For Conservative Movie Lovers: King Vidor, Wallace Beery and ‘The Champ’ Part 5

When King Vidor first stepped onto the set of The Champ, he was filled with a rare sense of freedom. Frances Marion’s script was unusually simple, focused squarely on a pair of immensely sympathetic protagonists and their relationship. All the key moments, plot twists and emotional climaxes were spelled out on the page, with no false conflicts or manufactured drama to complicate the works. Vidor realized that having such a tight screenplay “would relieve me as a director — now I didn’t have to worry about the story, worry about how I will wrap this up and keep it all together. I could concentrate on little details, touches and things.”

Touches and things. As we learned last week, Vidor equated silent films to ballet: operatic makeup, overwrought facial expressions, stylized movements, and the action punctuated by an enormous symphonic orchestra that — because the players and their instruments were live in the theater — sounded as amazing as today’s very best surround-sound systems. With the advent of synchronous dialogue, all of this vanished — people now wanted to hear actors talk, of all things! Now, rather than mounting a sort of grand operatic ballet, Vidor found himself helming something more akin to a stage play, and the change was jarring and disheartening. How could a director recapture the emotional magic of old, using mere dialogue?

(more…)

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Tags: auteur theory, ballet, Charlie Chaplin, cinema lighting, cinema sound
Posted Feb 6th 2010 at 6:41 am in Classic Hollywood, Culture, Featured Story | 30481823 Commentshttp://bighollywood.breitbart.com/lgrin/2010/02/06/for-conservative-movie-lovers-king-vidor-wallace-beery-and-the-champ-part-5/For+Conservative+Movie+Lovers%3A+King+Vidor%2C+Wallace+Beery+and+%E2%80%98The+Champ%E2%80%99+Part+52010-02-06+14%3A41%3A00Leo+Grin

The Top Ten Greatest Directors of All Time

Last week, I stirred some folks up with my Top Ten Most Overrated Directors of All Time.  To recap, they were: Ridley Scott, Michael Mann, David Lean, Darren Aronofsky, Mike Nichols, David Lynch, Quentin Tarantino, Woody Allen, Martin Scorsese, and Alfred Hitchcock.  And by “stirred some folks up,” I mean faced down a virtual lynch mob.  Who knew that Aronofsky supporters were fans of the film Fury? 

A few quick items in response to that piece.  First, it was not about “bad directors” (although some were plain bad, including Aronofsky), but about overrated directors.  Alfred Hitchcock is nowhere near the worst director ever (I was probably too harsh to label him “slightly better than mediocre”), but it is a travesty to label him the greatest director of all time, as so many have.  The same holds true for David Lean (I appreciate Great Expectations, Brief Encounter, and swaths of Bridge Over the River Kwai, I just think he doesn’t deserve to make the top 20 list). Second, I neglected three directors who clearly should have made the list: Roman Polanski (somebody stop the Chinatown cult!), Spike Lee (how can he make race relations this dull?), and Tim Burton (damn you for ruining Sweeney Todd).  Third, two corrections: (more…)

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Tags: Akira Kurosawa, billy wilder, Charlie Chaplin, christopher nolan, Elia Kazan
Posted Jan 24th 2010 at 6:34 am in Classic Hollywood, Culture, Featured Story, Film | 295962265 Commentshttp://bighollywood.breitbart.com/bshapiro/2010/01/24/the-top-ten-greatest-directors-of-all-time/The+Top+Ten+Greatest+Directors+of+All+Time2010-01-24+14%3A34%3A57Ben+Shapiro

For Conservative Movie Lovers: King Vidor, Wallace Beery and ‘The Champ’ Part 2

The Champ marks the third time in a row — after John Wayne and Burt Reynolds — that I’ve chosen a movie starring an actor many deride as a “natural,” a “ham,” someone who gained stardom not by skill but mere charisma. The sort of rough-hewn appeal epitomized by Wallace Beery (1885–1949) isn’t something that can be taught by Stanislavski or faked with The Method. It comes from within, and evokes American qualities and ideals that have never gone out of style.

Beery was born and raised in Kansas City, Missouri, the youngest son of three. He dropped out of school in fourth grade (”I was too dumb to get any farther”) and ran away for a few months, bumming around the Midwest, spurred onward not by a hatred of family but by a sense of pure adventure. At sixteen he lied his way into a job as an elephant handler with a circus, spending the next three years traveling across the country, and even crediting himself with being the first to train elephants to use their trunks to grab the tails of the elephants in front of them in order to keep them all in line. But eventually he realized that, where bull handling was concerned, “my ambition had been no ambition at all, that I was just drifting.” When Beery heard that his older brother Noah was working on Broadway in New York, he hurried there to try his hand at the acting game. (more…)

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Tags: academy awards, Beverly Hills CA, Burt Reynolds, Charlie Chaplin, Chicago Magazine
Posted Jan 16th 2010 at 7:06 am in Classic Hollywood, Featured Story, Film | 29402619 Commentshttp://bighollywood.breitbart.com/lgrin/2010/01/16/for-conservative-movie-lovers-king-vidor-wallace-beery-and-the-champ-part-2/For+Conservative+Movie+Lovers%3A+King+Vidor%2C+Wallace+Beery+and+%E2%80%98The+Champ%E2%80%99+Part+22010-01-16+15%3A06%3A07Leo+Grin

Heroic Hollywood: Charlie, the Kid and the Cop

Charlie, the Kid and the Cop
Best Lesson Ever in Hollywood Screenwriting

If you want to write for Hollywood, study this picture.

This faded lobby card from Charles Chaplin’s The Kid is the best lesson you’ll ever have in how to write for the movies. Despite its age, it illustrates many of the essential elements you’ll need to keep in mind today as your write your Hollywood screenplay. It’s a visual reminder of the kind of movie that producers, studios and – most importantly – audiences are looking for.

And that’s no accident. This lobby card had a specific purpose: to bring people into the theater. Chaplin chose this particular image because it effectively answers the first three questions that are always on the mind of the audience when the lights go down on a Hollywood movie. (more…)

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Tags: character arc, Charlie Chaplin, ffolkes, Heroic Hollywood, Hollywood Formula
Posted Oct 3rd 2009 at 3:09 pm in Classic Hollywood, Culture | 23001844 Commentshttp://bighollywood.breitbart.com/rdvonch/2009/10/03/heroic-hollywood-charlie-the-kid-and-the-cop/Heroic+Hollywood%3A+Charlie%2C+the+Kid+and+the+Cop2009-10-03+22%3A09%3A20Russ+Dvonch

Esther Ralston: Why Do All My Husbands Want to Kill Me?

Esther Ralston, at the height of her Hollywood stardom in the 1920’s.

They called her: The American Venus.

She lived in a Hollywood mansion with a staff of servants. Her chauffeur drove a limited edition limousine. But she ended her days in an upscale trailer park in Ventura, California.

One of the enduring mysteries—for yours truly—are the scores of Hollywood starlets, innocent young women, who are attracted to bad men: drunks, gamblers, liars, tinsel town sociopaths.

Esther Ralston is a prime example of an early Hollywood star who showed great promise as an actress—she played drama and comedy with equal craft—but three ill-considered marriages effectively derailed Ralston’s career and drained away her considerable fortune. (more…)

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Tags: Charlie Chaplin, Charlie Chaplin Studios, Esther Ralston, George Webb, hollywood
Posted Sep 14th 2009 at 5:05 am in Celebrity News, Classic Hollywood, Culture | 22009433 Commentshttp://bighollywood.breitbart.com/ravrech/2009/09/14/esther-ralston-why-do-all-my-husbands-want-to-kill-me/Esther+Ralston%3A+Why+Do+All+My+Husbands+Want+to+Kill+Me%3F2009-09-14+12%3A05%3A51Robert+J.+Avrech

Broncho Billy: Son of a Jewish Gun

In 1965, a frail old man in a wheelchair appeared in the no-budget western, The Bounty Killer. It is, for those of us who love movies—especially westerns—a deeply bittersweet moment in which the man who invented the western movie hero, takes his last bow on the silver screen.

It is Broncho Billy Anderson’s final role.

Max Aaronson, better known as Broncho Billy.

The first cowboy hero of the motion pictures was Max Aaronson, (March 21, 1880 – January 20, 1971) a middle-class Jewish kid from Little Rock, Arkansas.

Max’s father, Henry, was a dry goods salesman and his mother Esther, a mother and homemaker. The family moved to St. Louis Missouri in 1883 and here Max, a teenager, was an office clerk like his brothers Jerome, Edward, and Nathaniel. A year later, Max became a cotton-buyer, in partnership with his brother-in-law Louis Roth. But Max was restless, a dreamer—and he was stage struck. (more…)

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Tags: Broncho Billy Anderson, Charlie Chaplin, Edwin S. Porter, Essany, The Great Train Robbery
Posted Jun 2nd 2009 at 8:11 am in Celebrity News, Entertainment | 14881830 Commentshttp://bighollywood.breitbart.com/ravrech/2009/06/02/broncho-billy-son-of-a-jewish-gun/Broncho+Billy%3A+Son+of+a+Jewish+Gun2009-06-02+15%3A11%3A28Robert+J.+Avrech