Welcome! You will find myriad ramblings about living a vintage lifestyle. Entries include details of my ever expanding vintage wardrobe, my purchases at antique fairs, classic film entertainment, swing dancing, and occasional commentaries sprinkled throughout.
Cheers!
I have always been a fan of the darker elements of fiction whether it is written or visual arts. As I contemplated a specific study for my future PhD program, I decided it was best to focus on my passion; Detective/Crime Fiction, Film Noir and the Wrong Man. I already have several ideas going through my brain, but I'm coming close to developing a thesis for my dissertation. So as I prepare for the application process, I have been re-reading some of my hardboiled collections and purchasing new ones. Then, as I was watching Turner Classic Movies, I saw a preview of the coming summer series Summer of Darkness: A Film Noir Festival. Every Friday, TCM will be airing 12-13 films noir. It's a good thing I have Fridays off. It will definitely be a day of lounging and film noir viewing.
In addition, TCM has paired with a free online course entitled: Investigating Film Noir. The course offers certificates of completion at the quarter's end. Yes, indeed, I signed up. I figured it would be a good start to my upcoming studies. Therefore, I've decided to start a new blog with a focus on Noir where I will critique and analyze films noir, art, and hardboiled detective novels. I welcome all who follow this blog to check out the art of noir.
It's that time of year! The Film Noir Foundation descends upon San Francisco's Castro Theatre for a 10 day film-fest of classic noir known as Noir City. I must say, though, the selection has been less than stellar. The movies are good, but I think the foundation can do a better job of selecting films that are true film noir. There is too much emphasis to fit the marriage theme more so than they did showcasing noir. Of the double-features I attended, only ONE is a true noir. The others were just melodramas that used few elements of noir; very few. Dark shadows and sharp camera angles aren't enough to sustain the mood required to be a noir. There are some true noir films on the bill, but unfortunately I'm not able to see those since:
A) I have my rehearsal
B) My first day of Portuguese class is this week
C) I have double duty DJing and performing with my dance troupe at a private event.
Woman on the Run was a great noir film, though. The best one at the festival so far. What was even better about the film, it was set in San Francisco. Great to see how it looked in 1950, but a little disheartened to see that many of the places were demolished to occupy parking lots or really plain buildings today. The film maker cheated a bit too, by filming a few scenes in Los Angeles and passing it off as SF. Otherwise, it was great noir flick and Ann Sheridan gave a great, witty performance.
IF I decide to go back to the festival, it won't be until next weekend. But on the bright side, going to Noir City is all about the fashion show, and of course I am going to go all out.
NIGHT ONE
I went with my femme fatale look. I wore true vintage 1940s black dress and pumps. To finish off the look, I wore Cuban heel stockings. I must say that I really love my posterior in this photo (and, no pun intended, it's one of my best assets).
I kept my hair simple styling it only in a side part that was very popular during the 1940s. My make-up was subtle using only a bit of color on the eyes and cheeks, the cat-eyeliner and red lips.
NIGHT TWO
I thought about wearing all black again, but I opted to go more traditional 1940s. I wore an early 1940s green dress paired with late 1930s ankle straps and milk glass earrings. Now the hair!
The hair! I decided to go big on the front reverse roll. Now I've done this style myriad times, but I decided to tease it up for more height and volume. After I was done, I had the "whoa!" look on my face. How long did it take, you ask? About a minute. Throughout the evening people were complimenting me on my hairstyle. Even as I was walking down Castro St., people stopped me to ask about my style.
Between the two styles, I prefer the femme fatale. It's simpler yet far more glamourous. I always enjoy any opportunity to doll myself beyond the usual 50s daydress and pageboy hair that I wear to work.
In the spirit of Halloween, I decided to post 31 Days of Classic Horror Cinema on my Instagram account; each day showcasing a different horror movie from days gone by. I started with 1920s cinema and have completed up to the late 1950s. I've seen each film posted to my Instagram and only those that I enjoyed. What constituted as scary during that time would be considered corny today. Some have held up over time or could possibly be reclassified under a different genre (sci-fi, suspense, psychological thrillers, etc.) But as I looked back on each post, I started to notice the underlying themes that reflected their respective generations and their fears.
1920s
What I noticed was that the antagonist tended to be either a disturbed or deeply misunderstood person. Emotionally, he never fit in with the general public, or he was simply unaccepted because of a physical abnormality. The 1920s was generally a time of exuberance, opulence, and indulgence. But it was also an era of illicit behavior due to the prohibitive laws of that time. What was there to fear except the inner demons let lose when under the influence of often potent if not deadly libations.
1930s
We've now reached the Depression Era when most everyone was struggling and skeptical of their fellow man. Is it any surprise, then, that many of the antagonists were mindless drones seeking what other individuals had? Even King Kong was considered a metaphor of the rural south invading the industrialized big city and wreaking havoc. Men feared each other due to the harm they could cause each other.
1940s
World War II brought the U.S. out of the brink of total despair that followed the economic downturn of the 1930s. The war unified the nation against the threat of the Axis powers. The monster had a face, and it was Hitler. Though the 40s had its fair share of monster movies, many films focused more on psychological fear; quite possibly because there was a real threat overseas. In fact most films of this era were considered dark, suspenseful, and psychologically thrilling (Film Noir) with a tinge of apathy.
1950s
Ah the Fifties. The Atomic Era. The Red Scare. McCarthyism. Blacklisting. The U.S. was under threat of communism (or so its government would have Americans believe). Is it really a surprise, then, that most films focused on supposed consequences of atomic warfare or people being led to an impending doom? Several films depicted grossly oversized bugs (as a result of radiation exposure) terrorizing people. The alien invasion as a metaphor of the invasion of all things un-American. There was always something to run away from before finally standing up to and victoriously attacking the threat.
My Personal Favorites
This final week before Halloween will have posts consisting of my favorite horror films that I will never tire watching. Some have already been posted in the previous decades listed (Dr. Caligari, King Kong, Cat People), but others are as recent as 1987. When it comes to horror film, I'm less about gore and more about the suspense and thrill.
Alfred Hitchcock has always been one of my favorite directors (the other is Tim Burton). When it comes to suspense and thrills, his films are on the must-see list. Evil Dead is ridiculously gory, but hey, it's Bruce Campbell! Poltergeist still creeps me out today and The Lost Boys has a special place in my heart; who doesn't love 1980s Santa Cruz? But when it comes to my all time favorite, it's American Werewolf in London. I don't care what people say about it looking fakey today. I still say that it is by far the best werewolf transformation in history.
So if you're not sure what to include on your Halloween Horror Fest, choose a few of the films above for a public viewing and appreciate the history of horror and it's projection of American fears.
This season, the San Francisco Silent Film Festival descended upon Castro Theatre to showcase recently restored TheCabinet of Dr. Caligari. I've seen this film before (though in very poor quality) and really enjoyed the German Expressionism so evident in this film: low budget set designs with geometric landscaping; painted walls and floors to represent lights, shadows, and objects; story lines that primarily deal with the psyche.
Dr. Caligari is considered the first psychological thriller that employed the plot twist. The film is presented in a framing format. That is, the first and final scenes are set in the present with everything in between a storytelling in flashback. Its title cards are written in German but contained the English translation. The writing was stylized to reflect the mood and tone of the film. The restoration was excellent with a crisp and clear image quite possibly not seen since its original run in 1920.
Another film showcased at the festival (and one that I also had previously seen) was The General staring the Great Stone Face, Buster Keaton. He was known for his deadpan humor and physically exhausting stunts. This silent comedy premiered in 1926 and, at that time, was considered the most expensive film ever made. The story focuses on a train engineer who embarks on a mission to retrieve his stolen, beloved train named "The General". Set during the Civil War, the majority of this film centers on a great chase along the railroad tracks. Keaton performed all of his stunts on a moving train. Perhaps the most iconic scene is when he sits on a moving coupling rod.
What I enjoy most about watching silent films is the live music accompaniment. You have to give a lot of credit to the musicians who have to maintain their precision for an hour and half film. Dr. Caligari was performed by a solo organ player and The General performed by a mini-orchestra.
SIDE NOTE
Speaking of music, there was an advert on screen for the San Francisco Symphony. In January, the symphony will be performing the music accompaniment for The Godfather. I am definitely going to be in attendance.
The festival experience wouldn't be complete without a few photos of Castro Theatre itself.
It's that time of year again! The Silent Film Festival returns to Castro Theatre right around June. Though this year, it came a week earlier than usual. It can be costly to attend every screening, so I usually pick the ones of most interest.
This year's crop was more international; this has been happening quite a bit lately that even the Film Noir Festival broke away from showcasing just American films. While I wouldn't mind watching foreign sound films, the silent foreign films are a bit cumbersome. Not only do you have the English title cards, the original language is also included which takes up quite a bit of room with risk of print overlap.
I only watched 2 films this year: Ramona (drama) and The Navigator (comedy).
Ramona starred the very beautiful Mexican actress, Dolores Del Rio. She had a great screen presence and her miming gestures were exquisite. There was something very poetic about her movements. Of course, it's quite exaggerated which may turn off a few viewers. But it was quite nice seeing a Latin actress in a lead role (stay tuned for another post on this specific topic).
The Navigator starred the Great Stone Face himself, Buster Keaton; known for his onscreen antics, stunts and deadpan facial expressions. I enjoyed this one much more than the drama since you can pull of exaggerated acting much better in a comedy than in drama.
As for my attire, of course I'm going to look more 1920s. On both days, I wore a pale pink 1920s and 1930s day dress with my cream-colored oxfords. I completed it with a vintage calf-length sage colored coat. As for my glasses, I put away my cat-eyes in favor of my round 1930s glasses that wrap around your ears. The best compliments were reserved for my hair. Lots of pin curls!
One of the best SF festivals is the Noir City Film Festival held each January at the Castro Theatre. This year's festival featured Noir Films from around the world; Europe, Latin America, and Japan. I missed opening weekend because I was in Los Angeles, and I was unable to view the original production of Brighton Rock since I had a scheduled performance with my dance troupe. I was able to catch 2 double features on Friday and Saturday. So of course I adorned myself in 1930s true vintage attire and transformed into a femme fatale that was often the central character is noir cinema.
Friday's films were El Vampiro Negro and Le Sailare de la Peur. Both films were very well made. I was impressed with Vampiro's cinematography with its sharp lines and downcast shadows. The music enhanced the melodramatic atmosphere. The acting wasn't too over the top as most low budget noir films had been during its hey day. Le Sailare was a stark contrast. This film was indeed, suspenseful but I saw no elements of noir. In fact, more often than not, the mood was lighthearted. What I enjoyed, though, was the actors' abilities to code switch between four languages; English, French, Spanish and Italian. I'm fluent in English and Spanish with a good knowledge of Italian. I felt dizzy at times as I was trying to adjust to the abrupt code switching. The film also appeared to be a bit anti-American with its tongue-in-cheek reference to the U.S. obsession with oil (apparently it's something that has always been and will always be an issue). I laughed it off since I agreed with most of the sentiments. Apparently everyone in the audience did, too.
The Outfit
Saturday's bill was two French films; Duex Hommes dans Manhattan and Du Rififi Chez Le Hommes. Both films were very well made. Duex Hommes brought some memories of my times spent in New York; usually spent roaming the streets at night because that's when you see real life in NY. That life was well represented on screen. Rififi is a heist film. It reminded me so much of The Asphalt Jungle and Heat; the organization, implementation, and the aftermath of a successful heist. The best scene was the actual heist; 30 minutes without dialog or music which added to the suspense. Like Le Sailare, some actors code-switched between French and Italian so it was nice to hear some dialog without having to rely on subtitles.
I loved my hair; a la Rita Hayworth
After the showcase, I met with a friend (and fellow dance troupe member) where we discussed noir fiction. I'm a longtime fan of Raymond Chandler and James Ellroy, and I've read all their novels. I'm looking into other authors and found a Gil Brewer pulp anthology. I never heard of him but I purchased it anyway based solely on the title Redheads Die Quickly. My friend also bought a copy. We had a good laugh since we're redheads (though she's a natural blonde and I'm a brunette). I also purchased a small book for my coffee table. A small book comprised of the greatest quotes in film noir cinema.
Though the festival lasted a mere 10 days, there is always a noir feature throughout the year. This Sunday will be a Rita Hayworth double feature: The Lady from Shanghai and one of my all time favorite Rita films, Gilda.
About 12 years ago, during the heyday of Borders Books, I was browsing the magazine aisle when I came across a Playboy issue featuring Dita Von Teese. Her photoshoot was a throwback to pre-pinup 1920s-30s styles. I bought the issue because it reflected my personal style. As I flipped through the magazine, I came across an article of Hollywood's top ten scandals of yesteryear. (It's true; Playboy really does have great, well-written articles.) Some of the scandals I had heard of before: The Black Dahlia, Jayne Mansfield, William Desmond Taylor. There was one that was unfamiliar to me, yet it captured my interest most; the murder trial of Roscoe "Fatty" Arbuckle.
"A good laugh...is the most worthwhile thing in life." - RC Arbuckle
He was described as "larger than life"; a large man who was incredibly agile and nimble. He never used his weight as the primary subject for his gags (i.e. sitting down and breaking chairs). He was just a funny man who happened to be big. For a man his size, his ability to throw himself, fall, roll over head over heels and pop right back up to continue with the scene was quite impressive indeed.
I researched this man's life and career and learned that he was the hottest actor in show business. He was the first to be contracted for $1 million (a lot today; could you imagine the 19teens!); the first to direct and star in his films; the first to have complete ownership of his films; the first to preview his films before a live audience; and the first comedian to make feature films on a regular basis. He also is the only person to have worked with Charlie Chaplin, Harold Lloyd and Buster Keaton who all had supporting roles in Arbuckle films. So why is there very little knowledge of this once great comedian?
When news of his arrest became known, the media, run by William Randolph Hearst, immediately went into "hot off the press" mode. The headlines printed lurid details of the crime (all baseless and without a shred of evidence) with accounts of rape with a coke bottle, a milk bottle or a block of ice; that her bladder was ripped apart under the weight of Arbuckle. The press began printing inaccurate details of Arbuckle's life painting him as a pervert and a man of ill-repute. They fabricated pictures of him. An overzealous District Attorney used the case to advance his political career knowing that his star witness was lying (the evidence contradicted all of her claims). It didn't matter that the media and justice system were assassinating this man's character; it was all to sell papers and make a name for one's self.
It took 3 trials; two ending in mistrials and the third in his acquittal with a subsequent apology from the jury. But the damage had already been done. No movie studio wanted to work with him. William Hays (the man behind the restrictive Hays Code) blacklisted Arbuckle; that is, any studio or director who hired Arbuckle would face consequence from the movie industry. Close actor friends were not allowed to publicly support Arbuckle as it would threaten their reputation, but they continued to support him in private. Movie houses refused to show his films.
Arbuckle lost everything. He was financially ruined from paying legal fees of three trials. He couldn't get work as an actor; not at least for 10 years. Eventually the blacklist was lifted, but very few production companies would work with him. He was financially and emotionally supported by his few friends in the movie industry (it's always during moments of personal adversity when you learn who your true friends are).
What history (and most media accounts) would like you to believe is that Arbuckle went into oblivion never to be heard from again; a ruined man who died in obscurity. But that isn't the truth. (What news outlet would ever print a happy ending?) In 1925, he was allowed to direct films but only under a pseudonym; William Goodrich (a joke by Buster Keaton suggested it was akin to Will B. Good). As a director, Arbuckle would continue to make important contributions
to film comedy; working on comedy shorts.
By 1927, Roscoe was directing stars such as Eddie Cantor and Hearst's mistress, Marion Davies (yes, THAT Hearst. Ironic, no?) in major features at Paramount. Arbuckle would continue to
use the Goodrich name while directing until 1931 when Motion Picture Magazine printed an article titled, "Doesn't Fatty Arbuckle Deserve a Break?" that was signed by several film stars of that time. The public eventually warmed up to him and demanded that Arbuckle return to the screen.
In 1932, Arbuckle was given a contract to star in short reel comedies of which he completed all six. On June 29, 1933, he was signed to a long term acting contract with Warner Bros. There are some accounts that claim Arbuckle stated, "This is the best day of my life." The following night, after celebrating his new contract, Arbuckle died in his sleep of heart failure. His widow said that he had died smiling. He was only 46 years old.
Despite all the adversity he suffered, Arbuckle maintained his dignity and worked his way back to doing what he loved; making people laugh. I don't see his life ending in failure. He overcame all the negative publicity and managed to find success again. Not many people have that opportunity, but with perseverance and a supportive network of family and friends, it is possible to rise up from the flames.
In recent weeks, I have been watching many Arbuckle shorts. I ordered a compilation of his lost films of which I've only watched one disc thus far. The Niles Esssanay Theatre in Fremont showed two of his films recently. Of course, I was in attendance. The audience was a mix of youth to the very old; I'd say the average age was 50, but it was nice to see younger generations appreciate his contribution to comedy. To hear people laugh at films that are (literally) 100 years old was simply amazing. I'm waiting for the day when Stanford Theatre brings back their silent film festivals and showcases Arbuckle films as the main attractions. Or perhaps the Silent Film Festival of San Francisco can highlight Arbuckle films. I'm sure those days will come.
Meanwhile, enjoy a clip of Arbuckle in "The Cook".
References: Arbucklemania
"Fatty Arbuckle: Mysteries and Scandals", E Network
"The Persistent Myth" by Robert Young, Jr. from "The Forgotten Films of Roscoe 'Fatty' Arbuckle"
This past weekend was San Francisco's annual Silent Film Festival at Castro Theatre. I had already seen most of the films showcased (thank you streaming!), so I chose to watch the films I hadn't yet seen. The most anticipated film was The Last Edition. It was considered a low-budget, aka B-movie during its original release in 1925. You wouldn't know it judging by the packed house. There were no seats left. The appeal? It was set and filmed on location in San Francisco. Most of the setting is in The Chronicle Building were you see the the working printing press. There were quite a few street shots with the more prominent locations featured: City Hall, Ferry Building, Market Street, the ever present trollies, etc. It was quite fascinating seeing what San Francisco looked like 88 years ago.
As the movie was getting more interesting, the reel guy messed up the production. It featured the film backwards before shutting off to correct his error. When it came back on screen, it wasn't where we left off. We probably missed a few seconds that were pertinent to the film. I'm left wondering what happened, but I'll never know unless the film is showcased again.
And yes, of course, I dressed in all my vintage glory. I wore a 1930s pink taffeta dress and a hat. I met my friend there who was also dressed. People kept asking to take our pictures (both in the theatre and out on the street), and we happily obliged.
The last modern film I watched was Man of Steel. I didn't really like it very much. My cousin was undecided about watching it and I told her not to bother; it sucks. Then her fiance chimes in stating, "It was the best movie I've seen. I'll see it again. I'm gonna buy the DVD." It doesn't take very much to stimulate his brain. In fact, that's how it is with most viewing audiences today. It's all about eye candy: explosions, speed, and sex appeal. Yawn. The movie wasn't entirely bad. The acting was actually well done. It's too bad there wasn't more of it. Man of Steel was 90% action and 10% plot. This does not make for a good film.
This is why I prefer to view classic films. There was less reliance on action and more emphasis on good acting and a good plot. The society of its time dressed classier and conducted themselves with utmost respect for others. I swear by Turner Classic Movies and Netflix. I can have a 24 hour classic film fest in the comforts of my home. I watch for entertainment purposes, but I can't help but watch for its educational value. I study the wardrobe, hairstyles, and make-up. Lately, I've been watching more 1930s musicals to gather ideas for my chorus girl troupe such as outfits and routines. Now I'm looking more at speech so I can practice speaking in a 1930s dialect.
I've watched classic films since I was a wee tot mainly due to my dad's influence. He, too, enjoys classic films. I always thought about what it would be like to see these films on the big screen. I would love to watch the 1933 King Kong classic on the big screen and The Wizard of Oz! I used to dream about owning an old movie theatre that would show nothing but classic films. The films today just don't stand up to the films of yesteryear.
Thank goodness for Stanford and Castro Theatres. These movie houses are devoted to showcasing classic films. Stanford tends to show films that are pre-1960 whereas Castro will occasionally show modern films.
Stanford Theatre
University Avenue in Palo Alto is a throwback to vintage Americana. It's a mix of antique and modern storefronts, but well maintained to retain a vintage feel. You will find eateries that are themed to reflect the bygone era. Unfortunately, the prices do not. Yet, Stanford Theatre is surprisingly inexpensive. For $7 you get a double feature, and refreshments average a $1.50. The theatre itself is a classic movie museum. Large (original) movie posters are framed and hung prominently throughout the theatre. There is a separate gallery containing movie artifacts and literature. The contents change with each showcasing film.
Stanford tends to theme each season. There have been decade specific, Hitchcock, Astaire & Rogers, Film Noir, Silent, Bogart, pre-code, etc. Every Christmas Eve, the theatre will show It's a Wonderful Life. It's always a good time since the crowd interacts with the film. You'll hear cheering & clapping for the protagonist and boos & hisses for the antagonist. Watching It's a Wonderful Life at Stanford Theatre is now my annual Christmas tradition.
At the center of the stage is the Wurlitzer organ. Before and after each 7:30 showing is a performance. If I take in an early show, I'll stay long enough to listen to the performance. When the theatre shows a silent film, the music accompaniment is always live. I took my dad to a silent film showing and he absolutely loved it. "Better than TMC!" He was grateful for the intermission to use the facilities and get more refreshments.
I'm hoping that Stanford will have another early Hollywood Musicals festival (their last one was 12 years ago) or perhaps even a Busby Berkeley festival. If they do, I would love to do a live performance with my dance troupe.
Castro Theatre
Like the Stanford, Castro was also
built and showcasing films in the early 20s. The theatre stays true to
its art deco elegance and architecture. Located in the heart of the Castro District, this theatre is the iconic landmark that glows brightly each night. Castro is not exclusive to classic films. Occasionally, it will showcase modern films a few times a month. Like Stanford, Castro also has thematic festivals. The biggest draw is the Noir City festival each January and the Silent Film Festival held each June. There are occasional mini-festivals such as the Hitchcock 9 and Silent Winter. In the mezzanine, you will find vendors hawking literature, knickknacks, apparel and antiques suited to the festival. Most attendees (myself included) will dress accordingly. I often don my femme fatale outfit for Noir City and a 1920s outfit for the silent pictures.
Apart from these festivals are thematic double features. One double feature theme was the mafia screening The Godfather and Goodfellas. This was a 6 hour double feature, but thankfully, the theatre held an extended intermission between each film.
Unfortunately, Castro isn't as inexpensive as Stanford. $10 for a double feature is still a good deal, but the refreshments reflect the prices at your contemporary mega movie theatres.
Most films today lack substance, style, plot and, most importantly, originality. There is always a market for these films that appeal to the mindless drones of today's society. But for the rest, for those who truly appreciate the art of film, Stanford and Castro are there to truly entertain their movie audience.
