Good for Glenn Kenney taking on both O'Neil and Jeff Wells in the same post.rain Bard wrote:This is my favorite response to the O'Neil post so far.
Tom O'Neil is still an idiot
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Big Magilla
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I am convinced that when O'Neil's Mommy & Daddykins put him in the playpen with the other toddlers, they had to quickly make up a comforting reason for him why all the other kids immediately peaced out with looks of disgust on their cute little faces. To this day he exists within this fictional construct wherein he is erudite, clever, and iconoclastic. It's kind of a mesmerizing show. At least up to the point where one must avert one's attention in revulsion.
If I were forced to spend two seconds with him in person I'd calculate the quickest route to suicide.
Edited By Johnny Guitar on 1208646999
If I were forced to spend two seconds with him in person I'd calculate the quickest route to suicide.
Edited By Johnny Guitar on 1208646999
This is my favorite response to the O'Neil post so far.
I haven't seen that much by Frank Tuttle, but he seems like a figure worth investigating. His 1926 Louise Brooks vehicle Love 'Em and Leave 'Em was interesting mostly in its early use of New York City location photography. This is the Night is like a faux-Lubitsch European farce, without the "touch" but with plenty of laughs and innuendos. Roman Scandals is certainly worth a look as a Busby Berkeley extravaganza, though since it's my only experience with an Eddie Cantor film I don't much know what to make of it as a vehicle for his antics. And Suspense, though not one of the great noirs of its age, is notable for its ice-skating rink setting and its excellent usage of Eugene Pallette. I'll try to hunt down This Gun For Hire when I can.
Edited By rain Bard on 1208639380
I haven't seen that much by Frank Tuttle, but he seems like a figure worth investigating. His 1926 Louise Brooks vehicle Love 'Em and Leave 'Em was interesting mostly in its early use of New York City location photography. This is the Night is like a faux-Lubitsch European farce, without the "touch" but with plenty of laughs and innuendos. Roman Scandals is certainly worth a look as a Busby Berkeley extravaganza, though since it's my only experience with an Eddie Cantor film I don't much know what to make of it as a vehicle for his antics. And Suspense, though not one of the great noirs of its age, is notable for its ice-skating rink setting and its excellent usage of Eugene Pallette. I'll try to hunt down This Gun For Hire when I can.
Edited By rain Bard on 1208639380
Big Magilla wrote:I've never seen Hell on Frsico Bay either. I agree Lewis Allen (The Univited, So Evil My Love, At Sword's Point, Suddenly, A Bullet for Joey, Illegal) was a pretty fair director, but he didn't direct Hell on Frisco Bay. That was Frank Tuttle (This Gun for Hire, The Great John L.).
Whoops LOL Shows what relying on faulty memory will do. I got Hell On Frisco Bay confused with another 1955 Warners release starring Robinson, Illegal.
Tuttle's major achievement was directing Ladd in his great breakthrough role in Thus Gun For Hire.
Edited By Damien on 1208640809
"Y'know, that's one of the things I like about Mitt Romney. He's been consistent since he changed his mind." -- Christine O'Donnell
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Big Magilla
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I've never seen Hell on Frsico Bay either. I agree Lewis Allen (The Univited, So Evil My Love, At Sword's Point, Suddenly, A Bullet for Joey, Illegal) was a pretty fair director, but he didn't direct Hell on Frisco Bay. That was Frank Tuttle (This Gun for Hire, The Great John L.).
Incidentally, I changed the name of the thread to Tom O'Neil is STILL an idiot to distinguish it from the previous one.
Incidentally, I changed the name of the thread to Tom O'Neil is STILL an idiot to distinguish it from the previous one.
I've never seen Hell On Frisco Bay either, although Lewis Allen is a pretty fair director. I remember the film from a picture in William K. Everson's book The Bad Guys, in which Everson pointed put the movie featured hard-boiled icons from the 30s (Edward G. Robinson), 40s (Alan Ladd) and 50s (Paul Stewart).
"Y'know, that's one of the things I like about Mitt Romney. He's been consistent since he changed his mind." -- Christine O'Donnell
Damien, Magilla, I'm so glad you liked my contribution to that 1927 Blog-a-Thon, as you've both been particularly important influences on my interest in the Hollywood cinema of yesteryear (as has this entire board, really).
Though I bet most here would, almost nobody ever recognizes the title of my blog as a tribute to the 1955 Alan Ladd / Edward G. Robinson film. I've never seen it myself, but I love Robinson, and I love films set or shot in my hometown. I wanted to use the name of one, and picked "Hell on Frisco Bay" because, not only was it the best-sounding, but also the most-apt for the scope of what I usually write about, which is film screenings in Bay Area venues. The "Hell" part comes in when there are multiple must-see films I want to see playing at the same time; for instance in June, when I'll have to miss a 35mm print of Nightmare Alley, playing as part of a Joan Blondell series in Berkeley, to catch a program of rare Apichatpong Weerasethakul shorts here in San Francisco, each screening a single time.
I'd love to see City Girl; I think it's played in the area a grand total of one time, in a rather inconvenient location, since I first became aware of Murnau. And I've never seen it on a video store shelf either.
Great news about the Fox Borzage set! Though it won't help me see Universal's Little Man, What Now, the only one of the titles you mentioned, Magilla, that I haven't seen yet. I love each and every one of the others, plus Street Angel (Fox) and No Greater Glory (Columbia).
Edited By rain Bard on 1208550453
Though I bet most here would, almost nobody ever recognizes the title of my blog as a tribute to the 1955 Alan Ladd / Edward G. Robinson film. I've never seen it myself, but I love Robinson, and I love films set or shot in my hometown. I wanted to use the name of one, and picked "Hell on Frisco Bay" because, not only was it the best-sounding, but also the most-apt for the scope of what I usually write about, which is film screenings in Bay Area venues. The "Hell" part comes in when there are multiple must-see films I want to see playing at the same time; for instance in June, when I'll have to miss a 35mm print of Nightmare Alley, playing as part of a Joan Blondell series in Berkeley, to catch a program of rare Apichatpong Weerasethakul shorts here in San Francisco, each screening a single time.
I'd love to see City Girl; I think it's played in the area a grand total of one time, in a rather inconvenient location, since I first became aware of Murnau. And I've never seen it on a video store shelf either.
Great news about the Fox Borzage set! Though it won't help me see Universal's Little Man, What Now, the only one of the titles you mentioned, Magilla, that I haven't seen yet. I love each and every one of the others, plus Street Angel (Fox) and No Greater Glory (Columbia).
Edited By rain Bard on 1208550453
Until Borzage gets a good representation on DVD read an amazing book about him and his films called, Frank Borzage: The Life and Films of a Hollywood Romantic by Herve Dumont & Jonathan Kaplansky.Big Magilla wrote:Great article, Brian. Interesting YouTube lecture on 7th Heaven, Borzage and Gaynor, which brings up one of my pet peeves - why aren't Borzage's films more readily available on DVD? There are umpteen public domain versions of A Farewell to Arms, but no 7th Heaven; Man's Castle; Little Man, What Now?; History Is Made at Night; Three Comrades; The Mortal Storm; Moonrise, etc. The last time I looked The Mortal Storm was the most requested DVD at TCM. Warner Bros. and Fox, both of which are better than the competition at releasing studio classics seem to be turning a deaf ear to requests for Borzage's films.
Who cares? Good. I'm glad he said that.
Most people can't invalidate themselves beyond birth. Tom O'Neill is the exception. I recall somebody at one point mentioning that he's a trust fund baby. Imagine being given a silver spoon and throwing your life away doing this horseshit.
Most people can't invalidate themselves beyond birth. Tom O'Neill is the exception. I recall somebody at one point mentioning that he's a trust fund baby. Imagine being given a silver spoon and throwing your life away doing this horseshit.
"How's the despair?"
I poured myself a stiff glass of Scotch and read O'neil's entire artcle. Ye Gods!!!
First of all, when was the last time anyone used the word "hipster" other than in an ironic, post-modern way? And a "hipster' would not exactly be the type of person who'd appreciate Sunrise -- he's be more of a Robin and the Sven Hoods or Paris Blues kind of guy.
And what in the world is an Oscar Nazi? That phrase insults the memories of all those killed and harmed by Hitler's regime. Plus, as others have commented, I've never heard anyone say Sunrise should be given credit as the first Best Picture winner. Maybe Tom has imaginary kudoexperts he hangs out with.
Some people posting in response on the Gold Derby site made very intelligent comments -- which, typically, O'Neill got all hysterical about.
Brian, your piece is wonderful and your analysis of this great film is spot on. (I also love the name of your blog.)
By the way, Murnau's City Girl is a fascinating companion piece to Sunrise in that here the woman from the city (played this time by Janet Gaynor) is the moral, generous and kind-hearted character, while the country folks are venal and small-minded.
First of all, when was the last time anyone used the word "hipster" other than in an ironic, post-modern way? And a "hipster' would not exactly be the type of person who'd appreciate Sunrise -- he's be more of a Robin and the Sven Hoods or Paris Blues kind of guy.
And what in the world is an Oscar Nazi? That phrase insults the memories of all those killed and harmed by Hitler's regime. Plus, as others have commented, I've never heard anyone say Sunrise should be given credit as the first Best Picture winner. Maybe Tom has imaginary kudoexperts he hangs out with.
Some people posting in response on the Gold Derby site made very intelligent comments -- which, typically, O'Neill got all hysterical about.
Brian, your piece is wonderful and your analysis of this great film is spot on. (I also love the name of your blog.)
By the way, Murnau's City Girl is a fascinating companion piece to Sunrise in that here the woman from the city (played this time by Janet Gaynor) is the moral, generous and kind-hearted character, while the country folks are venal and small-minded.
"Y'know, that's one of the things I like about Mitt Romney. He's been consistent since he changed his mind." -- Christine O'Donnell
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Big Magilla
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Big Magilla
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Great article, Brian. Interesting YouTube lecture on 7th Heaven, Borzage and Gaynor, which brings up one of my pet peeves - why aren't Borzage's films more readily available on DVD? There are umpteen public domain versions of A Farewell to Arms, but no 7th Heaven; Man's Castle; Little Man, What Now?; History Is Made at Night; Three Comrades; The Mortal Storm; Moonrise, etc. The last time I looked The Mortal Storm was the most requested DVD at TCM. Warner Bros. and Fox, both of which are better than the competition at releasing studio classics seem to be turning a deaf ear to requests for Borzage's films.
He's certainly entitled to his opinion, but does he have to foist it upon his readers in such an inelegant way? I don't visit his site often, but articles like this make me think his popularity comes largely from how well he plays the role of the clueless contrarian, saying things so idiotic that he can't help but get readers to respond to them.
I actually visited the Sunrise / Wings issue on my own blog a little over a year ago. My conclusion was that Wings deserved to be called the first Best Picture winner, without any asterisk that the honor should be shared with Sunrise, no matter how much better a film the latter is. Like Magilla, I've never heard anyone say that Sunrise actually ought to be considered the first Best Picture winner, in anything other than a "shouldabeen" context.
I just saw Nosferatu again, for the first time in years, on Saturday. Unfortunately it was unexpectedly presented in a digital projection of a poor transfer of a cropped, untinted print. Fortunately the film is great enough to actually withstand such affronts, and I came away as impressed with Murnau as ever. When mentioning his great films, lets not forget the Last Laugh, perhaps the fullest expression of his cinematic ethos.
Interestingly, this is the second dis of Sunrise I've encountered in as many days. Though the other was a far subtler denigration, and it came from a far more reputable source, in service to a film far greater than Wings or the Jazz Singer: Frank Borzage's tremendous Seventh Heaven.
Edited By rain Bard on 1208422693
I actually visited the Sunrise / Wings issue on my own blog a little over a year ago. My conclusion was that Wings deserved to be called the first Best Picture winner, without any asterisk that the honor should be shared with Sunrise, no matter how much better a film the latter is. Like Magilla, I've never heard anyone say that Sunrise actually ought to be considered the first Best Picture winner, in anything other than a "shouldabeen" context.
I just saw Nosferatu again, for the first time in years, on Saturday. Unfortunately it was unexpectedly presented in a digital projection of a poor transfer of a cropped, untinted print. Fortunately the film is great enough to actually withstand such affronts, and I came away as impressed with Murnau as ever. When mentioning his great films, lets not forget the Last Laugh, perhaps the fullest expression of his cinematic ethos.
Interestingly, this is the second dis of Sunrise I've encountered in as many days. Though the other was a far subtler denigration, and it came from a far more reputable source, in service to a film far greater than Wings or the Jazz Singer: Frank Borzage's tremendous Seventh Heaven.
Edited By rain Bard on 1208422693