Month: July 2015

Mom and the Movies

I’ve said many times that my love of classic film can be traced directly back to my mom, who raised me on MGM musicals, classic dog-and-pony films, and dramas that I’m sure I didn’t get until I was much older, but somehow liked anyway. Mom passed away a couple of months ago, after ten years of suffering from Alzheimer’s Disease. Many people have offered their sympathy and I think you for that, but as anyone who has a loved one with Alzheimer’s will know, it feels in many ways like we lost her ten years ago. In addition, a loved one’s death, especially one who had been fighting disease and age, is in many ways joyful for Christians – she fought the good fight and she’s gone on to her heavenly reward, and while I grieve that my daughter will never know her grandma the way I knew her (until they meet in heaven, of course!), I’m glad my mom is free from the pain and mental loss she experienced here.

Enough of all that. I’d rather talk about the things she loved.

tf-fam

Mom was born in 1936, in East Brewton, Alabama. That’s a small town about an hour north of Pensacola, Florida. Many of her fondest memories as a child were of going every week with her best friend to the movies. There was only one theatre in town, of course, with one screen, so they saw whatever was playing that week, along with the requisite shorts and newsreels. Going to the movies cost 35 cents, and that’s if you bought a popcorn and a soda to go along with it. There was a balcony, and from her stories, half the fun was tossing popcorn down on people’s heads below them. Remember, folks, there was no golden era of movie audiences!

She must’ve seen all kinds of things, but musicals held a special place in her heart. That’s what she introduced me to first as a kid, and she didn’t have a lot of care whether they were good or not. She enjoyed them all, and so did I. That said, she definitely had more of an affinity for the Technicolor extravaganzas of the 1940s and 1950s over the B&W musicals of the 1930s. I got into Fred Astaire on my own; she associated him with ballroom dancing (rather than tap) and she thought that was boring. I like to think I convinced her otherwise!

American Movie Critics: Andre Sennwald

[Ryan McNeil of The Matinee and I are reading through the American Movie Critics anthology and discussing each chapter as we go, crossposting on each of our blogs.]

After a few months’ hiatus while we did…other stuff…we’re back and chomping the bit to talk about Andre Sennwald, a daily reviewer at the New York Times from 1934 to 1936, when he was killed in a gas explosion at his apartment at the age of 28. A shame, since the two pieces we have from him are youthful and brash but insightful, and it would’ve been fascinating to see how he matured as a writer and critic.

We didn’t have a lot to say about his first piece, a defense of Josef von Sternberg’s The Devil is a Woman, but his second piece is a rumination on the place of Technicolor following its feature debut in Becky Sharp. As in our earlier discussion on Alexander Bakshy’s take on the sound revolution, we find plenty of fodder to jump into thoughts on 3D, technology, and whether cinema should aim for “realism” or not.

RYAN McNEIL
While there’s a point or two in Andre Sennwald’s piece on The Devil is a Woman that caught my attention, it primarily reads as the sort of “Why You’re Wrong About…” piece of contrarianism that dots the current landscape of film writing.

JANDY HARDESTY
At least Sennwald’s contrarianism on The Devil is a Woman is a defense of the film, which I greatly prefer to contrarian takedowns! That said, I also have little patience with the “you just didn’t get it” method of defense that he employs at least once or twice in the piece. On a single viewing of that film, I must admit that I fell into the “you just didn’t get it camp,” though I’m more than willing to return to it with more von Sternberg under my belt.

Marlene Dietrich mocks the patriarchy in Josef von Sternberg's The Devil is a Woman

Marlene Dietrich mocks the patriarchy in Josef von Sternberg’s The Devil is a Woman

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