MAKSQUIBS CINEMATHEQUE: FOOTLIGHT PARADE (1933)

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Like just about everyone with an interest in the movies, I'm watching more films on DVD and going out to movie houses a lot less. Convenience trumps the better experience.
Of course, you lose audience interaction and the poor film now has to compete with all the comforts of home.
It's a bit like seeing Rembrandts & Titians in a book reproduction, or from posters with iffy color values, no texture or weight to the surface and the wrong dimensions . . . all while snacking on chips & soda. (Oops! You get that at your local cinema,too.)
The ease of instant movie gratification risks turning an art form (well, sometimes) into little more than low-grade eye-candy & mindfodder. So, maybe it's worthwhile to write a bit down on what we're all viewing, just to keep fully engaged.

DVDs: the latest opiate of the people meets the internet, where everyone's a critic.
God help us.

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Monday, May 19, 2008

FOOTLIGHT PARADE (1933)

Along with 42nd STREET & GOLD DIGGERS OF 1933, this Warners musical avoids descending into ‘camp’ because in every shot & plot twist you can feel the depths of the Depression just off-camera. This is the one about staging those musical prologues for the fancy first-run bijoux. Warners tended to backload their musicals, but you don’t mind waiting for the Busby Berkeley specialities here because the book helmer, Lloyd Bacon, keeps things unusually fast, loud & snappy, and because James Cagney, startling his fan base with his hoofing, is so irresistibly dynamic. Joan Blondell, Ruby Keeler & Dick Powell are also perfectly used here, in roles that are just the right size.

SCREWY THOUGHT OF THE DAY: Has anyone ever noticed that the first measures of SHANGHAI LIL are all but lifted right out of George Gershwin’s intro to SWANEE?

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A last thought before we go.

Well, enough from me. But before we sign off, here's a great quote from Emile Zola's L'OEUVRE (THE MASTERPIECE), which is about painting rather than the yet to be invented medium of film, but which points a fine critical eye toward the whole idea of art criticism. It's a good, if chilly, thought to keep in mind, especially when you surf the net.

"Has it ever struck you that posterity may not be the fair, impartial judge we like to think it is?

"Suppose the artist's paradise turned out to be as nonexistent as the Catholics, and future generations prove just as misguided as the present one and persisted in liking pretty pretty dabbling better than honest to goodness painting. There are some accepted masterpieces for which I myself wouldn't give a twopenny damn.

"Classical training has given us a wrong view of everything and forces us to acclaim as geniuses a lot of fellows who are no more than well-balanced, facile painters, while what we might really prefer is the work of more emancipated but less even artists known only to an initiated few. Immortality at present depends entirely on the average, middle-class mind and is reserved only for the names that have been most forcibly impressed upon us while we were still unable to defend ourselves...

"Perhaps that's the sort of thing that's best left unsaid. It's certainly the sort of thing that gives me the shudders!"- Emile Zola

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Now Over 5500 Reviews and (near) Daily Updates!

Monday, May 19, 2008

FOOTLIGHT PARADE (1933)

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A last thought before we go.

DROP ME A LINE