As a follow up piece to my post about Hayakawa’s life and career, here’s a great interview with him and Tsuru from The Picturegoer, a U.K. fan magazine that was in print from 1911 until 1960. The writer, Viola McConnell, evidently travelled to Hollywood to get some in-person entertainment coverage and was invited to the Hayakawas’ mansion. She was clearly charmed by both of them and admired their beautiful, cultured home.
We hear a lot about Sessue, but can definitely stand to have more of his interviews floating around. I thought this one fit the bill nicely, capturing both Sessue’s dignity and Tsuru’s liveliness. A couple things I found interesting: Sessue talking about his desire to bring more Shakespeare plays to Japan, where they apparently weren’t well known; and the couple’s mention of their dream to make an epic film telling the story of Japan. An epic silent film version of that country’s entire history–a pity that project was never realized.
I kept the British spellings and other old-timey details. Note the use of “Nippon”, the old, formal way of pronouncing Japan. In 1921, only a year earlier, the U.S. had started requiring that Japanese imports be marked “Japan” instead of “Nippon”, and the English-speaking world gradually stopped using it. Anyways, enjoy!
The Picturegoer Vol. 3, No. 14, February, 1922.
“EAST MEETS WEST”
“No, Satsuma. That’s a Satsuma vase.”
“Not that one. The taller one on the black stand is Satsuma.”
Thus we argued fiercely, a little bunch of guests in the corner our hostess devotes to Japanese curios. The vase in question was, as a matter of fact, Noritake ware. I hastened to tell them so, and was politely but persistently howled down.
Well hello there, patient readers! Having recently gone through the endless job of packing everything I owned, the stress-filled excitement of moving it to a new place, and enduring the equally endless job of UNpacking everything I owned, I’m back in the Silent-ology saddle! Since starting this blog 8 years ago, I really haven’t taken a break longer than a couple weeks or so, so having a breather was probably overdue. But now my brain is starting to itch again, wondering why I haven’t been musing over obscure Essanay shorts or the merits of brilliantined hair. So may regular postings resume!!
As a token of my appreciation for how nice y’all are to keep dropping by, here is a genuinely fascinating 1930 article from the French magazine Pour Vous. A Damfino (can’t recall who, sadly–if it was you, let me know!) found it on the fine site La Belle Equipe, which had originally shared it in 2016 in recognition of the 50th anniversary of Buster’s passing. The fullest of credit goes to La Belle for making it available–and for clipping the images, too. Thank you, thank you! Merci!
As you can see, it is part of a series published in the fall of 1930. The other pieces are fun too but mostly recount Buster’s familiar life story. This particular piece, however, caught my eye. It seems to be relying on previous interviews with Buster and the Talmadge sisters taken in Santa Monica, along with the author’s glowing impressions of Buster and his appeal. Despite being published in 1930, there’s nothing to indicate that Buster was no longer an independent filmmaker at this point.
The English translation is Google’s doing, which created some…odd turns of phrase, so please note that I did touch up a sentence or two. You’ll see that the style of the piece as a whole is quite gushingly poetic–the French adored them some Buster. You can read the original French or see Google’s original translation here. Enjoy!
Memories Of Buster Keaton (part 5) by John D. Williamson
In what condition does Buster attend the presentation of his films?
PUBLISHED IN POUR VOUS ON SEPTEMBER 11, 1930
What more will I tell you about BusterKeaton’s career? Specific facts? You know them. Since Buster Keaton rose to fame, you’ve seen all of his movies. These films of such a sure comic character were great events in our hero’s life. He lived for them. He thought about them all day. He dreamed about them at night.
Nathalie Talmadge told me that when he prepares a film, Buster sleeps only a light sleep cut off by confusedly whispered words, gasps and grunts. Sometimes he gets up, goes out into his garden, whistles a step, comes back to bed, gets up, drinks a whiskey and soda, and wanders around the house all night chasing the comic idea, the invincible “gag” that is missing in his film. When he has found it, whatever the hour, Buster wakes the whole household, turns on all the phonographs and performs in front of the whole family the “gag” or the scene he has been looking for. It is not by boasting. Rarely was a man less marked by the histrionic’s faults than this simple man endowed with all the virtues of childhood. Showing his latest find–is it not the gesture of a child who ignores intellectual selfishness and wants everyone to share in its joys? It is the poetic side of this character that I would like to put before your eyes.
Buster still thinks he is on the verge of entering a fairytale world. He is on the same level as the fairies. When spotting the most mundane office door, he always wonders if it will not give him access to a world entirely different from ours. At any time of day or night, he is ready to find adventure and the unknown. If he had not lived in the world of theater and cinema, which allows every escape into the imagination, without a doubt he would have been one of those heroic daredevils who, in the columns of newspapers, share the best spots with criminals and earthquakes. He always has some chimera in mind. Traveling to the center of the earth, exploring the moon by plane or shell, and communicating with Mars are his hobbies.
Self-taught, he forged a culture more scientific than literary, but curious, abundant and varied. Were you the most competent specialist in the matter, you could not teach him anything about Vaucanson’s automata and the dozen cosmogonies that men have invented to explain the inexplicable birth of worlds. He certainly ignores the achievements of Tamerlan and the quarter pound of Rabelais, but he does know the latest hypotheses on the constitution of the material and knows by heart the names of all the champions of boxing, swimming, tennis, baseball, and high jump.
A man of today, as you can see, with a culture that is too clearly scientific but who knows how to supply it with an impetus, a freshness of imagination which our contemporaries so often lack. Add to that a strong penchant for philosophical readings (Schopenhauer, Aristotle, David Hume), and you will have a fairly complete and in no way flattered intellectual portrait of the “clown” Joseph Francis Keaton.
Do not imagine from this description that our Buster is a sort of powdery scholar who deigns, from time to time, to come out of his folio to put on the livery of the comic and earn his living, with the thought in the back of his mind that he is prostituting his dignity. Nothing is further from him. I showed him playing alone, at daybreak, on the beach in Santa Monica, with shells, which represent actors; I told you about his nocturnal nervousness when he was preparing a film.
All this should give you an idea of the seriousness with which he considers his art. And all this is nothing. You have to have seen Buster Keaton after he showed one of his new films to understand his passion for cinema.
Twenty-four hours in advance, he is sick with anguish. He doesn’t eat anymore. He withdraws from his wife and children and talks about abandoning the studios forever if his film is not successful. He is already making plans, decides to invest his fortune in this or that business, offers Natalie a trip to China, etc. The time for the presentation finally arrives. Buster goes to the small room next to the studio where the finished films are shown, shakes hands with his friends as if he is leaving them forever, and sits down in the armchair reserved for him as if it was an electric chair.
During the projection, he does not breathe a word. Upon leaving, he escapes congratulations, runs away, disappears. But then, he goes to see his friends one by one. He begs them to tell him the truth, however “appalling” it may be to him. He does not want to believe them when they tell him that he has never done anything better and is not reassured until after the film has been shown in public. The total support of the spectators, the praises of the critics give him calm and sleep. It was then that he began to worry about his next film.
That is Buster Keaton. If, with these few notes, I did not know how to make you love him, do not doubt it is because I am the most proud fool who has ever walked this earth. In this terrible scenario, all I would have to do is apologize to you and advise you to go see my friend in one of his many incarnations. If my little papers had brought just one more spectator to Buster Keaton, I would consider myself satisfied.
John D. Williamson
A gem, yes? The description of Buster being so deeply, passionately invested in his films–and so nervous about them being good!–really rings true to me. Might that, perhaps, explain Buster’s shelving of The High Sign? He must’ve felt so much pressure behind his first solo release, especially on the heels of working with the world-famous Arbuckle. No doubt he felt that it had to be perfect, and when the idea for One Week came along–well, you can understand why he put the first film aside.
Bonus content! If you’re curious about that Santa Monica beach reference, here’s the relevant excerpt from part 4, published September 4 1930:
“The next morning, at daybreak, I went down to the beach. There was no one there yet. However the front cabin of Keaton, a bathrobe was lying. I looked towards the sea. Far away, a black dot was moving slowly. He was approaching the shore. Soon I could recognize the daring morning swimmer. It was BusterKeaton . I could observe him without being seen. So I did not move. BusterKeaton got back on his feet, snorted, dried himself off, and soon began a little job that seemed extremely mysterious to me. On a small rectangle of sand carefully flattened and strictly delimited by pebbles, he had arranged seashells which he was looking at with a deeply absorbed air. Every now and then he would move one and fall back into his deep meditation.
“I approached without making a sound. I was able to get close to Buster without his noticing my presence. Suddenly, impatiently, muttering a curse, he dispersed with a punch the mysterious assembly of shells. He stood up and found himself face to face with me.
“‘What the devil were you doing there?’ I asked him.
“‘I was working on my next film,’ he replied. ‘There is a scene that I can’t quite see. See, you understand, see how I see you there. This is why I use these little shells which represent actors in this rectangle of sand which represents the “set” of the studio. This is how I work on all my films, with shells, pieces of paper, coins…‘ A man who gets up so early and work so hard could not fail.”
These snippets of Buster are like puzzle pieces, each one revealing a bit more of who he was and how he thought about things. Although as Eleanor Keaton said, we may never fully “know” Buster–but we fans just can’t help giving it a try.
Here’s an interesting piece I’ve been wanting to share! It’s from a book called The Legend of Charlie Chaplin, compiled by Peter Haines. This is a collection of essays and interviews by Chaplin’s friends, fellow actors, and other contemporaries, recalling their experiences with him. They’re essentially reprints from hard-to-find publications, the dates ranging from the 1910s-1970s. And we’re talking pieces by greats like Mary Pickford, Mack Sennett, Stan Laurel, etc. I can’t recall hearing anyone discuss this book–although I suppose it was printed back in the early ’80s–and I got it off Amazon a few years ago on a whim (where it’s still available at surprisingly reasonable prices, by the way).
Keep an eye out for it!
One of the pieces is an interview given by our Buster Keaton to the French magazine Arts in October 1952, during the time when Limelight (1952) was being publicized. It’s, err, clearly translated from French, which was already translated from English, resulting in an oddly formal tone for the salt-of-the-earth Buster. But here and there you can decipher a very Buster-ish phrase or two. Continue reading →
Here’s something a little different–a magazine interview with that famed authoress of Three Weeks, that chooser of “It” girls, that grand dame of romance herself–Elinor Glyn! I wrote a piece on Glyn and her famed novel awhile back, and it’s been one of my favorite “Personalities” articles ever since.
There was a time when Glyn was considered the expert in the “moonlight and magnolias” type of love–and happily marketed herself as such. She had hair dyed “Titian red,” was rumored to travel with a tiger skin rug, and apparently coached Valentino in his romantic scenes. If you aren’t too familiar with this romance novelist-turned-screenwriter, Gloria Swanson’s fantastic description pretty much says it all:
She took over Hollywood. She went everywhere and passed her fearsome verdicts on everything. “This is glamorous,” she would say. “This is hideous,” she would say, as she baby-stepped through this or that dining room or garden party. People moved aside for her as if she were a sorceress on fire or a giant sting ray.
Silent-ology is pleased to present this exclusive interview with the prolific silent comedy historian Steve Massa, author of the new book Rediscovering Roscoe: The Films of “Fatty” Arbuckle. We talk about why a book on Roscoe’s films was overdue, about his considerable directorial skills, about his wonderful friendship with Buster and Al St. John, and just how many hours he would put into filming a single difficult gag…and more!
I must say, after the impressively hefty Slapstick Divas volume I was surprised (and delighted) to see another sizable book from you so soon! How long has Rediscovering Roscoe been in the works?
I have to say that I was a bit surprised too at how hefty Rediscovering Roscoe turned out to be. It was originally planned to be a smaller format book, like Lame Brains and Lunatics and Divas, but it grew too large. I got very lucky finding material and I wanted each film entry to be as thorough as possible. Every one would have credits, cast, working title, contemporary reviews, and archive sources, in addition to a commentary on surviving films and as much as I could find on missing ones. I have to admit that I “borrowed” the format of the book from Rob Stone’s excellent Laurel or Hardy, one of my favorite film books.Continue reading →
New research on silent comedy has been on the rise in the past decade, and quite a bit of this is thanks to the tireless efforts of renowned historian Steve Massa. Silent-ology is very pleased to present this exclusive interview with Massa, where we discuss his very well-received new book Slapstick Divas: The Women of Silent Comedy.
Sybil Seely and Charles Dorety in one of the many rare images from Massa’s book.
For those readers who might not be familiar with your work, can you introduce yourself and talk a bit about your career?