Writing to you from lovely but chilly Brooklyn. It feels good to be home. We went to the playground and I made two little videos of my daughter. I’m experimenting with my home videos, trying to make them with some thoughtfulness and a sense of narrative or at least framing them in some way. I’ve only been doing it for a few days but I feel like it’s already helping me to understand better how story is conveyed through film. I was going to post the video here because it’s pretty low-key in terms of showing my daughter–you can’t see her face clearly–but apparently that would require giving WordPress access to all my photos on Google. So, I’ll put the video sharing on hold for now, until I figure out how to address all the privacy issues.
Anyway, back to the movies I saw in Florida, which, surprisingly, included Singin’ in the Rain. It was showing on Sunday night, our second night in Florida, as part of Epic Theatre’s “Flashback Cinema.” Epic Theatre seems to be a cineplex chain in the south, and our screening was introduced, via video, by one of its executives, who shared some interesting facts about the movie. For instance: did you know that Gene Kelly has a 103 degree fever when he shot the title number, “Singin’ in the Rain?” Did you know the entire movie was written around that song? I did not. Nor did I know that Debbie Reynolds was not Gene Kelly’s first, second, third, or fourth choice and that she had to prove herself. To prepare, she took dance classes for eight hours a day for six months. Which is incredible. I feel like Emma Stone and Ryan Gosling did not put that much effort in for La La Land. Their dancing style was sort of “whatever works.” Whereas Debbie Reynolds’s was “I’m gonna make this work/prove myself to Gene Kelly.” Can you imagine the pressure? Only someone as young and hungry as Reynolds was then would have been able to stomach it.
Continue reading “Movies I Watched in Florida: Part 2”
I recently read critic A.S. Hamrah’s latest dispatch on n+1. I’ve always liked that he writes about the experience of going to the movies as well as the movies themselves. Last month, he wrote about the trend of reserved seating, which he finds undemocratic:
Reserved seats are antithetical to moviegoing, which traditionally and democratically has been first come, first served. You could move to a different seat if a weirdo (or anybody) was sitting too close. This new nonegalitarian system is fancy and inappropriate. It takes too long and it huddles people together.
I had a weirdly personal and defensive reaction to this statement, because I am a parent of two young children, and reserved seating has made it a lot easier for me to see movies. I rely on it to get seats (two seats together) to popular movies or special screenings. It would be my pleasure to arrive early for one of these movies and wait in line with a book or a podcast, but I can’t, because I have to give my kids dinner and get them ready for bed before I can go out. Without reserved seating, my husband and I have to plan for an extra 45 minutes of waiting, which is basically an hour of babysitting time, or $15-20. (Also, a lot of weeknight sitters have day jobs or nannying gigs and they can’t get to our place until 6:30 at the earliest.) So, a theater that allows us to reserve two seats together is a major convenience. We go to more movies than we used to because of reserved seating.
Continue reading “In Defense of Reserved Seating”
I came across this new children’s book when I was doing a library search for Alice Guy Blaché’s memoirs, which, by the way, are very hard to get a hold of. (More on that in another post, as this blog slowly morphs into a Alice Guy Blaché research site.)
Lights! Camera! Alice! is what my 6-year-old son would call a “true-story book.” It tells Blaché’s biography with a high degree of historical accuracy (with an index of sources) and doesn’t embellish, though it does have to skip over a lot of details as it jumps through times. There are a couple cinematic touches throughout, with title cards to announce different periods in Alice’s life and a newspaper montage to show the outside world events. The illustrations are charming with a color palette that is subtly reminiscent of old movies. Continue reading “Lights, Camera, Alice: a new children’s book about Alice Guy”
The other day I discovered, quite by accident, that Alice Guy Blaché’s short film, “Falling Leaves” is based on the O. Henry story “The Last Leaf.” I was reading Meg Wolitzer’s editor’s introduction to 2017’s Best American Short Stories, and she mentioned that her favorite O. Henry story was about an artist who convinces a girl suffering from pneumonia that she will survive. The girl believes that she will die when the last leaf falls, so the artists paints an incredibly life-like leaf outside her window. It never falls, and the girl survives through sheer belief. But — and here’s the O. Henry twist — the artist dies from standing out in the cold and taking all the time to paint the leaf.
Initially I thought, hmm, did O. Henry see the Blaché film about the girl who ties leaves to a tree in a vain effort to save her sister, who is dying of tuberculosis? But I checked the dates and O. Henry’s story was published in 1907 while Blaché’s film was released in 1912:
Then I did some googling and sure enough, Wikipedia already has it covered:
The plot of Falling Leaves owes elements to the O. Henry short story “The Last Leaf” (1907). The child hero is a recurring theme in Guy-Blaché films; the first film produced by Solax, A Child’s Sacrifice (1910), which also starred Magda Foy, is another example.
It’s just a little thing, but I thought it was a fascinating glimpse into Blaché’s creative process. By the way, you can watch the original film, “Falling Leaves” for free on Kanopy as part of the program, “Three Films by Alice Guy Blaché.”