Judy Canova, Minnie Pearl, Louise Fazenda, Gale Henry, Mabel Normand, Lucille Ball in those I Love Lucy episodes where she blacks out teeth and wears hillbilly clothes–all of these talented ladies had fun bringing “country bumpkin” characters to the screen. Some did it part time (like Mabel) while others turned their rube characters into a full time career (like Minnie).
And those pigtails, funny hats and gingham dresses have hollered “bumpkin” to us ever since. But how often do you hear about their direct ancestor, Sis Hopkins? This great-grandmother of movie hillbillies was the creation of comedy pioneer Rose Melville. Her Sis was a very familiar character to audiences, debuting in the 1890s and appearing regularly in theaters across America for two straight decades.
I may have mentioned my great love for the San Francisco Silent Film Festival, which I try my darnest to attend every year (I also try my darnest to see every single showing–last year I finally succeeded!). Probably mentioned it once or twice…or fifty times. (They deserve frequent shoutouts!)
One of the many bonuses of this grand festival is their annual “Amazing Tales From the Archives” presentation, which is always free to attend and always full of interesting info on the exciting projects archivists are working on. The 2019 festival had one presentation that charmed my socks off: about Léon Beaulieu’s teeny tiny cinema flipbooks he manufactured for his unique 1890s “pocket cinematograph.”
What is the world’s oldest animated film? Or rather, knowing film history–what’s the world’s oldest surviving animated film? Many sources will point to the cartoon Humorous Phases of Funny Faces (1906) or “trick film” The Enchanted Drawing (1900), which used stop motion to make a cartoon face change expressions. But chances are you might’ve stumbled across a few sources making the case for an obscure short called Matches: An Appeal–said to have been produced in 1899.
It’s a pretty cute little film, too. Via the magic of stop motion, two small figures made of matchsticks work together to write an “appeal” asking the public to donate money to send matches to needy soldiers. To be precise, they write: “For one guinea Messrs Bryant & May will forward a case containing sufficient to supply a box of matches to each man in a battalion with the name of the sender inside. N.B. Our soldiers need them.” The stop motion is surprisingly sophisticated for its early date–perhaps a little too sophisticated.
Time to fall down a research rabbit hole! Always one of my favorite hobbies. Continue reading →
Imagine you have a small film studio, and you’ve set up a table-sized platform with an artfully-arranged miniature landscape on top. A couple figurines–maybe dinosaurs–are posed among snippets of shrubs and tree branches serving as a jungle. There’s a painted backdrop of mountains and sky, and everything is lit brightly with hot lights; your hand-cranked camera is in the exact spot you need it, ready to go. You carefully adjust the figurines, then crank the camera–only turning the handle once. You adjust the figurines again, and again crank the camera handle once. You adjust them again–but not because they don’t look right to you.
Indeed, the amount of savagery is just right.
Nope, this is your peculiar, unique art form, requiring complete dedication, patience, and foresight–stop motion animation. Full work days go by as you patiently adjust the figures under the hot lights again and again, now and then stopping to repair them as their latex skins start showing signs of wear and tear. After a few weeks, you’ll have a sequence a few minutes long–and on film, the miniature scene will be full of life.
After conducting my official “pull names written on slips of paper out of my cloche-style hat” drawing for the copy of the San Francisco Silent Film Festival ’19 program, I’m happy to announce that the winner is:
Congrats, Jim! If you don’t hear from me first, you can contact me through the form on the About Silent-ology page. Once I have a mailing address I should be able to send it to you in the next few days. And now, my latest post (a version of this article has appeared on Classic Movie Hub, where I write a monthly column):
We’ve all seen pictures of beautiful 1920s movie palaces complete with columns, statues and enormous lit-up marquees. And their ancestor, the nickelodeon, is fairly well known too–those small, crowded little theaters that charged a nickel to see the latest show. But before the late 1900’s heyday of the nickelodeon and even before the existence of Hollywood itself, many people first saw films at travelling motion picture shows.
A Vitascope projector show at an existing theater.
These seem to have popped up in the 1890s and were popular throughout the 1900s. Descended from magic lantern shows, they were also similar to the fancy exhibitions put on by inventors to showcase their newly-patented cameras and projectors to genteel audiences. But the wonder of the moving picture couldn’t be contained in those staid lecture halls for long. To many enterprising men in the Victorian era (mainly gents were interested in this line of work), the novelty of cinema presented a unique and interesting way to make a living.Continue reading →
Have you ever wondered: What was the very first western ever made? It would have to be a film older than a Tom Mix or William S. Hart flick, and even older than the mini-dramas by Biograph or Vitagraph. Many who’ve debated this subject will point to an Edison short, Cripple Creek Bar-Room Scene, which is less than a minute long, is more “vignette” than “plot-driven,” and was shot a swell 120 years ago. I’m gonna point to it, too.
I’ve been drawn to this ancient little film in the past mainly because of one thing: this still photo, likely taken so Cripple Creek could be registered for copyright. Let’s take a minute and just look at it.
People talk about how everyone is six degrees of separation from Kevin Bacon. Well, I’m here to tell you that as far as cinema history’s concerned, everything’s six degrees of separation from Georges Méliès. Maybe three degrees. If there’s a film trope, storyline, or special effect that you’re trying to trace to its origins, I say give up right now, and just assume it’s Méliès. And by way of demonstration, here are at least six things the French wizard seems to have put on film before they were a twinkle in anyone’s eye. Continue reading →
There is much to love about Georges Méliès. He was a technical wizard, a delightful performer, and an artist whose gorgeous work can still inspire awe. And charmingly, he was a man who believed in dreams. He captured many of them on the screen, one painted set at a time, and today they serve as reminders of an era more open to wonder.
Méliès’s films have a knack for taking us out of our comfort zones in the most enchanting way possible. They’re so old-timey to our eyes that they could almost come from a different planet. At times, we have to remind ourselves to stop holding them at arm’s length.
But to filmgoers in Méliès’s own time, the filmmaker’s work was not only exceptional but also familiar. In fact, he was drawing upon a long history of theatrical enchantment–specifically, the French theater genre of the féerie. Continue reading →
Well over a century old and only over a minute long, Un homme de têtes is one of Georges Méliès’s earliest and best-known works. I think the French title literally translates to “a man of heads,” but we know it today as The Four Troublesome Heads. Either way it’s one of your oddly blunt 1890s silent film titles. Classic 1890s cinema, am I right? Haw!
[His films] had a visual style as distinctive as Douanier Rousseau or Chagall, and a sense of fantasy, fun and nonsense whose exuberance is still infectious…. —David Robinson
His full name was Marie-Georges-Jean Méliès, and he was born on December 8, 1861 in beautiful Paris. His wealthy parents, Jean-Louis-Stanislas Méliès and Johannah-Catherine Schuering, owned a successful factory for high-quality boots. Their parents imagined that Georges and his older brothers Henri and Gaston would simply take over the family business one day. But little did they know that Georges would not only take up a cutting-edge industry they had never even imagined, but that he would attain global fame as one of its greatest pioneers.