Wednesday, May 30, 2012

Anxiety of Influence: Cheerleader Melissa



"Some more of those bully tactics that Cheerleader Melissa is known for -- known for the Air Raid Crash, a maneuver that she in many ways borrowed from Mariko Yoshida after that series of matches against her. And she also utilises the Kudo Driver, a trademark maneuver of Megumi Kudo -- the Cop Killer, known to fans of Homicide. She has only been able to hit that once on a competitor here in Shimmer competition, and that was Diaizee Haze in the main event of volume 7, and it earned Cheerleader Melissa that main event victory".

Dave Prazak on commentary lays out some lineage in Cheerleader Melissa vs "Dark Angel" Sarah Stock, Shimmer volume 11, Shimmer Championship Tournament Night One, 1 June 2007. Available from clickwrestle.com.

Tuesday, May 29, 2012

Violence: Douglas Fairbanks shoots furrier with arrow, New York 1922.


"Shot With An Arrow in Fifth Avenue", New York Times, 4 October 1922:

"Standing near an open window in his furrier's shop on the fourth floor of 557 Fifth Avenue ... Abraham Seligman felt a sudden, sharp sting in his chest. A steel-tipped arrow, twenty-six inches long, had winged its way silently through the window, pierced his coat and vest and buried its point in the chest wall.... Atop a building under construction nearby they [detectives] found another arrow, but workmen could not tell whence it had come. Assured by Seligman that he had not been concerned in a recent furriers' strike and that he had no enemies who might seek to slay him -- novel-wise -- with curare-poisoned arrows, the detectives finally put the incident down as a prank of a boy with a good bow and a lusty arm."


"Doug Fairbanks Calls on Man Hurt by Arrow", New York Times, 5 October 1922:

"The mystery surrounding the source of the arrow which sped across Madison Avenue roofs and struck Abraham Seligman ... cleared somewhat yesterday, when Douglas Fairbanks called at the Seligman home ... and explained that he and several other persons had been "fooling with a bow and some arrows" on the roof of the Hotel Ritz-Carlton on Tuesday.

...When his attention was called to a photograph of Fairbanks holding a bow and arrow, Lieutenant John Fraser of the East Fifty-first Street Station started an investigation. Fairbanks, however, was ahead of him. He had read of Mr. Seligman's wound in the morning newspapers and hastened to the Seligman home with his attorney, Dennis F. O'Brien. When Detective Andrews reached the Seligman home the actor had left, and the furrier said he had no complaint to make".

Douglas Fairbanks, with good bow and lusty arm, on the cover of Picture Show, 1 March 1924.

Allan Dwan tells a version of this story in Peter Bogdanovich's Who The Devil Made It?

Violence: Douglas Fairbanks as d'Artagnan in A Modern Musketeer (1917) Allan Dwan.



Douglas Fairbanks as d'Artagnan attacks with boiling water and hat in "A Modern Musketeer" (1917), directed by Allan Dwan.

Saturday, May 26, 2012

Poetry on TV: John Gillespie Magee, Jr.'s "High Flight", Television sign-off.



John Gillespie Magee, Jr.'s "High Flight" used as 1960s late-night television sign-off. (Watch it on YouTube in colour here.)

"High Flight":

"Oh! I have slipped the surly bonds of Earth
And danced the skies on laughter-silvered wings;
Sunward I’ve climbed, and joined the tumbling mirth
of sun-split clouds, — and done a hundred things
You have not dreamed of — wheeled and soared and swung
High in the sunlit silence. Hov’ring there,
I’ve chased the shouting wind along, and flung
My eager craft through footless halls of air....

Up, up the long, delirious, burning blue
I’ve topped the wind-swept heights with easy grace.
Where never lark, or even eagle flew —
And, while with silent lifting mind I have trod
The high untrespassed sanctity of space,
- Put out my hand, and touched the face of God."


A personal review by a viewer at the invaluable Internet Archive:

"Subject: Almost brought me to tears

When I was young but old enough to stay up late, I used to stay up late just to see and hear this clip when a local TV station went off the air. I did this many nights until I had memorized the poem. There was no Internet then and I had no other way to find the text of this poem then. Seeing and hearing this clip after over 40 years almost brought me to tears. It was, and is, my favorite poem and I quote it to myself often. This poem inspired me to an interest in flying and the space program. Unfortunately, I never did...and regret it even now when I hear this again. Thanks."

Thursday, May 24, 2012

Poetry on TV: Taxi, "Art Work" (4 March 1980) and Rudyard Kipling's "If".



Reverend Jim (Christopher Lloyd) recites (somehow) Rudyard Kipling's "If--" in Taxi, "Art Work", 4 March 1980, written by Glen and Les Charles, and directed by James Burrows.


Rudyard Kipling, "If--" (1895):

"If you can keep your head when all about you
Are losing theirs and blaming it on you;
If you can trust yourself when all men doubt you,
But make allowance for their doubting too:
If you can wait and not be tired by waiting,
Or being lied about, don’t deal in lies,
Or being hated don’t give way to hating,
And yet don’t look too good, nor talk too wise;

If you can dream—and not make dreams your master;
If you can think—and not make thoughts your aim,
If you can meet with Triumph and Disaster
And treat those two impostors just the same:
If you can bear to hear the truth you’ve spoken
Twisted by knaves to make a trap for fools,
Or watch the things you gave your life to, broken,
And stoop and build ’em up with worn-out tools;

If you can make one heap of all your winnings
And risk it on one turn of pitch-and-toss,
And lose, and start again at your beginnings
And never breathe a word about your loss:
If you can force your heart and nerve and sinew
To serve your turn long after they are gone,
And so hold on when there is nothing in you
Except the Will which says to them: ‘Hold on!’

If you can talk with crowds and keep your virtue,
Or walk with Kings—nor lose the common touch,
If neither foes nor loving friends can hurt you,
If all men count with you, but none too much:
If you can fill the unforgiving minute
With sixty seconds’ worth of distance run,
Yours is the Earth and everything that’s in it,
And—which is more—you’ll be a Man, my son!"

Tuesday, May 22, 2012

Poetry on TV: The Untouchables, 'The St. Louis Story', 28 January 1960.



"They also serve who only stand and wait."

Eliot Ness (Robert Stack) gives Agent Cam Allison (Anthony George) a refresher in Milton in The Untouchables, 'The St. Louis Story', 28 January 1960, written by Joseph Petracca, directed by Howard W. Koch.

"On His Blindness", John Milton, c1655:

When I consider how my light is spent
Ere half my days in this dark world and wide,
And that one talent which is death to hide
Lodg'd with me useless, though my soul more bent
To serve therewith my Maker, and present
My true account, lest he returning chide,
"Doth God exact day-labour, light denied?"
I fondly ask. But Patience, to prevent
That murmur, soon replies: "God doth not need
Either man's work or his own gifts: who best
Bear his mild yoke, they serve him best. His state
Is kingly; thousands at his bidding speed
And post o'er land and ocean without rest:
They also serve who only stand and wait."

Friday, May 18, 2012

Plain Talk: Peter Bogdanovich and David Bordwell


"If the scripts are constructed well and the casts are good ... there is no reason why many pictures should take so long to make. I kept reminding myself ... that most films of the teens, twenties, thirties, forties and fifties were made quickly and efficiently: Ford shot The Informer in fifteen days; Allan Dwan did many of his pictures in a couple of weeks; Edgar Ulmer rarely had more than six days for a feature. The ongoing attenuation of schedules and bloating of budgets has generally been a result of directorial inexperience or incompetence. Or the insane overpayment of stars. But given 40 million dollars, it seems to me that anybody could make a picture."

Peter Bogdanovich, Who the Devil Made It, 1997, p. 30.




"Now, it seems, the exhibitors are so scared of missing the next blockbuster that the filmmakers can dictate terms. It’s remarkable that these men [James Cameron, George Lucas, Peter Jackson...] can do something neither Griffith nor DeMille nor Disney nor any other powerful Hollywood filmmaker of the classic years dared do. They keep asking that the fundamental technology of cinema be changed so we can all watch a couple of their movies for a month or two every few years.

...if these guys are so passionately committed to quality, why don’t they make better movies?"

David Bordwell, "It's good to be the King of the World", 22 April 2012: http://www.davidbordwell.net/blog/2012/04/22/its-good-to-be-the-king-of-the-world/

(David Bordwell picture by Andy Manis for the New York Times: http://www.nytimes.com/2010/04/25/movies/25dargis.html)

Thursday, May 17, 2012

Plain Talk: Kevin Brownlow


Kevin Brownlow:

"As soon as scholars discovered cinema as an "academic" subject, they imposed their own private language upon it. Perhaps because the motion picture is, in reality, a cheap entertainment, they have set out to make it more "respectable" with language borrowed from different areas of study, like psychoanalysis. It's heartbreaking. I have been approached by many students who have been so put off by this that they have left cinema studies. Why do we need to learn another language in order to study something that has its own universal language? Teaching is supposed to mean communication, not alienation. Academics were so busy with theory that they let the first and second generation of filmmakers die without getting any information from them. Had they got the facts, the theorizing might have been based upon a solid foundation. As it is, it has nothing to do with filmmaking. Filmmakers can't understand it—but perhaps that's the point. If we could understand, it would be revealed as gossamer."

Kevin Brownlow, interviewed in John C. Tibbetts James M. Welsh, "Life to Those Shadows: Kevin Brownlow Talks About a Career in Films." Journal of Dramatic Theory and Criticism 14.1 (Fall 1999), pp. 79-95.
https://journals.ku.edu/index.php/jdtc/article/viewFile/3321/3250

Friday, May 11, 2012

Violence: The Untouchables, 'The Noise of Death', 14 January 1960.

video

A perfect truck nosedive and an explosion of boxes in The Untouchables, 'The Noise of Death', 14 January 1960. Was this shot for The Untouchables or footage from somewhere else?

Dying Words: The Fugitive, 'The Garden House', 14 January 1964.


"Harlan thought I was you. That's a blow to my ego, mistaking me for you ... Good little Annie, always the good one. That's why you had everything"

"Carol, don't die. Don't die."

"I will if I want to."


Carol Willard (Pippa Scott) does as she pleases in The Fugitive, 'The Garden House', 14 January 1964, directed by Ida Lupino and written by Sheldon Stark. David Janssen, Peggy McCay and a creepy doll look on.