Century Film Project

Celebrating the movies our ancestors loved

Month: November, 2021

A Bird’s a Bird (1915)

Just in time for the holidays comes this Keystone comedy about two husbands trying to provide a turkey for their wives’ tables. Lacking in big names, this one gives a good example of the more “pedestrian” comic output of the studio.

Chester Conklin plays Mr. Walrus, who we meet at a raffle, where he is buying up tickets in hopes of winning the grand prize – a turkey to take home for dinner. Despite his multiple tickets, when the wheel is spun he is not the winner. Now Mr. Spegle (Harry D. Ward dressed to look sort of like Ford Sterling) comes along and buys one ticket, then tricks the “foreigner” (William Hauber) who legitimately won into giving him his ticket and he takes home the bird. Walrus goes home to wife Minta Durfee and explains that he wasn’t able to get a turkey, and she expresses anxiety as her parents are coming for dinner and expect meat. A close up on a parrot in a cage gives Walrus an idea and he makes an incompetent effort to catch it, but is caught in the act by Minta. He then wonders how cat meat would taste as he sits by the family pet. This time Minta takes his knife away. Luckily, however, the Spegles are just next door and Mr. Spegle puts the turkey in the window to cool, having just finished roasting it. Now the foreigner walks up and plants a bomb in the turkey. Walrus takes the rather more American-materialist form of revenge by taking the turkey. He presents it to Minta just as she is despairing of having a decent dinner for her parents. She is suspicious at first and checks to make sure the parrot is still alive, but overjoyed once she is convinced it’s a real turkey. She instructs him to set the table, and he does a quick pratfall where he tries to lean on one of the extended “arms” after opening it out and knocks all of their good china on the floor. He also “presses” his suit by laying it out on a window seat and sitting on it. Minta meets her parents at the door and invites the neighbors, Mr. & Mrs. Spegle over to meet them. Of course, they are asked to stay for dinner, and Mr. Spegle recognizes the bird. Just as he is announcing Walrus’s crime, the foreigner comes up to watch the results of his handywork, but a fight breaks out among the family and the bird gets tossed out the window, the explosion throws the foreigner far into the air and he lands on Minta’s dad, crashing through the ceiling. The final minutes of the film are just the foreigner, Walrus , and Spegle locked in silly combat and comeuppance.

I think this movie would have benefitted from the presence of a Fatty Arbuckle, Mable Normand, or even a (real) Ford Sterling. None of the players seems to be able to carry it as is. We don’t expect any kind of subtlety in a Keystone plot, but this one is very weak sauce indeed. As grim as the section is in which Conklin seems to be contemplating serving a household pet to his in-laws, this is the part with the greatest comedic potential, but it is left to sit – possibly because this isn’t a cartoon and chasing live animals around wasn’t going to be feasible in single takes (though Normand had handled the concept admirably in “A Little Hero”). The other piece of this movie is the various dinner-table arguments that take place while the bomb ticks away, reminding me of Hitchcock’s famous “bomb theory” of suspense, which should also translate to comedy: things are funnier if you know that all the tomfoolery is just a distraction from a ticking bomb, or so you might think. Here, it doesn’t seem to work, maybe because the audience doesn’t really trust the narrative to stick to any logical rhythm – the bomb’s going to go off when it feels like it, not when it is supposed to, so we lose that sense of urgency. At any rate, this movie isn’t a complete washout, but it’s not among the best works in Keystone’s canon.

Director: Unknown (possibly Walter Wright)

Camera: Unknown

Starring: Chester Conklin, Minta Durfee, Harry Ward, Willaim Hauber, Alice Davenport, Fred Hibbard

Run Time: 13 Min

You can watch it for free: here (no music).

 

Camille (1921)

The classic romantic story of a sex worker with a heart of gold is remade in modern times, starring now-huge-names Rudolph Valentino and Alla Nazimova. The look is a decided break with traditions established in the teens, and heralds the coming of the “roaring twenties” in all their glory.

Camille-newspapaerad1922

The movie begins with a wide shot of a grand staircase, filled with people in evening clothes, ostensibly in Paris in the winter (there are no exteriors in this part of the movie, so it could be anywhere/when). We close in on Armand (Valentino) and his pal Gaston (Rex Cherryman), who play law students. Gaston is the elder, more jaded of the pair, while Armand seems to be thrilled by high society. When Camille (Nazimova) emerges, with a coterie of gentlemen trailing after her, Armand is immediately smitten, and asks Gaston about her. She is known as “the Lady with the Camellias” and is in the process of throwing over her current escort for a more high-ranking member of the aristocracy. Gaston introduces her, and she seems to lose interest in her high-stakes quarry for a moment when she sees how handsome Armand is. She lets it be known that there will be an after-party at her place and Gaston agrees to take his aunt and Armand along for the ride.

Camille Read the rest of this entry »

The Haunted Castle (1921)

Originally released with the more prosaic title “Schloss Vogelöd” (“Castle Vogelöd”), this early work by F.W. Murnau skirts the edges of horror and Expressionism, without fully committing to either. Murnau does show his talent for psychological drama here, as well as atmosphere and narrative structure.

The movie begins by showing us a large manor, drenched in rain. We learn from intertitles that this is the home of Lord von Vogelschrey (Arnold Korff) and that the traditional hunting season has been rained out for several days. We move to the interior of the castle and see the host and his bored guests, who are playing cards, smoking, reading newspapers and the like. A servant enters the room and announces Count Oetsch (Lothar Mehnert), which seems to disconcert everyone. Count Oetsch enters and Vogelschrey takes him aside to another room. The guests outside gossip and we learn that the count got his title a few years ago on the death of his brother by shooting, and that he is suspected of the crime. This rumor gets nourished by a retired Judge of the District Court. Vogelscrhey informs Oetsch that his brother’s widow will soon be here, implying that he (Oetsch) should leave, but Oetsch acts nonchalant and makes it clear he intends to stay.

Read the rest of this entry »

The Phantom Carriage (1921)

This spooky film from Sweden adds another piece to my “history of horror” that I wasn’t able to get to in the month of October this year. Never mind, November is still a good creepy month, and this movie transcends the horror genre by dealing with issues of morality and personal responsibility, even as it depicts a skeletal horse pulling a transparent buggy.

Phantom Carriage1

As the film opens, a young woman (Astrid Holm) is sick in bed, those around her call her “Sister Edit,” and expect her soon to die. We learn that she is with the Salvation Army, that it is New Year’s Eve, and that she has only one wish: to speak with someone named David Holm. His name seems to scandalize her caretakers, but they cannot ignore a dying request, and a search for David is mounted. When we find him (played by director Victor Sjöstrom), he is in a graveyard, enjoying a final toast with other down-and-outs. He tells a story that appears in flashbacks.

Phantom Carriage4

Read the rest of this entry »

Artheme Swallows His Clarinet (1912)

This very French farce comes from a time when national cinematic styles were still being determined and when France’s film product was just starting to be challenged economically by the output of the United States. This movie may have been seen around the world at the time, but it was nearly lost at the time of its restoration, with only two known prints to work from.

Artheme Swallows His Clarinet

Our lead character is a short man in a hat and baggy jacket. He is seen strolling along a path in a park, playing his clarinet as he walks. A policeman comes up to him and interrupts, showing us with gestures as he asks Artheme to stop playing. Artheme agrees and walks off. The next scene shows him as he walks up to a streetcar. A crowd is clamoring to get on board, and he begins to play again. The film speeds up and everyone is able to board quickly with the help of his music. He tips his hat to the streetcar as it pulls away. Now he comes to a group of workmen, who are pulling a heavy cabinet on a rope up the side of the building. When he starts to play, they forget their labors and start to dance, but unfortunately, Artheme was standing beneath the cabinet and when they let go the rope it crashes down on him! When they recover and pull him out from under, we see that his clarinet was pushed back into his mouth and it now penetrates his head – the mouthpiece jutting out from the back and the horn sticking out of his mouth. He seems not to be in much pain, however, and rather than horror, the workmen respond with mirth at his plight.

Artheme Swallows His Clarinet1

Artheme leaves and walks on, looking for someone to help him pull it out again. He first finds a policeman, but despite his best efforts, the instrument will not budge. He approaches another man in the park, who recruits more help to get more force on the clarinet, and soon there is a line of people tugging on a rope attached to it. When they slip and lose their grip, however, the whole crowd falls backward into a lake. Artheme sits on a bench at the seashore and a man with a top hat and funny beard walks up, reading from a musical score. He comes behind Artheme and plays the clarinet through his head, making Artheme hold up the music for him. Annoyed at being reduced to a music stand, Artheme hits him and pushes him away. He now comes to a blacksmith’s shop, where men are working with hammers at an anvil. He pleads with them to help him and places his head upon the anvil. A man with a large hammer strikes the mouthpiece until the instrument has been forced out of his mouth. He stands up again, apparently no worse for the experience (and happily without a big hole in the back of his head). Nevertheless, they pick him up and dunk his head into a bucket of water several times, giving us one final laugh as the film ends.

Artheme Swallows His Clarinet2

It’s easy to imagine the early Surrealists seeing this movie in youth or even childhood and loving it. It has all of the elements – including violence and bodily disfigurement – that would fascinate them later. The star and director was Ernest Servaès, who did a series of “Artheme” films for the next few years, although I believe the company he worked for, Eclipse, folded during the First World War and there isn’t much trace of him after that. According to imdb, he lived long enough to make two movies named “Mirelle,” one in 1922 and one in 1934, with that last version being the only feature length film of his career. He has a delightful personality as a French comedian, although he lacks the physicality of a Keaton or a Chaplin and probably would never have made a big hit in the USA. The effect of the clarinet is uneven, Ernest has to keep his head ducked low in order for it to look straight, and much of the time it is obvious that it is constructed of two separate pieces attached to the back of his head and stuck in his mouth. This movie has a light touch that is appealing today. I liked the images of the French coast (the water is rough and full of large, fast-moving waves) and the location shots on the streets, which give a definite sense of place; most of the park looks just like the parks we’ve seen in Keystone comedies, which is itself interesting – I guess even a hundred years ago, a park was a park.

Director: Ernest Servaès

Camera: Émile Pierre

Starring: Ernest Servaès

Run Time: 4 min, 12 secs

You can watch it for free: here.