Prince Phillip is dead at 99. FOX news is asking when the Queen plans to remarry. "Being queen is no job for a woman, especially a single one," quipped Tucker Carlson. Sean Hannity asked whether a widowed Queen Elizabeth II automatically becomes Queen Elizabeth I. "It just makes sense, since she's on her own now.," he explained to his listeners.
Friday, April 09, 2021
Wednesday, April 07, 2021
Tuesday, April 06, 2021
Sunday, April 04, 2021
Thursday, April 01, 2021
Speak Easily - 1932 - Editing Exercise - Sequences 11 and 12 blend for The Climax and We're OUTTA HERE!
At times, portions of the final section of Speak Easily seem to predict the climax of A Night at the Opera, with Keaton swinging from the rafters across the stage. Originally, it ran like this:
The class went nuts. Armetta was out! OUT! and Keaton needed to have a tighter focus and not drag out his time on the diorama. In addition, an editing continuity had them rerunning the sequence where he stumbles from the catwalk, apparently on the right side of the stage, and then swings onto the stage from the left. Using the miracle of digital editing, that was adjusted as well. And who puts a fade out in the middle of a comedy climax!?!?
And whoosh! It is over at last.
While 20:20 hindsight is always an easy thing, we cannot fault everyone involved in the production of Speak Easily with its shortcomings, but we can use it as an exercise on how not to put together a comedy. By today's tastes, Speak Easily doesn't hold up very well, but we must remember that in its 1932 release, it made more money than any of Keaton's silent films ever did. So like Pixar and its Cars series, MGM felt it was making the right decisions based on what truly mattered to Louis B. and Irving T.
1932 - 8 minutes, 2 seconds
2021 - 6 minutes, 25 seconds
The complete, entire original film - 81 minutes
The class edit project final length - 72 minutes
Next we're going to work on either Intolerance or Gone with the Wind. Or perhaps invest in a popcorn machine.
Complete assembly of the Speak Easily "Redux" is on archive.org --
And so it begins - the show starts, Keaton reels from a sincere kiss and things start falling apart. A face in the crowd is targeted as someone really enjoying the show. At first, we all thought it was the university butler in attendance at opening night, but it is actually one of the show's backers. It seemed odd to introduce him so late in the proceedings.
Keaton has a nice slide onto the stage, Durante does one of his specialty songs (which he was still doing on the Mike Douglas Show in the 1960s), and Thelma Todd gets covered in bleached corn flakes. The sequence doesn't really build, but there it is:
Nobody really cared for Henry Armetta here, either. I told them to check out the Marx Brothers' The Big Store someday, where the producers thought they needed a "funny Italian" (apparently Chico wasn't a comedian to them by that time in his MGM career). Regardless, he was trimmed.
In 1932 - 8 minutes, 22 seconds.
2021 - 6 minutes, 58 seconds
Speak Easily has been building up to this point. Unlike A Night at the Opera three years later, the show is supposed to go on, and we're supposed to hope for the best with this collection of wandering vaudevillians and a befuddled professor.
Cross your fingers!
The original ran thusly:
And the project produced this version:
1932 - 6 minutes, 35 seconds
2021 - 5 minutes, 56 seconds
The sequence begins with a Durante caricature with his nose protruding downward at a specific angle. It comes at a reel change, so it is extended by Durante's laugh over the image. Now think how Keaton was positioned in the shot immediately preceding this one. I think a fade in/out transition was chosen instead of a lap dissolve for a reason.
Of course it leads to a possible compromising situation, and the troupe has now learned the truth behind the professor's inheritance, so it's time for a nice switcheroo. And a few trims, because by now everyone was on a roll.
Appendix - here are the screen shots of the end of sequence 7 and the start of sequence 8, with a simulated midpoint of a slow lap dissolve of the two, had the transition been performed in that manner -
Considering the chemistry that Thelma Todd had with the Marx Brothers in Horsefeathers, also from 1932, it is interesting to compare her scenes with Keaton with those of Groucho. Chico, and even Zeppo. It doesn't help that this is a drinking scene, and perhaps something other than tea had been placed in the decanters. Todd's reactions are great, nonetheless, if somewhat lost in the medium shots. And Spite Marriage is used again for material, however briefly, in getting her to stand up near the end.
What rhythm the scene has is broken with the extended insert of the cuckoo clock, no matter how clever the swirling effect, and the class agreed that one clumsy backflip over the sofa was quite enough. So out came the scissors, and everyone had fun resizing those master shots!
The rehearsal is centered around Durante and Toler, and somewhere along the line, someone (possibly the film's editor) noticed that the film's star was missing. Thus the insert shots appear of Keaton, with a neutral background, looking interested in the goings on and saying nothing, so when he does appear near the end we get the impression he has been in the rehearsal room the entire time. The "Singing in the Rain" gag is still cute, and was featured in the compilation film, That's Entertainment (1976).
Of course we had to snip here, and there:
In 1932, it ran 6 minutes, 30 seconds.
In 2021, 5 minutes, 59 seconds.
Wednesday, March 31, 2021
Speak Easily - 1932 - Editing Exercise - Sequence 5 - Broadway Bound and Down to Business with Thelma
Despite Durante's brash presence, he brings the picture a splash of welcome energy with a bit of his anthem, "Can Broadway Do Without Me?" and his march through the hallway to his new business office. This is followed by a bit of stock footage pulled from King Vidor's 1928 masterpiece, The Crowd. The rest of the scene is dominated by Sidney Toler, known at the time as a Broadway comic actor, but destined to be remembered for his later portrayal of Charlie Chan at 20th Century Fox and Monogram pictures. Then Thelma Todd arrives, full of tough charm and hard-boiled agendas.
Most of the changes here are for staging - again, to adjust for the dark set and master shot mentality of MGM's misunderstanding of comedy.
1932 - 7 minutes, 2021 - 6 minutes, 58 seconds
Speak Easily - 1932 - Editing Exercise - Sequences 3 and 4 - To the Show! and The Professor Saves the Show!
TO THE SHOW!
Sequence 3 of Speak Easily is one of the smoothest of the film. It begins with goodbyes at the station, with Keaton getting mixed up with Jimmy Durante and then getting on the wrong train - the shot is one of the best composed of the feature, with Keaton staring ahead, while his departing train can be seen through the doorway behind him. He is for a fleeting moment, a contented statue.
The banter with the station master is a well performed give and take, for as short as it is, followed by an undercranked ride in a jalopy. Keaton is deposited in front of the opera house and, like his 1929 feature Spite Marriage, we get to see the troupe's performance before it is later disrupted by Keaton's inclusion.
The original sequence ran 4 minutes, 45 seconds. The edit came in at 4 minutes, 20 seconds.
Monday, March 29, 2021
The first sequence was a warm up for this class project to play with the 1932 Keaton film, "Speak Easily."
Once the Professor has been informed of a $750,000 inheritance, he is off to seek companionship and rub elbows with the common man. Instead, he encounters Jimmy Durante and an impoverished vaudeville troupe. I ran the clip from the original film, and then we made suggestions based on what we saw. To be honest, I had already made the edit for this portion, but the students were a savvy lot and they identified nearly everything destined for the cutting-room floor.
Here is how it ran in 1932:
One line everyone seemed to like was, "I'll tell it to the guy with the face." Other than that, the questions were, "What does the baby have to do with anything besides being a prop? Can we get the baby to stop crying? Why does Jimmy tell the joke twice? Why does the professor have to repeat 'equivocate'? Why can't we get more camera movement? Why aren't there second takes when lines get muffed or talked over? Was this when Keaton was drinking? Why are they going on past the best line to close a shot?"
During this sequence, the audience learns that the inheritance was a ruse by the professor's butler (well, a shared butler, I guess...what kind of college is this?!?). His confession is staged in another cavernous set at a college where buildings are 50% higher than they should be to accommodate the high ceilings.
So I showed them my edited version, and they suggested further cuts and resized shots which were then incorporated:
The 1932 scene ran 10 minutes, 36 seconds. The edited version came in at 8 minutes, 34 seconds. Already we have trimmed about a third of a reel! It won't be the last time Henry Armetta gets his underwritten and overacted part trimmed in the course of this project.
Sunday, March 28, 2021
There are the ruins of a good comedy in the penultimate Keaton feature for MGM, "Speak Easily." Released in 1932, it has the typical overwritten, over-explained plot of his "talkies," often more noise than humor. I turned it over to my students in a dozen sequences after discussing film editing, use of close-ups, tightening action, and knowing when to end a scene.
Here is sequence #1 of the film, as released by MGM. It has gone into the public domain, so that was the main reason I chose it for the exercise:
Friday, March 26, 2021
Thursday, March 25, 2021
With CoVid vaccinations becoming more available and some possible light at the end of the tunnel emerging, it's time to reflect on a favorite Michigan past-time, namely, road trips. Here's a bit of one from 1984...on SUPER 8mm FILM!!
Wednesday, March 24, 2021
Early sound films were concentrated on just that - sound - with the visuals often suffering as a result. Keaton was able to insert little bits of silent business in them, but when compared to his silent work, they frequently seem slower paced. This is because - they were. Sound film is filmed and projected at 24 frames per second, based on the projection speeds in place in the late 1920s, speeds set to increase the number of daily projections of the features of the time.
Silent film began at being shot at 16 frames per second (to squeeze in the most action within a limited film budget, Griffith had his Battle at Edlerbrush Gulch shot at 14fps!). So, filmmakers caught onto the increased projection rate by increasing their camera speed to about 20fps by 1920, and more like 22fps by the mid to late 1920s. Actors, editors, and directors became used to that rhythm and performed accordingly.
When 24fps became the standard from 1928 onward, it took a while for the pacing to accommodate the change, and especially visual humor. Keaton's early MGM work is a case study in this. First of all, MGM didn't understand humor, shooting and lighting their comedies in the same manner as a courtroom drama (just look at the dreary sets of Speak Easily).
For a visual comparison, here is a silent sequence (with ambient sound, no dialogue) from the frustratingly staged Parlor, Bedroom and Bath from 1931. This is how it looks, shot at 24fps, the standard sound camera speed. The gag is a variation from the house-demolition climax of his 1920 One Week:
Now, if it had been shot at 22fps (about 10% "quicker" during projection), the standard for the mid-1920s, it would have appeared as this:
And if it had been at 20fps (20% quicker during projection), the general speed of around 1920, it would have appeared this way:
The differences are subtle and work on a subconscious level - the eye can absorb the information faster, so what we are left with is the pacing. At 20-22fps you can see how the performers of the silent era were thinking things would appear during the early sound era.
When The Artist was produced in 2011, it used the 22fps camera speed - and it worked very well on many levels that the Brooks film, Silent Movie, failed to achieve in 1976.
Keaton's work at MGM showed many production blunders besides misunderstanding visual humor - my film production students were able to shave 10 minutes off of Speak Easily by following basic editing techniques - avoiding redundancy, punching a joke by proper cutting, creating inserts to direct the audience attention - and were working on Doughboys to experiment with varying film speeds during the silent sections. "We can fix it in post," may have been a phrase used then, but rarely employed.
(The use of varying camera speeds is still employed today and not only for comedic effect - Raiders of the Lost Ark used 20-22fps for some of the action sequences. When blended with music, sound effects, and editing, nobody really notices that things are moving 10-20% faster than might be humanly possible. Movie magic!)
Timing can work both ways. Here is the original gag from Keaton's One Week in 1920, projected at 24fps, followed by a projection at 20fps (both clips are silent):
And, regarding the 1920 film, it is interesting (to me, anyway) even how carefully the For Sale sign is positioned, how it stays rigidly in place with its gentle posing, and how the instructions envelope sits at the right spot - nothing wobbles, nothing moves, with all that surrounding destruction.
Tuesday, March 23, 2021
After hearing it discussed on the Marx Brother's Council Podcast, I found a copy of the Zucker Brother's Brain Donors from 1992. It follows the plotline from the Marx Brothers' MGM film Night at the Opera from 1935, with pacing by comedian Dennis Dugan to match their later, more frantic Paramount releases. There is even credit to the original Kaufman-Ryskind screenplay at the closing credits.
Sunday, March 21, 2021
The retired author is among the emeriti from MSU regarding land management and other educational topics. From the Greenville Daily News, 20 March, 2021. So, subscribe, already!
Again, (c) 2021 Greenville Daily News
Saturday, March 20, 2021
Back when computer games were a hoot, James Burke put out a two disc set based on his television program, "Connections." I spent a weekend playing through the whole thing, felt completely fine that it also expanded my appreciation for just about everything scientific.
Of course, that was in the days of Windows 95, and the "improved" Windows 10 is utterly incapable of understanding how to run the game, so I am left with just the small-resolution video bits that peppered the experience. This is one, particularly of interest to those with pharmacology occasionally cluttering their minds:
Friday, March 19, 2021
And that calls for more experimentation with layered color exercises! Oh does The Animating Apothecary know how to PARTY!
1. Tweener Easter Bunny - "Whatever"
|(c) 2021 The Animating Apothecary, Jim Middleton|
|(c) 2021 The Animating Apothecary, Jim Middleton|
|(c) 2021 The Animating Apothecary, Jim Middleton|
|(c) 2020-2021 The Animating Apothecary, Jim Middleton|
|(c) 2020-2021, "Holiday Specific," The Animating Apothecary, Jim Middleton|
Tuesday, March 16, 2021
Originally a six week project in 1998, using a DOS animation version of "Autodesk Animator Pro," this collection of 2800 frames was initially paired with a 1917 recording of a Chopin Waltz composed in the 1830s. When first uploaded to test the limits of a Facebook posting, FB said, "Oh that music violates copyright!" based on some parallel world regulations.
So I went with a 1911 performance of Victor Herbert performing his own work, "Scherzo."
Thought I'd test the limits on uploads to Blogger...
Sunday, March 14, 2021
Saturday, February 27, 2021
Beatrice sighed, "Here we are, going around with all this energy, and some days I'm just so tired."
The building was donated to the university on their death and demolished in the 1980s for a stadium parking lot.
In the course of demolition, it was discovered that the walls contained about $150,000 in 1920's-era "horseblanket" $50 bills, which scattered around the site, to the dismay of the university trustees and delight of students attending the event.
Only a small fraction of the money could be recovered by the university.
Monday, February 22, 2021
The latest incarnation of "Blithe Spirit" contains more slapstick than the 1945 Rex Harrison version, and the plot is often driven more by vengeance than avidity; nevertheless, the art deco mansion Joldwynds in Surrey, the white cliffs of Dover (still in Dover), and Judy Dench (what a Dame!) are worth the experience. Ghosts haven't been this hormonal since "High Spirits."
I particularly missed the striking, dramatic entry of the ghostly wives employed in the first film - with the greenish cast given by lighting and make up rather chilling.
Sunday, February 21, 2021
I began by drawing a grid in perspective, and after about three attempts, just pulled out the digital camera and took a photo of a 1" x 1" grid already built for another project, and then drew a trio of black holes on it, experimenting with various Photoshop brushes. Then, when attempting to have them merge into one GINORMOUS black hole in Photoshop using the "pinch" distortion tool, I found it less than satisfying. However, the images did offer a potential for some random animation, which still seeks an explanation.
And here we go - the grid - (boring):
Now to create a series of sequential images to show the merger of the three black holes. I think the hand-drawn method may still work best.