Book review: Old Films, Young Eyes by Simone O. Elias

I was sixteen when I started writing about old films in this blog. I had started to watch them a few months before, influenced by my grandparents, but old movies were already on my radar by then, as I wrote HERE. When I began writing, and when I published my book on movies at age 18, most people were surprised with such a young person interested in that topic. I’m not so young anymore, but there are still young people watching old movies. And, like me, they use the Internet to talk about their passion. One of them is Simone O. Elias, author of “Old Films, Young Eyes”.

The foreword is written by teenage podcaster Eliana Singer, from the new-to-me podcast Teenage Golden Age. Her first contact with classic cinema was through “It Happened One Night”, and here comes a surprise: it was this same movie that made ME transform my almost inactive blog into a classic film blog!

At age 15, Simone O. Elias is already multi-hyphenated. Like most teenagers, she’s entitled and has no filter - things that are not exactly negative. She confesses that she has a hard time entering the world of the classic film she’s watching, but once it happens, she has a blast. All of that is completely normal. As a teenager, I disliked musicals and silent movies - me, that would go on to win the 2021 Collegium Prize at Le Giornate del Cinema Muto! In a sense, Simone reminds me of my younger self. I only hope she won’t look at her articles in this book in shame when the future comes.

Simone says that she has learned more about the past by watching it in classic movies than she has ever learned in History classes. As a historian myself, I see the value of using movies to immerse in the past in a pleasant way. I firmly believe that movies should be used in the classroom to further explore topics and figures not only in History classes, but in all subjects.

The book goes backwards, starting with the 1960s and the Beach Movies and going all the way to silent movies. In the in-between, the author talks about film noir (her least favorite genre), housewives and working women, mental health/illness in classic film and female filmmakers.

Like it happened on many other occasions, my watchlist grew as I was reading the book. I now want to check out movies such as “The Horror of Party Beach” and “What’s So Bad About Feeling Good?”. Also added to my watchlist “When Were You Born”, a B-movie about astrology starring Anna May Wong. I imagine that, without this book, I’d remain ignorant about these titles that sound so interesting.

Simone uses a chapter to make the point for the number one rule of classic film: do not watch colorized movies. I only do this when I can’t find another copy, but I have an interesting story to tell. Some eleven years ago, I watched Fritz Lang’s “The Woman in the Window” (1944) and it was colorized. The issue was that I watched it on the cult channel on my cable TV. They had only the colorized version in their catalogue! The colors didn’t distract me and I thought the film was that “naturally”, only later seeing some stills I found out the truth.

My eyes are burning!

There are some mistakes, such as when Simone writes “[Hitchcock] entered the film industry as a title card designer in 1919—he designed the cards that would display the title and the credits.”. Title cards, in silent cinema, weren’t only displayed in the beginning and the end of the movies, and didn’t bring only credits. They were cards presented throughout the movie to set the tone, describe the action and some dialogue, depending on the movie. Also, she is condescending when she says the 1910s were “a fairly boring decade” for Hollywood, when in reality the features were starting to dominate the scene without erasing the short films.

I found it weird that the author put the second wave of feminism under the “social problems” umbrella, but it can be considered “good trouble” as Gloria Steinem said. Also, all the time Simone advocates for teenagers and the power that lies in them. But this power often becomes conformity. There is a song in Brazil that says “we’re still the same and we live like our parents”, in an answer to all the potential wasted when teenagers become adults.

Even though I disagree that “Harrison Ford is (today’s) Humphrey Bogart”, I had a great time reading the book. I see a bright future for Simone Elias in Hollywood, no matter which career - or careers, in the plural - she chooses to pursue.

A Importância de ser Honesto (1952) / The Importance of Being Earnest (1952)

 

Oscar Wilde foi um famoso autor, um dos mais respeitados da década de 1890. Ele escreveu ensaios, contos de ficção, romances, poesia e peças de teatro, e é a uma dessas últimas que damos atenção hoje. “A Importância de ser Honesto”, com o subtítulo “uma comédia trivial para pessoas sérias”, foi montada no teatro pela primeira vez em 1895. Meio século depois, era chegada a hora de ir para os cinemas.

Oscar Wilde was a famous author, one of the most respected in the late 1890s. He wrote essays, short fiction, novels, poetry and plays, and it’s at one of the latter that we pay attention today. “The Importance of Being Earnest”, with the subtitle “a trivial comedy for serious people”, was first performed in 1895. Half a century later, it would grace the screens.

Ernest (Michael Redgrave) está apaixonado por Gwendolen (Joan Greenwood), mas a mãe dela é contra o relacionamento. Há uma razão para isso: Ernest não se chama Ernest, mas sim Jack, e tem uma família complicada, e é responsável por zelar por uma jovem que vive no campo, Cecily (Dorothy Tutin).

Ernest (Michael Redgrave) is in love with Gwendolen (Joan Greenwood), but her mother is against their relationship. There is a reason for that: Ernest isn’t called Ernest, but Jack, and has a muddy lineage, and is the guardian of a young woman in the countryside, Cecily (Dorothy Tutin).

O primo de Gwendolen, Algernon (Michael Denison), viaja para o campo e se apresenta como o irmão de Jack, Ernest, que a menina nunca havia visto, só ouvido falar sobre. Quando Jack e Gwendolen chegam também no campo, o caos se instaura.

Gwendolen’s cousin Algernon (Michael Denison) travels to the countryside and presents himself as Jack’s brother Ernest, someone the girl has never seen before, only heard about. When Jack and Gwendolen arrive at the property, mayhem starts.

No comecinho há uma cartela de texto informando que aquela é “Uma Produção de Anthony Asquith”. Ele foi co-produtor, roteirista e diretor do filme. Ele também era o filho de H.H Asquith, um jurista que conseguiu as provas de imoralidade que mandaram Oscar Wilde para a cadeira em maio de 1895, poucos meses após a estreia de “A Importância de ser Honesto”. Que mundo pequeno e maluco, não?

In the very beginning there is a title card saying “An Anthony Asquith Production”. He was the co-producer, writer and director of the film. He also happened to be the son of H.H. Asquith, a lawyer who brought the charges of immorality that sent Oscar Wilde to jail in May of 1895, a few months after the premiere of “The Importance of Being Earnest”. Such a small, crazy world, right?

Michael Redgrave foi o patriarca de uma família de atores. Suas filhas Vanessa e Lynn e seu filho Corin seguiram seus passos. Muitos de seus netos também trabalham na indústria do cinema, como a atriz Natasha Richardson, a fotógrafa Annabel Clark e o roteirista e diretor Carlo Gabriel Nero, que é filho de Vanessa Redgrave com o ator Franco Nero. Além da descendência, o pai de Michael Roy Redgrave foi um ator de cinema mudo que trabalhou na Austrália.

Michael Redgrave was the patriarch of an acting family. His daughters Vanessa and Lynn and his son Corin followed his footsteps. Also working in the industry are many of his grandchildren, such as actress Natasha Richardson, still photographer Annabel Clark and screenwriter and director Carlo Gabriel Nero, who is the son of Vanessa Redgrave and actor Franco Nero. Besides all that lineage, Michael’s father Roy Redgrave was a silent film actor who worked in Australia.

Como tutora de Cecily temos a sempre ótima coadjuvante Margaret Rutherford. Com uma infância marcada por tragédias, ela começou relativamente tarde, com seu primeiro trabalho de atuação aos 33. Ela ganhou notoriedade interpretando Lady Bracknell na adaptação para os palcos de John Gielgud de “A Importância de ser Honesto” em 1939. Aqui ela interpreta Miss Prism, que de acordo com o IMDb tem quase o mesmo prenome que eu, Laetitia. Nos anos 1960, ela estrelou como Miss Marple, a famosa detetive amadora criada por Agatha Christie, em quatro adaptações de seus romances dirigidas por George Pollock. 

As Cecily’s tutor we have the always amazing character actress Margaret Rutherford. With a childhood marked by tragedy, she was a late bloomer, starting her acting career at 33. She gained notoriety playing Lady Bracknell in John Gielgud’s stage adaptation of “The Importance of Being Earnest” in 1939. Here she plays Miss Prism, who according to IMDb has almost the same first name as me, Laetitia. In the 1960s, she starred as Miss Marple, the famous amateur detective created by Agatha Christie, in four adaptations of her novels directed by George Pollock. 

Este é um dos filmes que nos alegram por ter sido filmado em Technicolor. Além dos brilhantes olhos verdes de Redgrave, tudo conspira para criar um deleite visual, incluindo lindos cenários e figurinos. A diretora de arte foi Carmen Dillon e a responsável pelos figurinos, Beatrice Dawson. O Technicolor, cuja consultora foi Joan Bridge e não a usual, Natalie Kalmus, certamente melhorou a aparência de elementos como objetos de cenas e roupas de época. Este foi o primeiro filme em Technicolor filmado por Anthony Asquith.  

This is one of those films that makes us glad it was shot in Technicolor. Besides Redgrave’s bright green eyes, there is much to create a feast for our eyes, including brilliant sets and outfits. The art director was Carmen Dillon and the costume designer, Beatrice Dawson. The Technicolor, whose advisor was Joan Bridge and not the usual consultant Natalie Kalmus, certainly enhanced the appearance of the elements such as props and clothes. This was the first film in Technicolor shot by Anthony Asquith.

De acordo com o IMDb, os escritos de Oscar Wilde foram adaptados para as telas, telinhas ou telonas, mais de 350 vezes. A primeira foi em 1906, meros seis anos após sua morte prematura aos 46. Com uma trama complexa e muitas surpresas, é óbvio que o nome da peça, agora um filme, é um trocadilho com o nome Ernest e o adjetivo Honesto. Mais uma prova de que Oscars Wilde também tinha um grande senso de humor.

According to IMDb, Oscar Wilde’s writings have been adapted to the screen, both big and small, over 350 times. The very first was in 1906, mere six years after his premature death at age 46. With a complex plot and several twists, it’s clear that the name of the play, now a movie, is a joke with the name Ernest and the adjectives Earnest and Honest. Further proof that Oscar Wilde also had a great sense of humor.

This is my contribution to the 12th Annual Rule, Britannia blogathon, hosted by Terry at A Shroud of Thoughts.

Porgy & Bess (1959)

 Antes de assistir a “Porgy & Bess” (1959), eu não conseguia imaginar Sidney Poitier num musical. Por outro lado, estava mais que familiarizada com os talentos musicais de Sammy Davis Jr - que esteve em um dos meus musicais favoritos e pouco vistos, “Robin Hood de Chicago” (1964) - e Dorothy Dandridge, que se tornou a primeira mulher negra indicada ao Oscar de Melhor Atriz com “Carmen Jones” (1954), dirigido pelo mesmo homem por trás de “Porgy & Bess”, Otto Preminger. E foi assim, com novidades no horizonte e alguns rostos conhecidos, que dei o play no filme. 

Before watching “Porgy and Bess” (1959), I couldn’t imagine Sidney Poitier in a musical. On the other hand, I was more than familiar with the musical talents of Sammy Davis Jr - who was in one of my favorite underrated musicals, “Robin and the 7 Hoods” (1964) - and Dorothy Dandridge, who became the first black woman to be nominated for the Best Actress Oscar with “Carmen Jones” (1954), directed by the same man behind “Porgy and Bess”, Otto Preminger. And it was like this, with novelties in the horizon and some familiar faces, that I went to watch the movie.

Bess (Dorothy Dandridge) bebe uísque como um homem e faz apostas em jogos de dados dominados também por homens. Entre os homens jogando podemos encontrar Porgy (Sidney Poitier), um homem com deficiência, e o namorado de Bess, Crowne (Brock Peters). Depois do jogo, Porgy vai para casa e Crowne tem uma briga com outro homem, acabando por matá-lo. Crowne foge e Bess encontra refúgio na casa de Porgy. 

Bess (Dorothy Dandridge) drinks whisky like a man and places bets in crap games also dominated by men. Among the men playing we can find Porgy (Sidney Poitier), a handicapped guy, and Bess’s beau Crowne (Brock Peters). After the game, Porgy goes to his house and Crowne has a heated argument with another man, and ends up killing him. Crowne escapes and Bess finds a refuge at Porgy’s house.

O tempo passa e Porgy e Bess formam um casal. Um dia, há um piquenique ao qual Bess vai enquanto Porgy fica em casa. Lá Crowne reaparece, querendo Bess de volta. Ele abusa dela - numa cena brutal de abuso, considerando quando o filme foi feito - e quando a febre dela, causada pelo trauma, arrefece, um furacão chega para trazer mais problemas para Porgy e Bess, que ainda está sendo perseguida não apenas por Crowne, mas também pelo traficante Sportin’ Life (Sammy Davis Jr). 

Time passes and Bess becomes Porgy’s girl - or Porgy is now Bess’s man, the order doesn’t matter. One day, there is a picnic that Bess attends while Porgy stays at home. There Crowne reappears, wanting Bess back. He assaults her - in a shockingly brutal assault scene considering the time the film was made - and when her fever caused by the trauma ceases, a hurricane arrives to bring more trouble to Porgy and Bess, who is being pursued not only by Crowne, but also by the drug dealer Sportin’ Life (Sammy Davis Jr).

É muito raro ver personagens com deficiência em filmes clássicos. Posso pensar em alguns em cadeiras de rodas, como em “Estrela Ditosa” (1929), na série do Dr Kildares e no vilão de “A Felicidade não se Compra” (1946). O outro personagem que anda apoiado nos joelhos pode ser encontrado no filme de Lon Chaney “The Penalty” (1920). Tudo isso prova que deficiências eram em geral características de vilões. 

It was very rare to see a character with disabilities in classic movies. I can think of a few men in wheelchairs, like in “Lucky Star” (1929), in the Dr Kildare series and the villain from “It’s a Wonderful Life” (1946). The other character walking on his knees can be found in the Lon Chaney vehicle “The Penalty” (1920). All this proves that disabilities were often linked to villains.

É surpreendente que as canções de “Porgy & Bess” não sejam tão conhecidas como as outras de Gershwin. Gostei muito de “I’ve got plenty of nothing” e “It ain’t necessarily so”. Há momentos em que a cantoria de Poitier e Dandridge (dublados respectivamente por Robert McFerrin e Adele Addison) se sobrepõe, e mesmo que seja difícil apreender as palavras da música, o efeito fica bacana.

I’m surprised because the songs from “Porgy and Bess” are not as well-known as other Gershwin songs. I liked a lot “I’ve got plenty of nothing” and “It ain’t necessarily so”. There are moments in which Poitier’s and Dandridge’s singing (dubbed respectively by Robert McFerrin and Adele Addison) overlap, and although it is difficult to apprehend the words of the songs, it’s a nice effect.

“Porgy & Bess” não é considerado um grande clássico porque, sendo controverso - por causa do uso de drogas de Bess -, quando estreou, foi exibido em algumas poucas cidades e a versão completa, com 138 minutos, basicamente desapareceu (eu só encontrei uma no YouTube com 115 minutos de duração). Foi também o último filme produzido por Samuel Goldwyn. O filme só recuperou metade do orçamento. Apesar de tudo isso, o filme foi adicionado à lista de preservação National Film Registry em 2011.  

“Porgy and Bess” isn’t considered a household classic because, being controversial - because of Bess’s drug use - when it was released, it was shown only in a few cities and the complete, 138-minute-long version, basically disappeared (I only found one on YouTube lasting for 115 minutes). It was also the last movie produced by Samuel Goldwyn. It’s recorded that the film only recovered half of its budget. Despite all that, the film was added to the National Film Registry in 2011.

A versão dos palcos de “Porgy & Bess”, lá em meados dos anos 1930, foi dirigida por Rouben Mamoulian, que foi contratado como diretor do filme mas logo dispensado quando a produção se recuperava de um incêndio que destruiu cenários e figurinos. Otto Preminger, o novo diretor, teve um romance com Dorothy Dandridge, mas que já havia acabado quando o filme foi rodado, e ele tratava mal Dorothy e Poitier.

The stage version of “Porgy and Bess”, back in the mid-1930s, was directed by Rouben Mamoulian, who was hired as director but soon fired as the production was recovering from a fire that destroyed costumes and sets. Otto Preminger, the new director, had a previous romance with Dorothy Dandridge, but it ended by the time the film was shot, and he mistreated her and Poitier on set. 

O coreógrafo foi o lendário Hermes Pan, que foi parceiro de Fred Astaire para coreografar seus famosos musicais dos anos 30, mas ao todo Pan trabalhou em 89 filmes. Além disso, a música do filme foi conduzida pelo maestro André Previn, que foi casado com Mia Farrow. 

The choreographer was the legendary Hermes Pan, who was Fred Astaire’s partner at choreographing his famous 1930s musicals, but overall Pan choreographed 89 movies. Besides that, the music was conducted by the maestro André Previn, who was once married to Mia Farrow.

O figurino foi feito por Irene Sharaff. Ganhadora de cinco Oscars e um Tony, Irene nasceu em 1910 em Boston e trabalhou como ilustradora antes de fazer figurinos tanto para teatro, incluindo balé, e cinema. Ela foi responsável pelos figurinos de mais de 30 filmes - o primeiro sendo “Agora Seremos Felizes” (1944) e o último “Mamãezinha Querida” (1981) - e faleceu em 1993.  

The costumes were made by Irene Sharaff. The winner of five Oscars and one Tony, Irene was born in 1910 in Boston and worked as an illustrator before making costumes to both theater, including ballets, and film. She was the dressmaker for over thirty movies - the first being “Meet Me in St Louis” (1944) and the last “Mommie Dearest” (1981) - and died in 1993. 

“Porgy & Bess” é um destes filmes que têm uma história interessante, mas uma história de bastidores ainda mais interessante. Você acredita que os anos 40 o executivo da Columbia Harry Cohn queria comprar os direitos da peça para fazer um filme com Al Jolson, Fred Astaire e Rita Hayworth, todos em blackface? Aff. “Porgy & Bess” tem seus defeitos, mas é bom lembrar que poderia ter sido muito pior…

“Porgy and Bess” is one of these films that had an interesting story, but a more interesting backstory. Do you believe that in the 1940s Columbia executive Harry Cohn wanted to buy the rights of the play to make a movie starring Al Jolson, Fred Astaire and Rita Hayworth, all in blackface? Ew. “Porgy and Bess” has its flaws, but we must remember that it could have been much worse…