The Parade’s Gone By
Miss Desmond, your boy was right:
The parade’s gone by,
I heard it’s moved online –
A nice place to visit but
I sure as hell don’t want to live
Where I can only touch
What I cannot feel.
“We didn’t need dialogue. We had faces!” you cried,
But Norma, now that’s all we got:
Talking heads, ephemeral shadows
Locked behind a screen
And I can’t get a connection.
Yes Miss Desmond, the parade has indeed passed us by;
It’s been a week but I can still hear the stomping of the boots in my ears,
My hope waving good-bye to a tardy Santa Claus,
I am forbidden to touch.
– Heather Babcock, March 2020
Note: This is not a political poem. I wrote this Sunday morning as a way to work through the anxiety and fear that I have been experiencing due to the Covid-19 shutdowns. I thought that Norma Desmond – the fictional silent film star from Sunset Boulevard (1950), a woman who is described by her younger lover as “waving to a parade that had long passed her by”- was a good symbol for the way that I am feeling right now. The difference is that Norma mourned the passing of silence while I miss the noise.
So very much. ❤
We are all experiencing the loss right now of our regular day-to-day way of living. As with any loss, many of us are experiencing the stages of grief, which include shock, denial, bargaining and depression. I always thought of myself as an introvert but this crisis has shown me how important human interaction is: social distancing is necessary right now but it’s also very disheartening and, well, lonely.
During this time, I have found some comfort in movies made during Hollywood’s saucy Pre-Code period, which took place from 1930 to mid-1934, during the darkest days of the Great Depression. Although there are many excellent social dramas from this era – films such as Heroes for Sale (1933) and I Am a Fugitive from a Chain Gang (1932) – which, with their focus on income equality and corrupt bureaucracy remain relevant today, Hollywood was also pumping out loads of escapist fare meant to lend a little hope and cheer: two things I think we all could use right now.
What follows is just a handful of my favorite Pre-Code escapist films. Feel free to list your own favorites in the comment section. Continue reading “Depression-era movies were made for this time: Top Pre-Code Escapist Films”
“Surely not many a silver screen star can write, produce and slice her own nitrate. I take pride in my skills but without a distribution deal, these talents remain ‘in the can’, as we say – invisible, worthless. Tomorrow the studio heads will wave their magic wands of approval – or not. I believe we have good prospects if I can dodge the (creditors) by the fire escape one more day. (…) There are so many stories yet to be told and sold in our future. Tomorrow. Thank God, there is tomorrow.” – Nell Shipman
One hundred years ago, before Wall Street moved in and before the domination of the large studio system, women ruled Hollywood: in front of and behind the scenes, they wrote the stories, shot the scenes, managed production budgets and dreamed up the publicity scenarios that turned everyday shop girls into superstars. One of the most fearless of these early film pioneers was Nell Shipman, a Canadian born director, actress (who performed all of her own stunts!), producer, screenwriter, novelist and animal rights activist and trainer. I recently discovered Nell during a midnight screening of Back to God’s Country (1919), an action-adventure blockbuster that she both wrote and starred in. I was equal parts surprised, delighted and enchanted by Nell’s earthy sensuality (her infamous skinny-dipping scene is more joyful than salacious) and the feminist tone of the film (her character – a woman surviving in the harsh Canadian wilderness – is no damsel in distress but rather a defiant dame). The thoughtful portrayal and gentle handling of the many animals in the film is also refreshing; at a time when most other nature filmmakers were as likely to shoot animals as they were to film them, Nell Shipman emphatically advocated for the humane treatment of animals in movies and spoke out against animal cruelty.
Continue reading “In Honour of International Women’s Day: Remembering Film Pioneer Nell Shipman”
“Nobody watches silent movies anymore”.
I was a little taken aback when I read the above quote recently in an otherwise well-researched book about Pre-Code film. Nobody watches silent movies anymore? Tell that to the audiences who flocked to the Fox and the Revue Cinema this past weekend to watch two silent classics: It (1927) and The Hands of Orlac (1924). In spite of the unusually mild February weather, both films played to a packed house.
Being a huge fan of Clara Bow, I was excited to see her on the big screen in the film that immortalized her as the original “IT Girl”: on Saturday, the Toronto Silent Film Festival screened It (1927) at the Fox theatre in the Beaches, with live music accompaniment by Tania Gill. Prior to the film, my beau and I checked out the merchandise table where I picked up some sassy Clara Bow buttons for a toonie each and he found a cool Marilyn Monroe biography for only one dollar! Regrets? I have a few: there was a Gloria Swanson DVD collection for $20.00 which I unwisely passed up (I figured I should keep my cash for groceries but really, when choosing between bread and Gloria, one should always choose Gloria!). I couldn’t resist asking my beau to snap a photo of me under the Fox’s vintage Candy Bar sign (pictured).
Continue reading “Silents Please!: Silent Movies are Alive and Well in Toronto”
“The Big Shots aren’t little crooks like you. They’re politicians.”
If Karl Marx baked a birthday cake and laced it with marijuana, the results would probably be very similar to You and Me (1938), a delicious grab bag of a movie which combines humour, film-noir, romance, musical numbers and a social message all to delightful – and dizzying – effect. But what did Paramount expect when they asked Fritz Lang, the German director best known for his Weimar-era expressionist films such as Metropolis (1927) and M (1931), to direct a romantic comedy?
Continue reading “Once Upon a Time…Fritz Lang Made a Romantic Comedy (You and Me, 1938)”
In 1933, Hollywood’s leading sex symbol was a feisty 40-year-old woman who was as smart as she was curvaceous. Mae West was more than just another sexy blonde though; one of the most influential people, of not only the 1930s but of the twentieth century, West was an accomplished playwright, screenwriter, actress, singer and comedienne. A pioneer of the sexual revolution, Mae said “I let people know that women like sex too, and that’s a good thing, not a bad thing, as long as you don’t hurt anyone.” In 1927, Mae’s smash hit play Sex was raided by police and after the subsequent trial, she was found guilty of “corrupting the morals of youth”. The judge sentenced her to either pay a fine of five hundred dollars or spend ten days in a women’s prison. Mae chose the jail sentence because she thought it “more interesting” and figured it would provide fodder for her writing: “I wasn’t going to be deprived of that experience,” she would say years later. “I saw those as ten very valuable days, a kind of working vacation.” In 1933, West’s movie She Done Him Wrong (1933) did Paramount Studios very, very right: the film – and Mae – saved the studio from bankruptcy during the bleakest days of the Great Depression. In the excellent 2009 biography She Always Knew How: Mae West, A Personal Biography, author Charlotte Chandler wrote: “There were even some people who were willing to miss a second meal in order to see She Done Him Wrong and Mae West a second time.”
She may have only had a third-grade education, but Mae West is inarguably the most quoted person of the twentieth century. Popular double entendres such as “Is that a gun in your pocket or are you just happy to see me?” originated with West. Because of the sheer wealth of her smart and snappy one-liners, it would be next to impossible to limit a list of Mae’s top quotes to just ten. So instead I am sharing a top ten of my personal favourite Mae West quotes. Feel free to add your own in the comments section.
Continue reading ““Goodness Had Nothin’ to Do With It, Dearie”: Favorite Mae West Quotes”
“There oughta be a law against dames with claws.”
Straight out of Poverty Row, what Detour (1945) lacks in budget, it makes up for in style. Written by Martin Goldsmith (The Twilight Zone) and starring Tom Neal and the inimitable Ann Savage, Detour is to film noir what The Public Enemy (1931) is to the gangster flick: it isn’t the first in its genre but it’s certainly one of the most definitive and influential. In A Pictorial History of Crime Films (1975), author Ian Cameron calls Detour “well in the running to being the cheapest really good talkie to come out of Hollywood.”
There’s no Public Enemy-style grapefruit in Detour but if there was, it would undoubtedly be Ann Savage smashing the breakfast fruit into Tom Neal’s face and not the other way around. As Vera, the unhinged hitchhiker whom our wide-eyed protagonist Al Roberts (Neal) has the misfortune of picking up, Savage is the most dangerous of all film noir dames: the femme who puts the “fatal” in femme fatale.
Continue reading “A Savage Detour into Hell: Review of Detour (1945), the (Tough) Mama of Film Noir.”