoluted, and Browning and Lugosi’s involvement becomes an in-joke, because the “vampires” have only been performers in Barrymore’s Holmesian plot to make swoop-haired Otto confess to killing his friend, hypnotized into re-committing his crime. Good performances in this, though nothing else really works, and the rubber-bats-on-strings technology hadn’t improved since ’31. I liked how no two people manage to pronounce the character names the same way.

Clanker, the Jump-Scare Cat:

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The Devil Doll (1936)

Nobody told me this would be a Bride of Frankenstein ripoff cowritten by Eric von Stroheim. Maybe bitter that another director remade Tod’s Unholy Three with Lon Chaney, he goes ahead and rips that off too. Lionel Barrymore is a banker who got backstabbed by his partners and sent to prison, escapes to get revenge – wrongly(?)-accused man becoming a murderer on the run.

First stop is scientist Marcel (Henry Walthall, the yellow shut-in of Griffith’s House with Closed Shutters) to borrow his shrinking formula. He’s working on miniaturization to alleviate world hunger (isn’t this the plot of Downsizing?) but has a heart attack while shrinking the maid, so his devoted wife Malita (Rafaela Ottiano, who’d worked with Barrymore on Grand Hotel) comes along to continue his research by shrinking some bankers, Lionel hiding in plain sight as an old woman running a doll shop.

First off is nervous mustache banker Arthur Hohl (a cop in The Whole Town’s Talking), then they use a devil-doll to rob the house of Robert Greig (who played butler-typed in Preston Sturges movies). The dolls are mind-controlled by their masters (I missed Marcel’s explanation for this) and this doll-heist setpiece is cool enough to justify the entire movie.. Barrymore wants to see his beloved family members now that he’s out, so he pays disguised visits to his blind mom (Lucy Beaumont, who’d played Lionel’s brother John’s mom in The Beloved Rogue) and his lovely grown daughter (Maureen O’Sullivan started acting at the dawn of sound cinema and died in 1998 in Scottsdale, so she may well have watched Fargo in Arizona like we did).

Malita and tiny assassin:

The third banker is Pedro de Cordoba (a circus player in Hitchcock’s Saboteur), who surrounds himself with police then sweatily confesses that he railroaded Barrymore right as his doll-sized colleague was about to stab him with paralysis/shrink syrup. Malita helpfully/fatally blows up the lab/shop because Barrymore’s mission is done but she wants to go on shrinking things. Happy-ish ending for Barrymore, who meets his daughter and her beau Toto atop the Eiffel Tower, but after all the murdering he’s got to stay on the run. Browning’s penultimate film – he’d turn in one more comedy before forced retirement.

by ·Comments Off on A Chinese Ghost Story (1987, Ching Siu-Tung)

Bad move to watch an awesome HK movie near the start of Shocktober, because now I’m off-mission listing HK movies I need to see, considering a TsuiHarkTober rebrand. Leslie Cheung, incompetent in his job as a tax collector, is told he can sleep for free in the spooky old temple infested by stop-motion skeletal zombies. Meanwhile White Snake herself, Joey Wong, is a hot ghost girl doomed by a giant tree called Old Evil to lure men into becoming new stop-motion skeletal zombies.

Joey with her evil stepmom:

“The bearded guy killed your sister. Let’s report him.” Wu Ma is in every kung fu movie but gets a rare big role here as the bearded guy. After Leslie meets the hot girl (Hsiao-tsing, aka Siu Sin, which sounds just like “Susan”) he gets the bearded guy invested in rescuing her soul and defeating the spirit so she can be reincarnated. They spend a long time fighting a gigantic tongue in the woods… cool movie.

by ·Comments Off on Talk to Me (2022, Danny & Michael Philippou)

Typical dumb-youth peer-pressure setup, the idea of grabbing the cursed severed hand and letting random angry ghosts inhabit your body for a couple minutes quickly turns from an unthinkably bad idea to a hilariously fun drinking game. The movie makes summoning demons for social media clout seem like a realistic idea, then after a wild possession party, Mia lets her little brother Riley participate, and while possessed he smashes his face and blinds himself, so party’s over.

Mia and the kid are still somewhat possessed, making a series of bad decisions (he is violently suicidal, she steals the demon-hand and decides to murder her dad). Craziest part was the sound mixing, when watching at home through the soundbar, you turn up the volume to hear the mumbly teens then the sounds of match strikes and knives whistling through the air are loud enough to shake the walls. The directors are famous youtubers who’ve already got Talk 2 Me and Untitled Prequel on their filmographies.

Riley, Mia, Young Jason Momoa from Aquaman, Jade:

Already my second movie of the month where someone stabs themself in the face – I rewatched The Empty Man, which is referenced in Adam Nayman’s Ringer article:

Talk to Me is closer to something like Zach Cregger’s brute-force B-movie, Barbarian, than Peele’s intricately intellectualized “social thrillers.” But whatever their pretensions — or lack thereof — the Philippous are keen observers of a marketplace where it pays to attach some kind of pedigree to terror, and underneath its adroit shock tactics, Talk to Me makes a fairly significant concession to the elevated-horror model by hinging its plot on a case of capital-G Grief. The reason Mia is so susceptible to possession is because she’s heartbroken over the death of her mother, whose overdose may or may not have been an act of self-harm. Where her friends are just chasing a hedonistic thrill, she’s trying, if at first only unconsciously, to reconnect with a loved one — a difference that ends up dooming her above the others and rerouting a story line bristling with unpredictability into a fairly conventional trajectory.

by ·Comments Off on Fausto (2018, Andrea Bussmann)

It’s time once again for Locorazo, a home viewing series of films that played the Locarno Festival five years ago. This one played in the “Filmmakers of the Present” section for first and second features – in this case it’s her first solo feature, the previous two being collaborations with her husband Nicolas Pereda (Fauna), who only assists on this one (plus thanks in the credits to Joshua Bonnetta and Matias Pineiro).

Stories about lingering ghosts and missing shadows, a witch, psychic animals and astronomical events, told at night, often via narrator. “We live in a conscious universe, we just do not realize it.”

Dudes hanging out smoking, usually at night. The subjects of the stories are sometimes seen at an indifferent distance from the camera. A few unique visual moments: a text list of animals that can see better at night, a beach shot with an absurdly low horizon line.

The director in Mubi:

The concept of the search and searching was a central idea in the film and in the Faust myth. Much of the time we learn the characters are searching for a shadow, a man, et cetera. The theme of the search was something important for me to use, but also important to continue without a resolution. Faust, after all, wants nothing more than to unlock the keys to the universe and himself—something that, like Faust, we are far from doing. I’m never looking for a particular thing, but I’m always in the process of searching and exploring. I’m consumed by questions, which through the seeking of answer continually opens up new questions.

by ·Comments Off on My Left Eye Sees Ghosts (2002, Johnnie To & Wai Ka-fai)

Romancing in Thin Air / Blind Detective star Sammi Cheng was married to a rich guy for only a week when he died suddenly. Now she’s living in his giant house, to the chagrin of his surviving family and his loyal ex. Sammi can also see ghosts, specifically Mad Detective Ken, who keeps hanging around. Sammi’s sister-in-law (Tina the Throw Down girl) tries hooking her up with Lok from Election, and Sammi’s dad Lam Suet tries buying the ghost a wife to make him go away. A bit of zaniness, also the most emotional movie I’ve seen this year.