Worth 1,000 Words: Chaplin & Goddard walk the walk
By Steve Crum
RELEASED IN 1936, CHARLIE CHAPLIN’S MODERN TIMES was one of the few comedies to thematically deal with the ongoing Great Depression. Laden with socio-political references to assembly line industry, anarchy, unionism (or lack thereof), homelessness, love, and even drugs (the white powder being consumed in the prison sequence ain’t supposed to be C&H sugar), Modern Times was controversial, bittersweet, knee slap hilarious, heartbreaking, incisive, and…well…Chaplin. The film was released nearly 10 years after sound came to motion pictures, yet director, writer, composer, star Chaplin made this one mostly silent, except for recorded music and sound effects. There is sparse dialogue, but at least movie audiences got to hear Chaplin’s voice as he briefly sang.
CHARLIE CHAPLIN, born Charles Spencer Chaplin (April 16, 1889-Dec. 25, 1977), filmed Modern Times over a two year period, 1934-35, perfecting as he went. He collaborated with composer David Raksin on the score, since Chaplin could not read music. The hit song Smile was a later result.
PAULETTE GODDARD, born Marion Pauline Levy (June 3, 1919-April 23, 1980), was fine and gorgeous support for Chaplin’s Tramp character, playing the gamine, Ellen Peterson. A serious relationship between the two actors developed, and they were married in 1936. (The union lasted until 1942.)
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The vintage, original United Artists Studio promo photo above shows Modern Times’ iconic finale as Chaplin and Goddard’s characters walk hand in hand towards their uncertain, hopeful future down the long, winding road. The symbolism is Chaplin through and through, beautifully realized by his long time cinematographer Rollie Totheroh. [from Steve Crum’s showbiz memorabilia collection]
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3D glasses on for ho-hum ‘Clash of the Titans’
By Steve Crum
Is this remake of Clash of the Titans really necessary? Nope, by Kraken. Sure it boasts 3D tech, along with a fresh cast and digitally moving creatures, whereas effects guru Ray Harryhausen’s 1981 effects were accomplished via the jerky, stop motion method. Yet this nearly three decades newer Clash disappoints in pacing, special effects and 3D. The special effects, with the exception of a pretty cool looking Pegasus, are obviously computerized to the extent most combat sequences are in close-up with the dreaded handheld camera look, which always seems a budgetary ploy to hide cheapness. The result is rapid, blurred movements that imply action more than deliver.Director Louis Leterrier (The Incredible Hulk) and writers Travis Beacham, Phil Hay and Matt Manfred have mostly duplicated director Desmond Cross and writer Beverley Cross’ ’81 film. The retro result is a throwback plot with new faces and digitally Botoxed monsters.
Once again, Perseus (Sam Worthington, who rode the flying Direhorse in Avatar and gallops astride a soaring Pegasus here) is cast out to sea soon after birth because he was fathered by the Greek god Zeus (Liam Neeson). Rescued and raised as a mortal by a kind fisherman, Perseus eventually discovers his heritage, and that he must lead a crusade to overtake the evil god Hades (Ralph Fiennes) who plans to turn earth into hell. There are scenes of Zeus, Hades and fellow gods and goddesses in mythical heaven manipulating Perseus and others on earth as if they are chess pieces.
Perseus and his small army, which includes Draco (Mads Mikkelsen), must overcome challenge after challenge before eventually severing the head of Medusa to avoid unleashing the feared Kraken monster from earth’s bowels. If only the dialogue was a good as this description. SEE the attack of giant scorpions! SEE killer birds of prey! SEE Perseus’ magic sword! See CGI effects galore! Shades of Ulysses, Sinbad and Hercules.
Also SEE the homage, as if the entire movie isn’t a homage, to Ray Harryhausen when his famed mechanical owl is briefly shown before Perseus embarks on his quest. The owl, a fixture of the 1981 movie, is never seen again, yet it reminds us of the original’s semi-classic stature, a quality the 2010 version lacks.
Finally, the 3D is wasted. Not one sequence includes anything remotely leaping out of the screen. (Avatar is now the benchmark of 3D, being jammed with in-your-face dimension.) Sure there is the basic illusion of depth throughout Clash, even during the many talky scenes. But it is pretty static overall.
Therefore, a couple of considerations need to be made at this point regarding the 3D resurgence, as theaters worldwide are being equipped for 3D, and HD-TVs enter the 3D game. First, Avatar set the bar high for 3D with dazzling effects. A movie like Clash of the Titans, with mediocre 3D, signals a major quality control problem for the future of the process. Alice in Wonderland similarly suffered with only a couple of effective 3D bits. It could be said that Avatar revolutionized 3D much like Star Wars did for special effects. Pre-Star Wars fantasy and sci-fi flicks look quaint and pedestrian in comparison.
Secondly, if a 3D movie does not meet higher entertainment standards to justify its own inflated admission price, what is the future of 3D as industry? The 3D fad of the 1950s could be repeating its sad and similar arc by, say, 2011-12. It was a short lived gimmick then; it could be the same now. The big difference is that the investment nowadays is on a greater scale, involving theater chains and the future of home entertainment.
My suggestion after the fact would have been to re-release 1981’s Clash of the Titans, reprocessed in 3D, and forget about any remake. Forget this remake, for sure.
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On an A to F grade scale: D+
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Worth 1,000 Words: Cowboy Superstar BUCK JONES rides the KC range
This unpublished photo of Buck Jones astride his steed Silver was taken during a visit to Kansas City, Mo. during the 1930s. Not much is known about the exact date and circumstances, but Buck was probably part of a parade. Judging by the long gone R. S. Elliott Arms Co. sign down the street on left, the location should be 15th and Grand Ave. It is interesting to see the streetcar tracks and overhead power lines. [from Steve Crum’s showbiz memorabilia collection]
By Steve Crum
BUCK JONES (Dec. 12, 1891-Nov. 30, 1942), like Ohioan Roy Rogers, was a major cowboy movie star not bred in the West. Buck was born Charles Frederick Gebhart in Vincennes, Indiana. Much like the western knights he portrayed later, Buck’s heroics began when he was 16 years old. After joining the army and fighting in the Moro Rebellion in the Philippines, 1907-09, the teenager was mustered out of the service after being wounded. He re-enlisted a year later, desiring to be an airplane pilot, but was disqualified since he was not an officer. In 1913, his military career ended.
Then Buck Jones the cowboy emerged. He was working as a ranch hand in Bliss, Oklahoma when he met his future wife, “Dell,” who was an expert rider. Together, they joined a Wild West show and briefly toured. To make more money, Buck signed on at Universal Studios as a bit player and stuntman. Before long, his charisma, looks and horsemanship brought him his first starring role, in the 1920 silent, The Last Straw. Buck was soon among the top movie cowboys in popularity and money making, joining the ranks of Hoot Gibson, Tom Mix and Ken Maynard. In 1928, he felt independent enough to start his own movie studio, which did not last. Signing with Columbia Pictures in the early 1930s, Buck began his career in cowboy movies with sound. By the early 1940s, he had 160 cowboy flicks under his fancy belt. By this time, there was the successful “Buck Jones Model” air rifle sold by Daisy. Unlike the Red Ryder model, it was distinguished by having a sundial in the stock.
Buck’s career tragically ended following 1942’s infamous Cocoanut Grove fire in Boston. Legend has it that Buck initially escaped and then went back in to rescue patrons. Historians now say he was merely one of those trapped behind doors that would not open among highly flammable surroundings. Buck and 241 others died.——————–
Listen to the Buck Jones song, and view images, here: http://www.youtube.com/watch?v=bZ_P1ZdQcys
Worth 1,000 Words: FESS PARKER’s DAVY CROCKETT
By Steve Crum
“Born on a mountain top in Tennessee” he was not, yet FESS PARKER, who died yesterday at age 85, will forever be DAVY CROCKETT, the frontiersman, congressman, and legendary hero of the Alamo. Thanks to Walt Disney and the millions of children who watched Davy Crockett and his adventures on TV beginning in 1954, Fess Parker (Aug. 16, 1924 in Ft. Worth, Texas-March 18, 2010) is THE coonskin hat wearer of all time.
After graduating with a Bachelor’s Degree in History, and working toward a Master’s in Theater History, Fess Parker veered toward acting. After small roles in Warner Brothers films beginning in 1950, Parker was discovered by Walt Disney, who was casting the lead role of Davy Crockett in an upcoming miniseries on the Disneyland TV show. Disney, the story goes, caught Parker in a minute role in the sci fi classic, Them!, and soon selected Parker over Buddy Ebsen as Crockett. Ebsen was recast as Crockett’s sidekick, Georgie Russell.
Only three episodes were planned for the Davy Crockett saga, ending with Crockett’s death at the Alamo. It was one of the few, literally overnight sensations in the history of show business. The nation, and eventually the world, became Crockett crazy. Caught off guard, the Disney corporation had no Crockett merchandise ready to peddle. However, it did not take long for Davy Crockett toys, games, and coonskin hats to hit the market and sell in the millions. The Ballad of Davy Crockett, sung throughout the three TV episodes, was in the Top 10. In fact, there were no less than three singers of the same song in the Top 10 at the same time: Bill Hayes, Tennessee Ernie Ford, and Fess Parker himself. Disney rapidly released two prequels of the Crockett story, and they were ratings hits as well. Soon all five TV episodes were edited into two feature length movies.
Still under contract to Disney, Fess Parker starred in The Great Locomotive Chase, Old Yeller, and Westward Ho! The Wagons. Post-Disney, Parker starred in the short lived series, Mr. Smith Goes to Washington. Typecast as a frontiersman, Parker signed with NBC-TV for the series, Daniel Boone. From 1964-70, Fess Parker wore the moccasins, fringe leather, and cookskin cap once again. Before retiring from acting, Parker turned down the role of modern lawman cowboy McCloud. Instead, Dennis Weaver successfully took the role. Soon after, Parker opened the Fess Parker Family Winery & Vineyards in Los Olivos, California. His logo on the award winning wines produced under his name: “The Golden Coonskin Hat.” Fess Parker died of natural causes on his wife’s 84th birthday.
——————-The photo at right of the younger Davy Crockett was taken on May 28, 1955, when yours truly, then Stevie Crum, turned seven. For most of that day, I channeled Fess Parker’s Davy Crockett as I scouted our neighborhood for bears and cantankerous keelboaters like Mike Fink, King of the River. It was a joy portraying my hero, The King of the Wild Frontier. (from Steve Crum’s showbiz memorabilia collection)
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