Category: MoMA
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Red Noses in Black & White: Clowns in Silent Movies
For a clown, a real honest-to-goodness Clown, the core of what they are doing is rooted in the honest, raw, vulnerable connection they create and have with the audience members. This is the source of where the laughs come from. The costuming and make-up are an extension or exaggeration of who the clown performer is,…
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“Jimmy Aubrey Comedy” is Not Always an Oxymoron
Worries and Wobbles (1917) has what might appear to be three strikes against it on the surface: “Jimmy Aubrey comedy”, “directed by Larry Semon” and that it’s a rather blatant knock-off of Chaplin’s One A.M.. The first of these is also usually an oxymoron. I can tell you that, like any of the very few…
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Looking for Squibs
Two main elements in film programming, I’ve found, are knowing the films and knowing where prints of them are. The rest, to a certain degree, is setting the table or parking cars in a lot. Sometimes the prints turn up in unlikely places, and one film we scheduled for Silent Comedy International at MoMA (Nov 23…
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A Classic Horror Film Without a Monster to Sell It
Rotating bookcases, a Creeping Hands, Disappearing Bodies, a Madman on the Loose, Suspicious Family Members After the Family Jewels — All in a Spooky Old Mansion There’s no iconic monster in the title of Paul Leni’s The Cat and the Canary (1927, Universal) or in the film itself. Maybe that’s why very few people show it…
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The film Mary Pickford didn’t want you to see – now restored by MoMA
Lubitsch-Directed “Rosita” (1923) Is On Screens Again After 95 Years and Worth Seeing I was on the fence about attending MoMA’s re-premiere of Rosita last week, initially. (This was on May 25, 2018) I’d heard it was being presented with its original cue-sheet score, and Pickford herself had perpetuated the legend that the film wasn’t…
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Hitchcock’s “Blackmail”: underscoring MacGuffins and Spoilers
Or…What to Expect When You’re Expecting Something from a Hitchcock Movie I accompanied Hitchcock’s Blackmail (1929) on piano a couple days ago at MoMA, and I recalled and repeated the way I usually try to handle the murder scene. I know…I probably should have yelled “spoiler alert” there for you, but you can pretty much…
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What’s a Nice Car Like You Doing in a Comedy Short Like This?
Putting Humpty Together Again, Thanks to the Museum of Modern Art and the Library of Congress It isn’t often that a two-reel comedy can be reassembled by accessing a reel from one archive and a reel from another, but we were fortunate in the case of this film. Oh! What a Day (1918) is a…
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Charlie Chaplin, Marcel Perez, and a Pair of Drowning Ladies
There was a lot of borrowing and sharing of material in the days of silent comedy shorts, a tradition that grew out of vaudeville and circus. In the milieu of live comedy performance, there were certain routines that were a particular comedian’s property, to be sure, but there were many routines that everyone knew and…
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Buster Keaton’s Leap to ‘One Week’, and Marcel Perez’s Jump from “Split-reelers” to 2-reelers
Stretching to Two Reel Length was no Stretch For Marcel Perez What has always struck me as remarkable about Buster Keaton (well, one of several things) is his maturity as a filmmaker at the ripe old age of 25. His first solo release, One Week (1920), looks nothing like any of the 14 two-reel Arbuckle comedies…
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Marcel Perez…or “Marvel” Perez?
Buster Keaton’s Idea of “Impossible Gags” Take on ‘Popeye’ Proportions In the Tweedledum/Twede Comedy Shorts Stylistically, there are two things about the American films of Marcel Perez that make them stand apart from the work of all the other slapstick comedians of the silent era. One of them I can’t yet put my finger on.…