Misfortunes of Imaginary Beings: 09/08/18

A blog formerly known as Bookishness / By Charles Matthews

"Dazzled by so many and such marvelous inventions, the people of Macondo ... became indignant over the living images that the prosperous merchant Bruno Crespi projected in the theater with the lion-head ticket windows, for a character who had died and was buried in one film and for whose misfortune tears had been shed would reappear alive and transformed into an Arab in the next one. The audience, who had paid two cents apiece to share the difficulties of the actors, would not tolerate that outlandish fraud and they broke up the seats. The mayor, at the urging of Bruno Crespi, explained in a proclamation that the cinema was a machine of illusions that did not merit the emotional outbursts of the audience. With that discouraging explanation many ... decided not to return to the movies, considering that they already had too many troubles of their own to weep over the acted-out misfortunes of imaginary beings."
--Gabriel García Márquez, One Hundred Years of Solitude

Saturday, September 8, 2018

It (Clarence G. Badger, 1927)

William Austin and Clara Bow in It

Betty Lou: Clara Bow
Cyrus T. Waltham: Antonio Moreno
Monty Montgomery: William Austin
Molly: Priscilla Bonner
Adela Van Norman: Jacqueline Gadsdon
Mrs. Van Norman: Julia Swayne Gordon
Elinor Glyn: Elinor Glyn
Newspaper Reporter: Gary Cooper

Director: Clarence G. Badger
Screenplay: Hope Loring, Louis D. Lighton; Titles: George Marion Jr.
Based on a story by Elinor Glyn
Cinematography: H. Kinley Martin
Film editing: E. Lloyd Sheldon
Costume design: Travis Banton

Was Elinor Glyn's Cosmopolitan magazine story "It" really a sensation, or is that just hype? Odds are it was the latter, because Glyn, who has a cameo in Clarence G. Badger's film It, billed as "Madame Elinor Glyn," was a master self-publicist. "It" gets several definitions in the course of the film, all of which are really just a relabeling of what has always been called "sex appeal." In the end it boils down to "whatever Clara Bow had." (One of those definitions, delivered by the Madame herself, is "Self-confidence and indifference to whether you are pleasing or not," which actually doesn't fit Bow's character, Betty Lou, who is never indifferent to whether she is pleasing the object of her attentions, Antonio Moreno's Cyrus T. Waltham. She even flings herself on his desk to flirt with him.) It is really just routine rom-com stuff: Girl spots boy, girl lands boy, boy makes a premature move and gets slapped for it, girl rejects boy because he thinks she's an unwed mother, boy pursues girl but she rejects him again when he wants to make her his mistress instead of his wife, girl concocts revenge plot that goes awry so that at the end girl gets boy anyway. Today, It is mostly a rather creaky relic whose interest lies mainly in its display of Bow's abundant charm and comic finesse and in the appearance of Gary Cooper in an uncredited bit as a newspaper reporter -- he barely even gets a foot in the door in the film. The credited director, Clarence G. Badger, had a long and undistinguished career, and even though some of the film is said to have been directed by Josef von Sternberg, it would be hard to single out his contribution. Moreno, the leading man, is stuck with an unfortunately fluffy mustache, and the comic support by William Austin is marred by the fact that the orthochromatic film stock turns his blue eyes almost white, making him look more than a little creepy. The climax takes place on a yacht called -- get it? -- the Itola, which I think was originally the Capitola but had its first syllable lopped off for the sake of the joke.