MAKSQUIBS CINEMATHEQUE: SOCIETY LAWYER (1939)

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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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Thursday, June 6, 2013

SOCIETY LAWYER (1939)

This modest remake of PENTHOUSE/’33, with Walter Pidgeon & Virginia Bruce in for Warner Baxter & Myrna Loy, is a dandy B-pic to come out of M-G-M. The title suggests a courtroom drama, but we’re really closer to Nick & Nora Charles detective territory. Not too surprising with Frances Goodrich & Albert Hackett, the team who wrote the THIN MAN series, on the scripts. Pidgeon’s a crack lawyer whose shady clients embarrass his stuffy law firm & his high society fiancée. They both dump him. But when his ex’s new squeeze gets framed for shooting his shady ex, a risk-taking lawyer is just the guy you want on your side. There’s unexpected moxie from helmer Edwin Marin and top tech people like lenser George Folsey and Roger Edens to arrange a nightclub song for Bruce. (She’s a nightclub ‘chanteusey’ who helps Pidgeon solve the case and she even does her own vocalizing.) The comic relief is second-drawer stuff, but you’ve seen worse.

DOUBLE-BILL: See how PENTHOUSE, made in the Pre-Code era, compares with its redo.

SCREWY THOUGHT OF THE DAY: Too bad the follow-up film for Pidgeon & Bruce, STRONGER THAN DESIRE/’39, didn’t stick with this set up. And too bad about the titles which should have been reversed.

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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!

Thursday, June 6, 2013

SOCIETY LAWYER (1939)

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A last thought before we go.

DROP ME A LINE