Showing posts with label classic cinema. Show all posts
Showing posts with label classic cinema. Show all posts

Thursday, February 7, 2019

Metropolis at the Arlington on a Wonder Morton


I finally saw Metropolis by Fritz Lang, and not only that, I heard the track played live on a Wonder Morton at the Arlington Theatre at the SBIFF!





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Read about the Wonder Mortons and where they are today:
https://gstos.org/organs/the-bob-balfour-memorial-wonder-morton-theatre-pipe-organ/the-5-wonder-mortons-where-are-they-now/

The Santa Barbara International Film Festival
https://sbiff.org/

Tuesday, January 21, 2014

The Secret Meaning of Stanley Kramer's "Mad, Mad World" Revealed


There are reasons to believe that when the studio cut Stanley Kramer's Its a Mad, Mad, Mad, Mad World (1963), down from 210 minutes to 154 minutes that much more was lost than miscellaneous sub-plots. We are told that the studio took the film away from Kramer because of its length and the effect that would have on potential boxoffice. But others believe that something much more evil was behind the studio's actions, that the studio was upset by the director's dark vision of the greed of the average American, and conspired to take the film away and transform it into the shallow, madcap comedy that was released.

Consider the greater body of Stanley Kramer's work as a director. These are some of the most serious and acclaimed films of the 1960s including such films as On the Beach (1959), one of the best films about the dire consequences of nuclear war, amd Guess Who is Coming to Dinner (1967), an important film about racial integration in 1960s America. Add to that Ship of Fools (1965), Judgment at Nuremberg (1961) and , Inherit the Wind (1960) and ask yourself, are these the films of a director of madcap comedies filled with pointless car chases?


The rage of a frustrated common man?

Degrading sex and drug lifestyle?

Perhaps the "W" stands for Weltanschauung ?

The main story line calls out for a serious interpretation. The plot is one of greed getting the better of groups of average Americans who become aware of a hidden cache of stolen money buried in a little California town several hundreds of miles away. Their behavior quickly devolves from one of cooperation to one of vicious and deadly competition, shedding values like old clothes, and acting reprehensibly towards each other as they gallop after the money.

The story gets darker as the Spencer Tracy character who plays a policeman on the Santa Rosita police force is told to his face that he will not receive a pension on retirement because everyone on the force hates his integrity and stern enforcement of the law. Driven to desperation, he chooses to abandon his values as well, wait for the others to find the money, then come in and posing as an active duty policeman, take the money and run for Mexico. Surely this is as tragic a fall from grace as we can find in all of the American cinema?

The dark irony of this misunderstood film is only made more powerful by the brilliant choice of lead actors, an ensemble cast of the country's most noted comedic actors here at last given a chance to show their serious side in a powerful parable about greed. Could there be a better choice of ensemble cast than Phil Silvers, Jonathan Winters, Milton Berle, Buddy Hacket, Ethyl Merman, Dick Shawn, Mickey Rooney, Sid Caesar, Jim Backus and Edie Adams, all well-known comedians in what may have been their first and certainly most serious dramatic role?

If we could see the footage that was left on the cutting room floor, the missing 18 minutes that would extend the film from the restored 192 minutes to its full 210 minutes, what would we find? Would we find impassioned soliloguies from a degraded and unrepentant Phil Silvers? Perhaps a secret and unhealthy S&M relationship involving Dick Shawn and his mother Ethyl Merman? Was this Jonathan Winter's great opportunity to demonstrate his worth as an actor of tragedy? Perhaps Edie Adams' portrayal of a sex-addicted love slave of Milton Berle, Sid Caesar, Buddy Hackett and Mickey Rooney would have been the apex of her career and led to an Academy Award Nomination for Best Supporting Actress. We may never know.

And how ironic if these hypothetical masterpieces of the cinematic art were sacrificed to the greed of the shallow studio executives in a film nominally about greed!

How often must we hear that the corrupt and corporate Hollywood system betrays the filmmaker and compromises his or her vision? It is time to call a stop to this disgraceful behavior.

We at Global Wahrman believe that the studios must undo this travesty and restore this important film to its original vision. If it means remaking it over and over again at vast expense until we get it right, then that is the price we must pay in the service of great art.

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IAMMMMW on Imdb

IAMMMMW on Wikipedia

Inflation Calculator of $350K in 1960 adjusted for inflation to 2013

An analysis of the locations used in IAMMMMW

Imperial Chrysler Club Web Page on IAMMMMW

On The Beach (1959) on IMDB

Friday, February 8, 2013

Great Performance Reviews in History: Lawrence of Arabia


Since employment and the search for employment seems to be on so many people's minds, I wish to share with you what I believe is one of the best "performance reviews" in film.  There are a few others, some more comical than this, but this is perhaps the best of the serious reviews.  It may even have some basis in fact.  That is less clear.

In this sequence, T. E. Lawrence, aka Lawrence of Arabia, has just come out of the desert and announced that he and the Arab Revolt have taken Aqaba. He is escorted into the presence of his commanding general, General Allenby, who is many levels above Lawrence's nominal chain of command.

Of course, this is from David Lean's Lawrence of Arabia (1962) starring Peter O'Toole as T. E. Lawrence. 

The sequence is here, until Youtube takes it down.


 The Review

Allenby reviews his file, questions his actions, promotes him, and builds up his morale to motivate him to go back and continue his work. How many of us can say that we have had as well-informed and insightful a review, or one designed to help us do our best work?

Lawrence, who of course realizes he is being manipulated, tells Allenby to his face, "Youre a clever man, sir", and through his presentation makes it clear that he is accusing Allenby of doing something nasty by rewarding Lawrence and making him like it.   I don't know about you, but I think that is pretty funny.  


Allenby manipulates his employee by telling him he has done a good job, promoting him and buying him a drink.  What a tricky, low down thing to do!


As background on the film, many of the key plot points in the movie are historical.   Which is appalling when you think about it.   Of course any detail or dialogue or colorful incident at an oasis or whatnot is certainly fiction, at least to some degree.   I am not sure if Lawrence ever met Allenby or if Allenby invited him for a drink at the Officer's club.  I would tend to doubt it, but I do not know.  But I think that we can be certain that if they did meet, whatever they said to each other was different than what we see here.

The performance review:

Allenby: (reading from a file) Undisciplined .... Unpunctual ... Untidy ... Several languages,
knowledge of music, literature, knowledge of ... , knowledge of ... You're an interesting
man, there is no doubt about it. Who told you to take Aqaba?
Lawrence: Nobody.
Allenby: Sir.
Lawrence: Sir.
Allenby: Then why did you?
Lawrence: Aqaba is important.
Allenby: Why is it important?
Lawrence: Its the Turkish route to the canal.
Allenby: Not anymore, they're coming through Bathsheba.
Lawrence: But we've gone forward to Gaza.
Alleny: So?
Lawrence: So, that left Aqaba behind your right.
Allenby: True.
Lawrence: And it will be further behind your right when you go for Jerusalem.
Allenby: Am I going for Jerusalem?
Lawrence: Yes.
Allenby: Very well, Aqaba behind my right.
Lawrence: It threatened El Harish and Gaza.
Allenby: Anything else?
Lawrence: Yes, Aqaba is linked with Medina.
Allenby: Do you think we should shift them out of Medina now?
Lawrence: No, I think you should leave them there.
Allenby: You acted without orders you know.
Lawrence: Shouldn't officers use their initiative at all times?
Allenby: Not really. Its awfully dangerous, Lawrence.
Lawrence: Yes, I know.
Allenby: Already?
Lawrence: Yes.
Allenby: I'm promoting you Major.
Lawrence: I don't think that's a very good idea.
Allenby: I didn't ask you. I want you to go back and carry on the good work.
Lawrence: No, thank you, sir.

For those who are interested, the scene where Allenby announces Lawrence's promotion at the Officer's club is here:
https://www.youtube.com/watch?feature=endscreen&NR=1&v=0VGBDYeEAVk

See also:

The Arab Revolt

General Allenby, 1st Viscount Allenby

Thomas Edward Lawrence

Lawrence of Arabia (1962) on IMDB