August 31, 2010 § Leave a comment
One of the 75 rediscovered films from the New Zealand Film Archive, “Upstream,” makes its first appearance in 80 years tomorrow night at the Academy. (For more on these films, see my post https://underthehollywoodsign.wordpress.com/2010/06/07/a-treasure-trove-of-silent-film-resurfaces-in-new-zealand/)
A love triangle from 1927, the film shows the influence of F. W. Murnau, the great German director (“Sunrise”) who at the time was also directing at Fox. There will be live musical accompaniment as well as the trailer of Ford’s 1929 “Strong Boy,” the only surviving footage from that film.
Tickets are only $5 and still available at www.oscars.org
August 27, 2010 § Leave a comment
The artist and director Daniel Auber sent me this link to a clip from Eastman Kodak’s early color tests. It is revelatory: suddenly, actresses known only from black-and-white Silent films appear, as they used to say, in living color. The notables in this clip are Hope Hampton (#2) and Mae Murray (in the red and silver coat).
Beyond the unexpected pleasure of seeing Silent film stars in color, the sequence proves what I’ve long known about Kodak film. Growing up in Japan, I was told Kodak was best at capturing the red-yellow spectrum and less good at the blue-green spectrum–whereas Fuji film was the opposite. Thus, before digital cameras made the issue moot, I would use Kodak film in the United States and Fuji in Japan, a very blue-green country, with excellent results.
The clip proves this theory: the reds are brilliant and varied while the greens are muddy and rendered in two shades: forest and sage. There are no blues, though I’m sure some of the green clothing was actually blue. The Kodak film simply couldn’t make the distinction.
It would have been interesting if Kodak had overcome this problem but, despite improvements in subsequent years, it never did. There may have been a conscious decision to emphasize the red-yellow spectrum, given those colors’ prevalence in our geography. But it’s also possible that the scientists at Kodak didn’t perceive any spectral defect in the film. After all, deuteranomaly—color blindness affecting the perception of green–affects 6% of males, which they undoubtably were.
August 25, 2010 § Leave a comment
August 23, 2010 § Leave a comment
Normally I write about film and Hollywood history. Today I am writing about poetry, which was my introduction to literature and the first kind of writing I attempted. While I no longer consider myself a poet, I’m fortunate to know Carol Moldaw, who has achieved greatness in the field.
Carol and I have been friends since 1981. Though we and our boyfriends studied at Harvard, we hadn’t crossed paths there; instead, the four of us met as neighbors in Berkeley. Carol would later perfectly capture our hillside apartments in “64 Panoramic Way,” in the process making me one of the lucky few whose grad school digs have been immortalized in verse:
At the first switchback,
pine needles tufted with dog fur
pad up the wide cracked steps
leading to a cottage and two
ramshackle shingle houses.
From the lintel of an illegal
basement apartment, magenta
fuchsia, silent bells,
bob and sag over a pot’s rim.
Since then, Carol has published five collections of poetry and a novel. Her work has appeared in AGNI, Antioch Review, Boston Review, Chicago Review, Conjunctions, Denver Quarterly, FIELD, The New Republic, The New Yorker, The Paris Review, Parnassus, Threepenny Review, and Triquarterly. It has also been anthologized in many venues, including Western Wind: An Introduction to Poetry, and Under 35: A New Generation of American Poets. She has been the recipient of a Lannan Foundation Marfa Writer’s Residency, an NEA Creative Writing Fellowship, and a Pushcart Prize.
On Friday, September 10th at 7:30pm, Carol will read from her new collection, “So Late, So Soon: New and Selected Poems” (Etruscan Press) at Skylight Books in Los Feliz. I’ll be there; I hope you will, too.
August 20, 2010 § 1 Comment
From Jean Hawkins come pictures of these wonderful bronze bookends of Peter the Hermit with his greyhound. Found in a thrift store, the bookends were produced by Novel-Arts of Hollywood and copyrighted 1927. Inscribed “Peter the Picturesque, Beloved Hermit of Hollywood,” they are touching proof of Peter’s fame in Hollywood during the 1920’s and 30’s.
August 18, 2010 § Leave a comment
Setusuko Hara is an actress with no equivalent in western film. For 20 years after WWII, she defined contemporary femininity for Japanese audiences, first playing young, unmarried women, then wives, then mothers. In all her roles, she was a vital, central character, never an adjunct to a male star. (If only the same were true for female characters in American films!) So totemic is Hara’s place in Japanese cinema that she earned the moniker “The Eternal Virgin.” By refusing to grow old onscreen–she made her last movie at 46–and never marrying in real life, she further set herself apart, not only from other actors but societal norms.
Although Hara made 73 films in her 30-year career, she is best known for the twelve she made with three major post-war auteurs: Akira Kurosawa, Mikio Naruse and Yasujiro Ozu. A more detailed essay on her life and work can be found in my Pages.
August 16, 2010 § Leave a comment