UPDATE 7/18/19: And the winner of the Charley Bowers Blu-ray set is….
Congratulations David! We will be in touch. I hope you enjoy these Charley Bowers shorts as much as I do! And thank you to all who entered–this was a popular giveaway!
Calling all silent comedy fans!! Flicker Alley has a very exciting new release: a Blu-ray set of 17 shorts by the one and only Charley Bowers! And when I say “one and only,” I’m not just using a cliché–obscure comedian Bowers was truly one of the silent era’s most, err, creative individuals. Not familiar with this highly unique genius? (Admittedly, most people on the planet are not. Sadly.) Allow me to give you a brief introduction:
A former cartoonist, Bowers became the head animator for the 1910s Mutt and Jeff cartoon series before becoming fascinated with stop motion animation. In the mid-1920s he created a series of comedy shorts starring himself as a vaguely Keatonesque character with a love of crazy inventions. These shorts were basically showcases for his “Bowers process,” as he grandly dubbed his stop motion animation skills. In the trades they were advertised as “Whirlwind Comedies.” Continue reading →
Okay, in this context “everybody” means “a decent selection of the silent film community.” And if you’re part of that decent selection, you might’ve already heard: Undercrank Productions is bringing two Douglas MacLean features to DVD!! With the help of fine fans like yourself, of course.
I’m sensing a lot of you are thinking: “Wait, who?” An understandable question. In an age when someone like Harry Langdon is deemed obscure, Douglas MacLean is practically obsolete. But that’s exactly why two of his surviving features should find new audiences. Like the work of other obscure figures such as Alice Howell and Marcel Perez, it shines a new light into some of the hidden nooks and crannies of early cinema. Continue reading →
And now that my new laptop is up and running, we’re finally back in business! I’ll try and get some extra posts out this month, too. 🙂
Some of the silent era’s finest gems weren’t big epics or artsy Expressionist dramas, but smaller, quieter pictures, set in modest parlors, humble tenements, and kitchens where a full tea kettle was always sitting on the stove. Intimate melodramas like True Heart Susie (1919) or Master of the House (1925) gently examined the most relatable and engrossing stories of all: the triumphs and travails of “regular folks.”
And people loved those kinds of films back then, too. While largely forgotten today, Over the Hill (1920) and Tol’able David (1921)–melodramas with intimate storytelling and salt-of-the-earth characters–were two big hits of the era. Actors like Charles Ray made careers out of “gosh and golly” personas, and after filming his mighty epics D.W. Griffith was happy to turn his attention to “little” pictures like A Romance of Happy Valley (1919) and The Greatest Question (1919). Many of these dramas that survive can still captivate us. After all, as spoiled as we may be by high-quality CGI, brilliant colors and swooping camera movements, we still can’t resist a plain good story. Continue reading →
ANOTHER EDIT 6/14/19: My new laptop finally arrived! Stay tuned. 😉
EDIT 6/7/19: Due to my laptop deciding to conk out all the sudden, I won’t have a new post out this week. Which is sad, because it was on a film I really love–but at least you can still look forward to it! ~
Happy summer, all! (It sure took its sweet time coming, didn’t it?) Every once in awhile–and it’s been awhile–I put out a “welcome tour” post for new Silent-ology readers. Because I know what it’s like to visit a new blog and feel like you’ve walked into a coffee shop where everyone understands the complicated drink orders except you.
“So a small is a ‘Mini,’ a medium is a ‘Not So Petite,’ and a large is a…’Get Wired’? But why??!“
So let’s get to it! Silent-ology (which turned five a few months ago!) is my personal “dig” through silent film history. Every detail of this unique era fascinates me, so if you don’t see a topic or an actor covered, they probably will be in the future! I have theme months a couple times a year (the latest was Sheik Month) and host an annual Buster Keaton Blogathon. Taking a look at my “About” page is a nice little intro to the site. And then, of course, there’s the My Articles page (and don’t forget the Search box!).
Want a few suggestions? If you’re just getting into silent films, you might like: Continue reading →
This is the final day and final post of Sheik Month. I hope you’ve enjoyed this look at Roaring Twenties sheik culture, and thank you kindly for stopping by! And I’m looking forward to what posts the spring and summer will bring (hint: a trip’s on the way!).
In 1926, Rudolph Valentino’s stardom was at its height. At the young age of 31, the Italian screen idol’s name was known around the world, there were several box office successes under his arm, and women adored him so passionately that public appearances often ended with his hat being stolen and buttons torn from his coat. Today, we look at portraits of this near-mythical figure dressed to tailored perfection with the light shining off his patent-leather hair, and wonder what thoughts were behind that meditative gaze. Perhaps he would surprise us–a few months before appearing in what would be his final film, The Son of the Sheik, Valentino spoke frankly about his romantic image: “The whole thing is false and artificial. You can’t go on and on with it…One appears to be what others desire, not what one is in reality.”
Be that as it may, in The Son of the Sheik Valentino proved that he could, indeed, “go on and on with it,” at least for one last time. Five years after appearing in his iconic role of Ahmed Ben Hassan in The Sheik (1921), he agreed to appear in the film’s sequel–despite his dislike of being pigeonholed as a “sheik.” Douglas Fairbanks’s Zorro films had brought sequels into vogue, and the fans, naturally, had been clamoring for more desert romances. And perhaps Valentino also agreed to the film since this time he could show his range–even having a dual role. Continue reading →
While researching this month’s theme, I found a number of interesting or amusing newspaper clippings about “sheiks” that didn’t quite fit into my articles (or would’ve made them too long).
Or too weird. (Buffalo Courier, February 18, 1923.)
But since I like to share my joy, here’s a small collection covering various aspects of 1920s sheik culture. You might find these insights mighty similar to the public’s thoughts on flappers, too.
The use of “sheik” and “sheba” to describe hep teens seems to have grown in popularity very rapidly after the release of The Sheik in 1921 (as you know), and became a staple of contemporary slang until the early ’30s. Here’s an example from 1924–oh, those traffic-endangering young spooners! Continue reading →
During the heyday of Rudolph Valentino, studios scrambled to find their own versions of a “sheik”–that passionate, menacing “exotic” lover women’s hearts were fluttering over (who also guaranteed plenty of box office gold). Actors from the steady Milton Sills to dashing Antonio Moreno were considered worthy rivals, but perhaps the worthiest one of all was the talented, gentlemanly Ramon Novarro.
“The woman from fourteen to ninety loved him, because he made romance come riding home to her dreams. He was not the individual she craved, he was the symbol of what she craved.” —From a letter to Photoplay, January 1927
What does it mean to be an icon? In the case of film actors, we assume this means their image has instant recognition. Across the world, people belonging to every culture and race will recognize Marilyn Monroe or Charlie Chaplin. Their very names have symbolism–“Chaplin” calls to mind laughter and old-time slapstick, while “Marilyn Monroe” stands for glamour and sensuality with a touch of vulnerability. (Interestingly, many people I’ve encountered who mention admiring Marilyn have never seen one of her films.)
So let us consider “Rudolph Valentino.” Of all the screen icons, his legacy is perhaps the most obscured by mythology, fantasy and cult status. The mere mention of his name–and how fortunate he was to adopt the elegant “Valentino”–recalls the kind of old Hollywood romance involving soft lighting, perfectly tailored suits, glimmering jewels and long, thrilling kisses. It calls to mind the stories of sobbing, fainting fans at his funeral bier–for he died young, as everyone remembers.
But how many people today know what Rudolph Valentino looked like? How many have watched one of his films, or even a single clip? Who was the living, breathing human being behind the romantic name–the romantic dream? Continue reading →
Throwback time! This post was originally written for the Accidentally Hilarious blogathon hosted by Movies Silently a few years back. I’m dusting it off for you since you can’t have a Sheik Month without The Sheik itself. (Plus, this article was really fun to write.) Hope you get a kick out of it!
When I was but a wee silent film newbie, I discovered there were far more old films available on YouTube and Netflix than I’d thought. Innumerable classics of early master filmmakers, such as Intolerance, Greed, Battleship Potemkin and The Last Laugh were all awaiting me, holding within their hallowed reels the potential to unlock within my brain a renewed appreciation for film artistry, and the ability to view early 20th century history through fresh eyes. So what did I do first?
Why, sit myself down with a bag of cheesy popcorn and watch The Sheik, of course!!