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Desert Island Films: Silent Comedies


 

 

        When The Artist received all of the attention that it did a few years ago, winning five Academy Awards that included Best Picture, I must admit that I was a bit dismayed. Critical praise was to be expected, because the film is an artistic homage to silent cinema. It is also a film about Hollywood, which has proved very fruitful in the past few years. This just proves that the film industry is filled with a bunch of vain sentimentalists, but it was the success The Artist had with modern mainstream audiences which baffled me. Sure, some of this was merely boosted after the Academy’s choice, but the amount of people who went to the theaters to watch a (mostly) silent film still impresses me.
 
 
 
Click HERE for our review of The Artist Blu-ray.
 

        Director Michel Hazanavicius is not the first to make a silent film after the arrival of sound. In 1976, Mel Brooks released Silent Movie, which is more satiric in nature while also relying on an appreciation of silent comedy. As was the case with The Artist, there is some dialogue in Silent Movie. The one line (in fact, one word) of spoken dialogue is given by Marcel Marceau, a renowned mime who usually performs without speaking.

 

        These films impress me for their attempt to return to silent cinema long after it has died, even though they are only doing it for artistic nuance. The Artist uses it to be both subversive and vintage, explaining the popularity this film had with the hipsters of the world, and Silent Movie lovingly spoofs the beloved silent films and stars. What are truly impressive are the silent films that Charles Chaplin made after 1928.

 


         In the last desert island list for classic musicals, I recalled the sequence in Singin’ in the Rain which recreates the sudden phenomenon created by The Jazz Singer in 1927. It is no coincidence that the last silent film to win Best Picture (until The Artist in 2012) was Wings in 1927. The Jazz Singer changed everything, and studios quickly adapted to the changing medium because it was what audiences demanded. By 1928 there was a ‘talkie’ Best Picture winner (The Broadway Melody), and yet Charlie Chaplin continued to make silent films all the way into the 1930s. He produced two of his greatest masterpieces while everyone else had abandoned the old-fashioned methods of filmmaking, including City Lights (1931) and Modern Times (1936).

       

        It is no secret that I am a lifelong Chaplin fan, which explains the fact that he dominates this list. I could easily have done this list purely for Chaplin films and included a few more favorites, but my inspiration for this list was the recent Blu-ray release of Safety Last! I also see no way of making this list without including The General, despite claims that it is impossible to be both a fan of Buster Keaton and Chaplin. Keaton, Chaplin and Harold Lloyd may all use different approaches to the material and each have their unique personas built up, but all make use of a physical comedy that is often attributed to vaudeville. I think it is much simpler than that, and the origins of screen humor can be traced back to one of the first films ever made.

 
 


        The Lumiére Brothers, Auguste and Louis, are attributed with being the first filmmakers. They are a unique pair, both able to patent advancements on the creation of devices for filmmaking and to have the creativity of making the world’s first moving pictures and present them for public viewing at the Grand Café in 1895. The very first one is rather dull, including only 46 seconds of factory workers as they exit the Lumiére factory, but the creation of the second film also brought the birth of onscreen comedy.

 

        Le Jardinier (The Gardner) was the second Lumiere film screened. Also known as l’Arroseur Arrosé (The Sprinkler Sprinkled), the film is just under 50 seconds and features one gag. A gardener is tormented by a young boy who steps on his hose to cut off the water supply. When the gardener looks into the nozzle of the hose, the boy releases the water and it squirts the man, who reacts by spanking the boy. This film was the beginning of narrative cinema, and also started off cinematic comedy with a bit of slapstick that would become a staple for the trio of great silent stars on this list.

 
 


5. The Gold Rush (1925)

 


[Excerpt below taken from review of Criterion Collection Blu-ray]

 

Chaplin’s reoccurring character known as the Little Tramp had been around in his silent short films, but it was The Gold Rush which made him a phenomenal success. From the signature waddling walk in his over-sized shoes and pants to the undersized jacket and iconic bowler and walking cane, the Little Tramp is unmistakably recognizable. The Gold Rush has sequences which are just as recognizable, even to those who have never seen the film before. There is the dinner roll dance, which was imitated in the 1990s romantic comedy Benny & Joon, and the boiled leather shoe meal which actually put Chaplin in the hospital for insulin shock (the shoe was made out of licorice). The Gold Rush is a goldmine of unforgettable comedic moments.

 

        The story was actually one of the few that Chaplin had completely figured out prior to the beginning of filming, and has a consistency that is lacking in some of his other masterpieces. It begins with the tale of a poor prospector with hopes of striking it rich in the Klondike. The Tramp’s search for gold also ends up bringing him to a search for a companion when he meets a beautiful woman (played by Georgia Hale), and in typical fashion he must ward off the romantic competition with wit and mischievous trickery.

 

        Slapstick humor and amazingly creative comedy aside, The Gold Rush is also an extremely sweet and emotional film. The Tramp is one of those rare characters who can misbehave in the name of what is right, drawing our affection and admiration along with the laughter. The Gold Rush would pave the way for more masterpieces, though there is no denying that they would not have been possible without the initial success of this near-perfect film. In 1942 he even re-released a new version of his 1925 classic with sound effects and a voiceover narration to replace the original dialogue cards. Whether watching the 1925 classic silent version or the 1942 re-release, there is no denying the brilliance of Charlie Chaplin’s The Gold Rush. Both are masterpieces which have just as much impact to day as when they were first created.

 

4. The General (1926)

 


        It has been said that you can be a Charlie Chaplin fan or you can be Buster Keaton fan, but you can’t be both. I’ll admit that I feel far less sentiment for the deadpan comedy styles of Buster Keaton, and prefer the vaudevillian methods of Chaplin, but The General is proof for me that it is possible to like both these actors. Keaton himself has named this as his favorite of his own films, and it is easy to see why. The humor is spectacular and the scope of the film is monumental for a comedy, especially one about the Civil War. The train crash sequence was the single most expensive shot in the entire silent movie era.

 

         Based on a true incident during the Civil War, with remarkable abilities to stay close to the facts while still remaining hilarious, The General follows the exploits of locomotive engineer Johnnie Gray (Keaton), a man whose train is stolen by a group of Union spies on a task to sabotage the railway. Gray takes it upon himself to pursue his locomotive, The General, at any cost. Starting on foot, Gray slowly moves up in modes of transportation, until taking a train backwards the remaining distance to his beloved locomotive.

       

3. Safety Last! (1923)

 


[Excerpt below taken from review of Criterion Collection Blu-ray]

 

        Harold Lloyd may not be as recognizable a name as Charlie Chaplin, and his face less familiar than the droopy-eyed deadpan expression of Buster Keaton, but his comedy is every bit as timeless. Safety Last! (1923) is to Lloyd what The Gold Rush was to Chaplin and The General to Keaton. Containing some of his most recognizable bits, including many which were borrowed by Johnny Depp’s film-obsessed character in Benny & June, Safety Last! is a perfect presentation of Lloyd’s unique comedy style. It is easy to see why these three comedy giants are often lumped together in comparison; each using a similar style of humor which is drastically altered with the unique personality each brings to the material.

 

        In Safety Last! Lloyd plays a small-town boy in love with a small-town girl, who gladly sends her man away in hopes that he becomes rich in the big city. The boy is employed as a lowly department store clerk, but he writes letters home boasting of a greater position in order to impress his bride-to-be. These lies come back to bite the boy when his beloved arrives for a surprise visit. When she has a look of horror and sadness at the sight of him as a clerk, the boy finds clever ways to continue his lies. This helps his situation temporarily, but a permanent solution arrives when the head of the department store agrees to pay a large sum for a dramatic publicity stunt to draw a crowd to the store.

 

        This publicity stunt is meant to be carried out by the boy’s roommate, who is able to scale the side of buildings with ease. When a mishap occurs and the roommate is unable to climb, the boy is forced to go in his place. This stunt results in the film’s best comedy, including the iconic image of Lloyd hanging from a clock, which Jackie Chan imitated in Project A. Chan has stated Lloyd as an inspiration for much of his work, which is easily noticeable despite the fact that he makes martial arts films. As we all know from the blooper reels during the credits of his films, Chan does his own stunts, as did Lloyd. Even more incredible than the climbing Lloyd does in Safety Last! is the fact that he did it missing several fingers. The fingers were blown off in a promotional accident, ironically, and Lloyd wore a glove to hide the impairment. Watching to see the way he favors his left hand while climbing is a fun activity for repeat viewers. I always try, but usually get too distracted by the film itself and find myself lost in cinematic heaven.

 

2. The Kid (1921)

 


        The film Charlie Chaplin is best known for is undoubtedly The Gold Rush, but I have always preferred the small-scale sentimentality of Chaplin’s first 6-reel feature with The Tramp. The vagabond prankster had already lived in one and two-reel films for quite some time, but Chaplin spent a year creating the first feature, The Kid.

 

        Showing both the mischievous side of The Tramp paired with his sweet innocent instincts, The Kid follows a poor vagabond who takes in an abandoned child as his own. Years later, the child (Jackie Coogan) is in danger of being taken from The Tramp and the life that they have known together. The Kid has all of the usual Tramp hijinks escaping from the grip of local authority figures, especially police officers, but Chaplin was able to add a new level of emotion and heart-tugging sentimentality with the extra time of a feature film.

  

1. City Lights (1931)
 
 

        When I first discovered Chaplin, around the age of 10 or 11, The Kid was my favorite film. After falling in love a few times, City Lights quickly became my new favorite. Any time I feel myself growing more cynical; this is one of the films I know I can put on in order to break down those barriers. Comedy and melodrama have never been paired so perfectly, both effective in their own way and blending to make a masterpiece of a film about the sacrifices of true love.

 

        This was the first silent film that Chaplin made after the arrival of sound, and it took him three years of production in order to complete it. There was heavy encouragement to make the film in sound, which must have felt even more urgent the longer Chaplin took to complete it. The more years spent making this film meant more years gone since silent films were successfully dominant, or even present. And yet, this film saw incredible success, even pulling Albert Einstein to the theater for the premiere.

       

        The film is a simple love story with heartbreaking twists and turns. At the heart of the film is The Tramp, who falls in love with a blind flower girl (Virginia Cherrill) and decides to do everything in his power to help her. He loves her in such a selfless way that it doesn’t even matter to him if he gets credit for what he does to improve her life, and that is what makes this film so spectacularly romantic.

 

Click HERE for more Desert Island Lists

New to Blu-ray: Safety Last! (1923)

  • Actors: Harold Lloyd, Mildred Davis
  • Format: Blu-ray, Black & White, NTSC, Silent, Widescreen
  • Language: English
  • Aspect Ratio: 1.77:1
  • Number of discs: 1
  • Rated: NR (Not Rated)
  • Studio: Criterion Collection
  • Release Date: June 18, 2013
  • Run Time: 74 minutes



  •  

            Harold Lloyd may not be as recognizable a name as Charlie Chaplin, and his face less familiar than the droopy-eyed deadpan expression of Buster Keaton, but his comedy is every bit as timeless. Safety Last! (1923) is to Lloyd what The Gold Rush was to Chaplin and The General to Keaton. Containing some of his most recognizable bits, including many which were borrowed by Johnny Depp’s film-obsessed character in Benny & June, Safety Last! is a perfect presentation of Lloyd’s unique comedy style. It is easy to see why these three comedy giants are often lumped together in comparison; each using a similar style of humor which is drastically altered with the unique personality each brings to the material.

     

            In Safety Last! Lloyd plays a small-town boy in love with a small-town girl, who gladly sends her man away in hopes that he becomes rich in the big city. The boy is employed as a lowly department store clerk, but he writes letters home boasting of a greater position in order to impress his bride-to-be. These lies come back to bite the boy when his beloved arrives for a surprise visit. When she has a look of horror and sadness at the sight of him as a clerk, the boy finds clever ways to continue his lies. This helps his situation temporarily, but a permanent solution arrives when the head of the department store agrees to pay a large sum for a dramatic publicity stunt to draw a crowd to the store.

     

            This publicity stunt is meant to be carried out by the boy’s roommate, who is able to scale the side of buildings with ease. When a mishap occurs and the roommate is unable to climb, the boy is forced to go in his place. This stunt results in the film’s best comedy, including the iconic image of Lloyd hanging from a clock, which Jackie Chan imitated in Project A. Chan has stated Lloyd as an inspiration for much of his work, which is easily noticeable despite the fact that he makes martial arts films. As we all know from the blooper reels during the credits of his films, Chan does his own stunts, as did Lloyd. Even more incredible than the climbing Lloyd does in Safety Last! is the fact that he did it missing several fingers. The fingers were blown off in a promotional accident ironically, and Lloyd wore a glove to hide the impairment. Watching to see the way he favors his left hand while climbing is a fun activity for repeat viewers. I always try, but usually get too distracted by the film itself and find myself lost in cinematic heaven.

     

            The Blu-ray release of this masterpiece includes a newly restored 2K digital film transfer which is as near flawless as I have seen from an early 20s film. The 1989 score from Carl Davis was synchronized and restored for presentation, presented in uncompressed stereo. There is also an alternate score by organist Gaylord Carter from the late 1960s. The special features include an audio commentary by Harold Lloyd archivist Richard Correll and film critic Leonard Maltin. The film has an optional introduction by Lloyd’s granddaughter, but the truly special features are the three short films from the comic genius. There are two one-reel films (Take a Chance, Young Mr. Jazz) and one two-reel film (His Royal Slyness). Also included is a 108-minute documentary about Lloyd from the late 1980s, and a new documentary called Locations and Effects. The booklet insert features an essay from film critic Ed Park and plenty of iconic photographic shots perched on the side of the building.

     

    Entertainment Value: 9/10

    Quality of Filmmaking: 9/10

    Historical Significance: 10/10

    Disc Features: 9/10

    A Good Day to Die Hard Blu-ray review

  • Actors: Bruce Willis, Jai Courtney
  • Director: John Moore
  • Format: AC-3, Color, Dolby, DTS Surround Sound, Dubbed, Subtitled, Widescreen
  • Language: English (DTS 5.1), French (Dolby Digital 5.1), Spanish (Dolby Digital 5.1)
  • Subtitles: English, French, Spanish
  • Dubbed: English, French, Spanish
  • Aspect Ratio: 1.85:1
  • Number of discs: 2
  • Rated: R (Restricted)
  • Studio: 20th Century Fox
  • Release Date: June 4, 2013
  • Run Time: 98 minutes


  •  

     

            I can only think of a few occasions where an action film has been too loud for me, compelling me to turn the surround sound stereo to a more reasonable level. A Good Day to Die Hard is easily one of noisiest action film I have encountered, but it is the consistent droning of the noise which inevitably makes it unbearable. There are no ups and downs in this film; it is consistently at level 10, which inevitably dulls the senses and makes all of it seem like white noise by the conclusion. The action just becomes boring to watch despite the volume of it.

     

            I had issues with the last Die Hard film, mostly because I can’t stand the idea of a PG-13 Die Hard. With that being said, at least it contained something of a script. Everything in A Good Day to Die Hard feels underdeveloped, from the cliché half-written plot to the half-ass dialogue which feels like it could have been made up by the actors on set. The jokes don’t land, or make sense, and the emotional father/son sub-plot is forced, predictable and completely unbelievable. It feels as though everyone approached this film as if it were a gag, from the writers all the way down. The only people who took it serious were the producers, who threw enough money at the project to make sure there are plenty of explosions.

     

            This film plays like a straight-to-video sequel to Safe House, with John McClane (Bruce Willis) traveling to Russia to try and find his son, Jack (Jai Courtney), who is a spy trying to hide a prisoner and thwart some generic world domination plot. Lots of things blow up in an unbelievable manner leading to a large climactic battle which has already escaped my memory. I would rather have forgettable than the opening chase sequence, which is so bad that I can’t remove it from my brain. The action is incoherent and incessantly noisy, it is overlong, and ends in a CGI absurdity belong up there with the refrigerator escape in the latest Indiana Jones film.

     

            The Blu-ray release includes both the theatrical and extended cut of the film. There is also a DVD and digital copy of the film included. The special features have many fluff piece featurettes, including one on the awful car chase sequence. There are also a few deleted scenes with nothing really necessary, a still gallery, and a commentary track featuring director John Moore and assistant director Mark Cotone. The commentary is only available for the extended cut.

           

    Entertainment Value: 6/10

    Quality of Filmmaking: 1/10

    Historical Significance: 3/10

    Disc Features: 7/10

    Sadako 3D Blu-ray review

  • Actors: Satomi Ishihara, Kôji Seto, Yûsuke Yamamoto, Tsutomu Takahashi
  • Director: Tsutomu Hanabusa
  • Format: Blu-ray, Dolby, NTSC, 3D, THX, Widescreen
  • Language: Japanese
  • Subtitles: English
  • Aspect Ratio: 1.85:1
  • Number of discs: 1
  • Rated: Unrated
  • Studio: Well Go USA
  • Release Date: June 4, 2013
  • Run Time: 96 minutes



  •  

     

             I don’t know what level of popularity the Ringu film franchise or the books by Koji Suzuki which they are based on have in Japan, but I can’t imagine that there are many international audience members eagerly awaiting another chapter in the chronicle. Sadako is said to be the “terrifying” conclusion to the story of the media-savvy serial killer spirit. The fact that Sadako has taken advantage of the popular 3D format only makes for a horror film with forced brightness and far too little terror. As cleverly as the story has been adapted to modern technology, there are too many things wrong with this film to live up to expectations brought on by the original, not to mention Gore Verbinski’s long-winded remake.

     

             Sadako, the evil spirit from the original VHS tape, has now made it viral. She waits in the deadly video clip that can only be found at certain times, killing the suspecting viewer. There is a huge plot hole in the film with the only people searching the internet for the clip seem to be the ones who honestly believe that it has the ability to kill. This makes little sense to me. I understood the VHS version of the curse, mostly because it was often viewed on accident and by a group of slumber party girls trying to scare each other. In this film they go through great length to find something that they believe will kill them if they view it. This is never addressed or even cleverly avoided, like many other plot holes in this horror film with very little horror.

     

             The death of one girl in a high school brings the suspicions of a fellow student and a teacher, who investigate the phenomenon of the forbidden video that kills you. There is no longer a time delay either, and apparently the clip is always viewed in private. It all build in the usual Japanese ghost horror film manner, providing a film left for die-hard fans of the franchise with the understanding that the 3D format completely alters the feel of the film. The Blu-ray release also comes with a 2D version of the film.

     

    Entertainment Value: 4/10

    Quality of Filmmaking: 3/10

    Historical Significance: 4/10

    Disc Features: 3/10

     

    Identity Thief Blu-ray review

  • Actors: Jason Bateman, Melissa McCarthy, John Cho, Amanda Peet, Jon Favreau
  • Director: Seth Gordon
  • Writers: Craig Mazin, Jerry Eeten
  • Producers: Jason Bateman, Dan Kolsrud, Mary Rohlich, Pamela Abdy, Peter Morgan
  • Format: Color, Widescreen
  • Language: English (Dolby Digital 2.0 Stereo), English (Dolby Digital 5.1), English (DTS-HD Master Audio 5.1), French (Dolby Digital 5.1), French (DTS 5.1), Spanish (Dolby Digital 5.1), Spanish (DTS 5.1)
  • Subtitles: English, French, Spanish
  • Dubbed: French, Spanish
  • Aspect Ratio: 2.35:1
  • Number of discs: 2
  • Rated: Unrated
  • Studio: Universal
  • Release Date: June 4, 2013
  • Run Time: 111 minutes



  •          There are far too many similarities between Identity Thief and Due Date, but it only seems to be the bad elements which are similar. Both have a straight man and an outrageous personality trapped together on a cross-country road trip, and both expect the audience to believe that the straight man somehow begins to care for the absurd personality by the end of the film. In Due Date this is slightly more believable, if only because one of them isn’t a criminal who stole the other person’s identity.

     

             Jason Bateman plays Sandy Patterson, a man whose feminine sounding name makes it easier for Diana (Melissa McCarthy) to steal his identity. The police won’t help to track her down because she is out of state, and the film provides a less than believable excuse for Sandy to travel across the country to track her down himself. When he finds her and finally convinces her to travel back with him to confess, they must drive instead of flying because of the fact that they share the same name. I’m not really sure why Diana couldn’t just use her real ID, but this is just an excuse for road hijinks and another plot point which can’t be examined too closely.

     

    I know I am not spoiling any endings by telling you that Diana and Sandy eventually become friends. This is harder to believe than anything else in this contrived film, but the worst offense of the film is how few laughs that there are. McCarthy is just loud and vulgar and Bateman is just the usual bumpkin. They have played these roles before in far better films. Watch those instead.

     

    The Blu-ray special features include a making-of featurette and a gag reel, which are also on the DVD. Exclusive to the Blu-ray disc are select alternate takes, a featurette on the humor of Identity Thief, if you can find it, and a tour of the Skiptracer’s van. The package also has a digital copy of the film.

     

    Entertainment Value: 5/10

    Quality of Filmmaking: 4/10

    Historical Significance: 1/10

    Disc Features: 5/10

     

     

    The ABCs of Death Blu-ray release

  • Actors: Erik Aude, Kyra Zagorsky
  • Director: Ti West, Jason Eisener, Adam Wingard, Nacho Vigalondo, Ben Wheatley and more.
  • Format: AC-3, Dolby, Widescreen
  • Number of discs: 2
  • Rated: R (Restricted)
  • Studio: Magnolia Home Entertainment
  • Release Date: May 21, 2013
  • Run Time: 130 minutes


  •  

             Anthologies irritate me. Perhaps this is mostly due to the inconsistencies and the mere fact that a poor attempt to tie the fragmented stories together with a book-end narrative never works. I also find that the amount of time allotted to each story in most of these anthologies is just enough to annoy me with all of the weighty exposition and provide one thrill. The result feels like watching the dull part of three horror films without the climax of any.

     

    Anthologies are irritating, but I would not put The ABCs of Death in this category. Thematically these films are tied together, but there is no effort made to combine them in narrative. Viewers going into viewing of this film will have a much better time if they realize that this is a collection of shorts, each separate and merely catalogued alphabetically for viewing enjoyment. As a matter of fact, there is nothing saying you have to watch these films in order. It will make no difference in the viewing experience how you watch these 26 short films, though attempting to sit and watch the entire film in one sitting may test the patience of some less dedicated viewers.

     

    This may not be a typical anthology, but it is carries the same inconsistency in material that has become expected with them. The difference between this film and the anthologies with three to five short stories is the length of time we are forced to endure the weaker aspects of the film. The film’s producers even provide the audience with a disclaimer at the beginning of the film, almost seeming to warn us that they had no creative control in the individual films from 26 different international directors. They were each given a letter of the alphabet and told to make a film about death using a word starting with that letter. Most shorts are around six minutes, so it never lasts too long if they are absurd, disgusting or simply dull.

     

    Be warned; there are many shorts within this list that are sure to disgust and offend. The Japanese filmmakers have especially unique styles, though anyone who has watched a film from Sushi Typhoon should be no stranger to the unique blend of violence, sex and humor. It is also important to point out that though each of the films are about death, this does not necessarily mean that these are all horror shorts. Some filmmakers take a more comical approach, and there are even a few animated shorts thrown into the mix.

     

    This is not a film I would recommend as light viewing. This is the type of movie which could easily be watched in sections, and perhaps enjoyed more in moderation rather than enduring all 130 minutes at once. Though most shorts run at around six minutes, some of them are rather intrusive to the senses. There is something in here to offend everyone, something for everyone to hate, and also something to like. The only consistency throughout this collection seems to be the shock factor in the material. Some of the shorts shocked me simply due to the laziness of the filmmaker or the lack of any coherence, while others are offensive in the traditionally vulgar manner. There is animal abuse, fart jokes, falic weapons, masturbation and even a killer turd. Half the fun of the collection is trying to figure out what word the short is using for the letter, which is not revealed until the end. 

     

    The special features on the Blu-ray include behind-the-scenes footage, deleted scenes and making of features for the letters A-D, F, H-J, P, R, T, V, W, and Z. Even more impressive is the filmmaker’s commentary, which has over 30 filmmakers chiming in. Also included is a promotional featurette, a trailer and a BD-Live feature with the short film competition submissions.

            

    Entertainment Value: 8/10

    Quality of Filmmaking: 1-8/10

    Historical Significance: 7/10

    Disc Features: 7/10