Bbandmoviegal

Members
  • Content Count

    15
  • Joined

  • Last visited

About Bbandmoviegal

  • Rank
    Member
  • Birthday

Recent Profile Visitors

151 profile views
  1. All -- please answer this Doodle poll if you are interested in joining an initial planning gathering for this Chapter: https://doodle.com/poll/u7y6yytp8hn5kuyc
  2. Beantown Backlot Members: A few of us are working to get this chapter going! We're planning an initial meetup to discuss the future of the chapter -- feel free to answer this poll linked below to indicate your availability for a gathering. I'll post details later. https://doodle.com/poll/u7y6yytp8hn5kuyc
  3. Hello all, bumping this thread up as we are actively working on this chapter!
  4. Hi Cate, great! I am working on collecting email addresses of those interested in the Greater Boston chapter so we can all talk to one another and perhaps meet up soon. Please email me at jcdunphy1@gmail.com and I'll add you to the list for further communication.
  5. To answer your question, I am in Hingham and love attending films at the Coolidge, the Brattle, the Harvard Film Archive, just to name a few. Also at the AMC downtown, the Kendall, and Patriot/Loring Hall cinemas in Hingham. I have a blog on classic film here: classicfilmobsessions.blogspot.com
  6. Hi Christine—are you still involved with this effort? I know at least a couple of others who are interested in a Greater Boston chapter. Please let me know!
  7. A comment and a question: Relative to the second question posed with this clip, one of the elements of this gag that makes it funny to me is the fact that it crosses into the absurd: the hot dog vendor in the real world would have suspected and thrown Charlie out long before his entire plate of muffins (or cookies or whatever they are) is consumed. Similarly, anyone real trying to surreptitiously sneak a cookie or two would not have the gumption to continue to push his luck with eating cookie after cookie. The exaggeration and absurd set-up are an important part of Chaplin's and also Keaton's humor I believe. This raises a question for me--clearly this is physical comedy. But is it slapstick? It is missing the element of violence. (Although it seems to have the other elements). If not slapstick, what is it?
  8. ONE WEEK is one of my favorite of Keaton's two-reel comedies. In fact, even though Keaton's features are terrific, you can't beat the two-reelers for sheer pleasure and laughs. I generally like comedy that is more narrative driven, but Keaton managed to seduce me even when his films were mostly a series of gags strung together. He was brilliant. It is informative to see how even the most innovative used gags over and over. As long as they worked with the audience, and one could make them better each time, why not?
  9. I don't agree that the silent era was the 'golden age' of comedy. Film comedy has been delighting audiences in novel ways since the early days through today. I would say that the silent era was perhaps the most transformative in terms of innovation, as filmmakers were learning how to incorporate techniques of film into their comedy art, which wasn't that far removed from the stage at that time. And certainly there were geniuses of the silent film comedy which allows those films to have lasting power. We all get nostalgic for earlier times and I expect nostagia was at least partly responsible for that statement. I would say, yes, largely the gags were visual, but the accompanying music and musical effects also added to our appreciation of silent comedy. Without any sound, watching a silent comedy is a very different experience. In addition, the inclusion of facial close-ups could add to the comedic effect, and this wouldn't have been possible in a stage comedy. I don't really have an opinion about whether documentaries influence the public perception, but I expect if the documentarian is well-respected enough, film scholars would be likely to adopt some of their rhetoric.
  10. Thanks, jamesjazzguitar. I appreciate your method and will have to use it. I still am rather surprised that such a list does not exist, as I understood it, studios had A units and B units, so historians of the studios would probably(?) be able to unearth which firms belonged to which unit.
  11. Thanks for the thoughtful replies. I think there are definitely "clues" like the length of the film or who the primary actors that were chosen. However, I'm finding that as I get more into classic film I discover actors who were in their time truly "big" stars but I may not have heard of them before -- and thus in my initial ignorance would maybe have judged a film to be a 'B' based on not being familiar with the actors... I really do hope such a list exists, as I understand the studios were very clear about which were As and which were Bs when they were making them at the time.
  12. I would like to know if there is a reference to use to determine whether a given film is A or B. Clearly, some are obvious, but to me, anyway, others aren't. It would greatly help my understanding and appreciation of film noir and beyond to know this when encountering a film for the first time. Thanks for any guidance!!
  13. I am new enough to film noir that I'm not sure I can tell whether a film is burlesquing the noir style or is a true noir. So if I were watching this clip without the prompting or questions I doubt I would come to he conclusion that this is a burlesque. That said, I can kind of see it, since everything is ramped up a notch-- the dialogue, the train sounds over the credits, the fast cutting, camera angles, etc. I'll be interested to watch this film and see where it goes. On a slightly different note, does anyone know if there is an official list of which films are A and which are B? Some are obvious but others... I don't really know. I would love to know if someone has compiled this somewhere so I can check it when I watch a film from this era.
  14. On Edmond O'Brien in D.O.A. -- interesting comments by others, pro and con. My overwhelming sense when watching the film was that almost across the board, the supporting players were so bad, that Mr. O'Brien had little to nothing to work off of and thus his own performance suffered to some extent. I do think he was the best thing in the film. I didn't like the musical accompaniment AT. ALL. All that said, I watched the film on a tiny iPad screen, and came away feeling like the entertainment factor would be much greater watching on a big screen in a cinema.

New Members:

Register Here

Learn more about the new message boards:

FAQ

Having problems?

Contact Us