Month: October 2015

Moviegoing Children in the 1920s (according to the book Half Magic)

I’m spending a good portion of my time lately reading elementary and middle-school books as I think about and plan for homeschooling my daughter, and I picked up one this week that’s about fifth-grade level called Half Magic, by Edward Eager. I hadn’t heard of this before, but the cover illustration looks like the ones on Eleanor Estes’ family comedy books for about the same age range, but this one has a bit of magic in it and name checks fantasy books like E. Nesbit’s The Enchanted Cottage. Anyway, that’s by the by.

Today I came across a couple of pages where the four children (ages about six to thirteen or so) head to the movies. The book was written in 1954, but set 30 years earlier, which makes it take place in the mid-1920s. I just found this humorous depiction of kids going to the movies in around 1924 to be pretty hilarious and also probably fairly accurate. For reference, Jane is the oldest, Mark is second at age 11 (if the other ages are given, I’ve overlooked them), then Katharine, and Martha is the youngest. The story takes place in Toledo, Ohio, which is middle America at its most middle American.

After lunch, it was time to choose what movie to see.

The children did this by first making a tour of all the movie theatres in town and looking at the pictures on the outside. A time of argument followed. Mark liked Westerns and thrilling escapes, but Martha wouldn’t go inside any theatre that had pictures of fighting.

Jane and Katharine liked ladies with long hair and big eyes and tragic stories. They wanted to see a movie called Barbara LaMarr in Sandra. Mark finally agreed, because there were a lot of pictures outside of a man who wore a moustache, and that meant he was the villain, and that meant that somebody would hit him sooner or later. Martha agreed because all the other theatres had either pictures with fighting or Charlie Chaplin.

Half-Magic-illustration

All of the four children hated Charlie Chaplin, because he was the only thing grown-ups would ever take them to.

When they came into the theatre Barbara LaMarr in Sandra had already reached its middle, and the children couldn’t figure out exactly what was happening. But then neither could the rest of the audience.

“But, George, I do not seem to grasp it all!” the woman behind the four children kept saying to her husband.

The four children did not grasp any of it, but Barbara LaMarr had lots of hair and great big eyes, and when strong men wanted to kiss her and she pushed them away and made suffering faces at the audience with her eyebrows, Jane and Katharine thought it was thrilling, and probably quite like the way life was, when you were grown-up.

Mark didn’t think much of the love blah, but he watched the villain getting more villainous, and the hero getting more heroic, and patiently waited for them to slug it out.

Martha hated it.

That was always the way with Martha. She wanted to go to the movies like anything until she got there, and then she hated it. Now she kept pestering the others to read her the words and tell her what was happening (for in those days movies did not talk).

Letterboxd Season Challenge: Winter Sleep (2014)

Film 6 for the Letterboxd Season Challenge. The other films I plan to watch for the challenge are here.

Week 6: Eastern European Films
Challenge: Watch an unseen feature by Jan Svankmayer, Krzysztof Kieslowski, Nuri Bilge Ceylan, or Bela Tarr.
Film I Chose: Winter Sleep

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Well, I picked this one because I’ve seen a good bit from the other filmmakers, but had only seen (and liked) Once Upon a Time in Anatolia from Ceylan. I should’ve realized from Anatolia that I should expect some length to this one, but the 196 minute running time still came as a surprise to me. The real surprise is that despite my busy schedule forcing me to take Winter Sleep in three parts, it was never boring and I don’t think I would’ve felt the length even if I had been able to carve out the time all at once.

Ceylan manages to do something quite amazing – take a very simple story and make it both complex through its relationships and compelling through a series of lengthy but perfectly modulated conversations. Main character Aydin is a wealthy man with several businesses and properties who’s currently living in his hotel in Cappadocia along with his beautiful younger wife and his somewhat bitter sister, and spends most of his time writing moralistic editorials despite his rejection of religion. He clashes with his sister over how to react to evil, with his wife over how to run her charity project, and with the local imam over the rent.

Letterboxd Season Challenge: The Big Parade (1925)

Film 5 for the Letterboxd Season Challenge. The other films I plan to watch for the challenge are here.

Week 5: PUNQ Week
Challenge: Watch an unseen feature that ranked in the top ten on any of PUNQ’s pre-1940 lists.
Film I Chose: The Big Parade

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PUNQ is a Letterboxd user who’s concentrating on watching pre-1940s films, and he watches a LOT of them. This guy has Top 100s for every year from like 1896 to 1939. I watch a lot of old movies, but that’s crazy. Anyway, that gave me a bunch of options for this week, and initially I had chosen Fritz Lang’s Spies, which I still hope to watch soon if I get time, but it may not be this week. I ended up watching The Big Parade for an upcoming Flickchart blog post anyway, and since I’m short on time this week, decided to count it for the challenge as well.

I’m fascinated by WWI, so I’m surprised I’ve never gotten around to this before – I’ve seen both All Quiet on the Western Front and Wings multiple times, but this one has slipped by me (despite being on my DVR for the past like two years, no joke). In any case, I’m really glad I got to it now, because this is one great film.

Letterboxd Season Challenge: It’s a Mad Mad Mad Mad World (1963)

Film 4 for the Letterboxd Season Challenge. The other films I plan to watch for the challenge are here.

Week 4, Sep 27-Oct 3: 60’s Blockbuster Week
Challenge: Watch an unseen film from among the Top 50 Highest Grossing Movies of the 1960s.
My Choice: It’s a Mad Mad Mad Mad World by Stanley Kubrick

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This was another week where I had seen many of the big hitters – The Sound of Music, My Fair Lady, Doctor Zhivago, etc. I wasn’t too enthused about any of the remaining options (geez, audiences in the ’60s liked long movies), but I figured at least It’s a Mad Mad Mad Mad World would have a ton of crazy cameos to keep me distracted, plus Criterion just added it to their collection, so it’s got to have SOMETHING.

Turns out it was quite a bit more fun than I expected. A speeding motorists drives off a cliff, and five people go down to see if he’s okay. SPOILER: He’s not. But he manages to tell them about a large sum of money he’s hidden. They all predictably start going after it, and this race/chase to the money takes up the bulk of the 160 minute running time.

Letterboxd Season Challenge: High and Low (1963)

Film 3 for the Letterboxd Season Challenge. The other films I plan to watch for the challenge are here.

Week 3, Sept 20-26: Master of the East
Challenge: Watch an unseen film directed by Akira Kurosawa
Film I Chose: High and Low (1963)

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I’ve been keeping up watching the films for the Letterboxd challenge; less so writing them up, and even less so posting my thoughts over here! So expect an onslaught of posts ever the next few days as I catch up. Japanese film is troublesome for me, and I often have trouble with even the most well-known and accessible films, like those from Kurosawa. That said, more exposure is definitely helping, and I’ve really been looking forward to High and Low, which was my first non-samurai Kurosawa film.

Maybe this is the direction I need to go, because I loved this. I knew the basics of the premise, that Toshiro Mifune played a businessman who has his son kidnapped and held for ransom, but then discovers that the kidnapper made a mistake and kidnapped his chauffeur’s son instead – will he still jeopardize his long-planned company takeover and risk losing everything in order to pay the ransom on the boy?

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