I've always loved learning more about the classic Hollywood studio system. The other thing I love is a good old-fashioned movie musical. Fred Astaire and Gene Kelly just made life look incredible in those movies. So what better studio to learn a little more about than MGM - the leader in movie musicals in that classic Hollywood studio era.
This is Part One of a series I will be doing on MGM. This studio had a lot going on and too much to just put into one post. So here's how the studio got started, all twists and turns included.
The basics:
MGM.
Metro-Goldwyn-Mayer
Metro Pictures. Goldwyn Pictures. Louis B. Mayer.
Metro Pictures had Richard Rowland and Louis B. Mayer from 1915-1918, when Mayer decided to leave the studio. Rowland continued on for a few more years before heading over to Fox. Marcus Loew (yes, Loew's Theatres) then bought out Metro Pictures.
Goldwyn Pictures Corporation was founded by Samuel Goldfish and Edgar & Archibald Selwyn in 1916. (Samuel Goldfish had his name legally changed to Goldwyn shortly thereafter). Goldwyn was forced out of his company, when Lee Shubert (Broadway) and Marcus Loew took it over, combining Goldwyn Pictures with Metro Pictures.
Louis B. Mayer (who will have to have his own post one of these days - one of the key players in classic Hollywood), after leaving Metro Pictures, formed his own Louis B. Mayer Pictures Corporation. Shortly thereafter (1924) Loew made the decision to combine Goldwyn, Metro and Louis B. Mayer's Pictures together, finally forming Metro-Goldwyn-Mayer, with Mayer at the head of it.
The famous roaring "Leo the Lion" at the beginning of any MGM picture's opening credits came from Goldwyn Pictures. After the formation of MGM the enscription "Ars Gratia Artis" (Art for Art's Sake) was made a staple above the lion.
Up Next:
"More stars than there are in heaven." The stars that brought MGM Studios to the forefront of Hollywood.
Friday, November 20, 2009
Wednesday, November 11, 2009
F.W. Murnau and Tim Burton: German Expressionism reflected in American cinema
German Expressionism became popularized between 1919-1923. It was all about a state of mind; a more abstract mind. The sets were deliberately flat creating an unsteadiness about the whole appearance. To add to that, horizontal and vertical lines were thrown away for more diagonals creating an uneasy and anxious feeling. This also took place during the silent period, so the makeup was heavy (in keeping with live theatre at that time, including overacting). The acting was very machine like, which also helped to dehumanize the people and make them more into their characters. A total immersion into the expression almost.
One of the most prominent German expressionist directors was F.W. Murnau. In just one scene in "Nosferatu" (1922) you can see how the Dracula creeping towards the screen, with flat painted black and white boards slanted towards him, create a walkway that would make it seem like he could keep walking right through the screen, his dark eyes staring you down the whole time. Unlike film noir, where the blinds would only be across a person or the screen when that person or scene was sure to be jaded or in trouble, the lines used in expressionistic films, such as "Nosferatu" are heavy, thick, and daunting. There is nothing but uneasiness the entire time. The point is made clearly and eerily.
Murnau also directed a beautiful film, "Sunrise" (1927). A black and white silent picture, completely the opposite from "Nosferatu" in it's story. As it may seem in the beginning, The Man is not going to be who the audience hoped he would be: a good and decent man. He galavants all around the city with his Woman (not his Wife) and makes a plan to drown his Wife. After taking her out, looking into her eyes, and realizing the error of his ways, he completely changes his tune and wants to be who he should be: The Man that The Wife married. (I won't give away the entire movie plot, but the general idea is there. Such an incredible that must be seen be everyone reading this.)
Tim Burton clearly reflects that expressionistic view in most of his films. Almost all of the films he's directed are, in a way, dark and twisted. In "Beetlejuice" (1988), black and white was made a central theme throughout the movie, including Beetlejuice's suit. The uneasiness that the lack of straight lines made was also apparent. Beetlejuice's appearance, especially his face (eyes specifically) were so dark and gloomy, and although heavily make-uped, it still goes right back to how Dracula's eyes looked in "Nosferatu." Would you want to stare dark circles in the eyes? Scary, but great imagery, and definitely a character the audience won't forget.
"Big Fish" (2003), also directed by Tim Burton, is a film easily unforgettable after watching it through the first time. The bright colors and big, outdoor sets create a work of art, without even anything else thrown into the mix. The story follows how a son is still trying to sort through his father's tales of his much fulfilled life, to decide what's true or not, in order to figure out what was really real about his own life. In the end, he comes to find that the tales his father was telling weren't really tales, but a retelling of what had actually happened. The son is comforted to figure this out on his own.
F.W. Murnau and Tim Burton are probably two of the easiest comparable directors because of their clear and distinct ways of using simple things (lines, direction, colors) to tell a very clear and distinct story, and one that the audience will definitely not forget. Their characters attach themselves to every audience member by grabbing their attention by their physical features and not letting you forget who they were. And when these two directors make a beautiful film, filled with romance and delicacy, it is clear why their films can stand the test of time.
One of the most prominent German expressionist directors was F.W. Murnau. In just one scene in "Nosferatu" (1922) you can see how the Dracula creeping towards the screen, with flat painted black and white boards slanted towards him, create a walkway that would make it seem like he could keep walking right through the screen, his dark eyes staring you down the whole time. Unlike film noir, where the blinds would only be across a person or the screen when that person or scene was sure to be jaded or in trouble, the lines used in expressionistic films, such as "Nosferatu" are heavy, thick, and daunting. There is nothing but uneasiness the entire time. The point is made clearly and eerily.
Murnau also directed a beautiful film, "Sunrise" (1927). A black and white silent picture, completely the opposite from "Nosferatu" in it's story. As it may seem in the beginning, The Man is not going to be who the audience hoped he would be: a good and decent man. He galavants all around the city with his Woman (not his Wife) and makes a plan to drown his Wife. After taking her out, looking into her eyes, and realizing the error of his ways, he completely changes his tune and wants to be who he should be: The Man that The Wife married. (I won't give away the entire movie plot, but the general idea is there. Such an incredible that must be seen be everyone reading this.)
Tim Burton clearly reflects that expressionistic view in most of his films. Almost all of the films he's directed are, in a way, dark and twisted. In "Beetlejuice" (1988), black and white was made a central theme throughout the movie, including Beetlejuice's suit. The uneasiness that the lack of straight lines made was also apparent. Beetlejuice's appearance, especially his face (eyes specifically) were so dark and gloomy, and although heavily make-uped, it still goes right back to how Dracula's eyes looked in "Nosferatu." Would you want to stare dark circles in the eyes? Scary, but great imagery, and definitely a character the audience won't forget.
"Big Fish" (2003), also directed by Tim Burton, is a film easily unforgettable after watching it through the first time. The bright colors and big, outdoor sets create a work of art, without even anything else thrown into the mix. The story follows how a son is still trying to sort through his father's tales of his much fulfilled life, to decide what's true or not, in order to figure out what was really real about his own life. In the end, he comes to find that the tales his father was telling weren't really tales, but a retelling of what had actually happened. The son is comforted to figure this out on his own.
F.W. Murnau and Tim Burton are probably two of the easiest comparable directors because of their clear and distinct ways of using simple things (lines, direction, colors) to tell a very clear and distinct story, and one that the audience will definitely not forget. Their characters attach themselves to every audience member by grabbing their attention by their physical features and not letting you forget who they were. And when these two directors make a beautiful film, filled with romance and delicacy, it is clear why their films can stand the test of time.
Monday, November 2, 2009
I just deleted all my old posts. Welcome to my "new" blog.
Yes, I just deleted all of 2 posts on this blog from June that were literally about nothing and me just experimenting with blogging. So let's get started on this journey together.
Every night lately I've been watching "The Holiday" and I just can't seem to get enough. I love this movie, but that's not even the point. I think that I love the character of Arthur Abbott the most. The little old man that has so much to say about the golden Hollywood era - my favorite. But he's also one of these old esteemed movie writers, something I still aspire to be deeply. Anyway, I did a little research on the man that played Arthur Abbott.
The man's name is Eli Wallach. Born in Brooklyn in 1915. He starred in movies such as:
"How The West Was Won"
"Genghis Khan"
"The Magnificent Seven"
and
"The Godfather III"
This man was featured in movies starring Clark Gable, Gregory Peck, James Stewart, George Peppard, Debbie Reynolds, Steve McQueen, Marilyn Monroe and Clint Eastwood. These people are regarded as some of the greats and the standards for acting. But why not Mr. Wallach?
He has played a hitman, a romancer, a Mexican bandit, an Italian, a cowboy and a kidnapper. This man has been nominated for 4 Emmys, winning one of those, nominated for a Golden Globe, won a BAFTA Film Award, won a Tony and is regarded as one of the finest method actors.
I am now making it my mission to get caught up on the movies that this man has been in. Anyone with that much spunk in them after 90 years of life has got to be pretty incredible. He has also written an autobiography entitled "The Good, The Bad And Me: In My Anecdotage."
After learning about this, I think his role as Arthur Abbott in "The Holiday" is perfectly fitting.
Every night lately I've been watching "The Holiday" and I just can't seem to get enough. I love this movie, but that's not even the point. I think that I love the character of Arthur Abbott the most. The little old man that has so much to say about the golden Hollywood era - my favorite. But he's also one of these old esteemed movie writers, something I still aspire to be deeply. Anyway, I did a little research on the man that played Arthur Abbott.
The man's name is Eli Wallach. Born in Brooklyn in 1915. He starred in movies such as:
"How The West Was Won"
"Genghis Khan"
"The Magnificent Seven"
and
"The Godfather III"
This man was featured in movies starring Clark Gable, Gregory Peck, James Stewart, George Peppard, Debbie Reynolds, Steve McQueen, Marilyn Monroe and Clint Eastwood. These people are regarded as some of the greats and the standards for acting. But why not Mr. Wallach?
He has played a hitman, a romancer, a Mexican bandit, an Italian, a cowboy and a kidnapper. This man has been nominated for 4 Emmys, winning one of those, nominated for a Golden Globe, won a BAFTA Film Award, won a Tony and is regarded as one of the finest method actors.
I am now making it my mission to get caught up on the movies that this man has been in. Anyone with that much spunk in them after 90 years of life has got to be pretty incredible. He has also written an autobiography entitled "The Good, The Bad And Me: In My Anecdotage."
After learning about this, I think his role as Arthur Abbott in "The Holiday" is perfectly fitting.
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