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Dorothy Arzner Retrospective at UCLA

Saturday, June 20th, 2015

Dorothy Arzner is finally getting a retrospective of her key works.

As the UCLA Film Archive, responsible for restoring some of the most adventurous and challenging films of the Hollywood studio era writes in the program notes for the series, “The Archive is pleased to commemorate the indispensable career of director Dorothy Arzner (1897-1979) as part of a year-long commemoration of our own 50th Anniversary.  This retrospective features six Archive restorations of Arzner’s work, which have helped to spur scholarship into and retrospectives of the director’s remarkable achievements.  The UCLA School of Theater, Film and Television is also proud to claim Arzner as a former professor.

A remarkable and nearly unique figure in American film history, Arzner forged a career characterized by an individual worldview, and a strong, recognizable voice.  She was also, not incidentally, the sole female director in the studio era to sustain a directing career, working in that capacity for nearly two decades and helming 20 features—conspicuously, still a record in Hollywood.

Distinguished as a storyteller with penetrating insight into women’s perspectives and experiences, Arzner herself emphatically made the point that only a woman could offer such authority and authenticity.  At a time when the marginalization of women directors in the American film establishment is still actively debated, we celebrate Dorothy Arzner, and the Archive’s long association with her legacy.”

Film screened include The Wild Party, Anybody’s Woman, Working Girls, Sarah and Son, First Comes Courage (a personal favorite of mine), Craig’s Wife and Christopher Strong (perhaps her best known films), Dance, Girl, Dance, Nana, The Red Kimona, Merrily We Go To Hell and a number of other titles from her long career, in gorgeously restored prints. If you’re going to be in the Los Angeles area, especially since many of these titles are simply not available on DVD – and as with director Ida Lupino, when is Arzner going to get a box set of her complete works (probably never, unfortunately) – you owe it to yourself to see the work of this pioneering and brilliant filmmaker.

Dorothy Arzner- an American original.

Son of Frankenstein Makeup Tests – In Color (1939)

Thursday, June 18th, 2015

Ever wonder what the Frankenstein monster, as played by Boris Karloff, looked like in color?

In this incredibly rare, one minute piece of 16mm home movie footage shot in Kodachrome color on the set of Rowland V. Lee’s Son of Frankenstein (1939), you can get a good idea of just how skillful Jack Pierce’s makeup was. In the opening section, the viewer is treated to a wide shot of Boris Karloff lumbering around the set in the heavy makeup, while a stagehand works behind the scenes, seen through the window, to prepare for the next take. Then there’s a closeup, capped by Karloff playfully sticking his tongue out for the camera, clearly taking the whole thing with a huge grain of salt.

In the film’s final moments, Karloff ostensibly sneaks up on Pierce and pretends to strangle him, but obviously, it’s all in fun. Son of Frankenstein is notable as the last time Karloff played the monster, although he continued to make horror movies, of course, for the rest of his career, and it’s also an odd film in that the sets were built and ready before the script was completed. The result is an eye-popping but somewhat disjointed film, yet still an honorable effort, and one of the last great classics from the Golden Age of Universal horror. And now you can see this rare piece of cinema history – a real find.

Thanks to the fan who posted this, with disabled comments, which is great – no comments needed!

Frame by Frame: Classical Movie Posters

Wednesday, February 15th, 2012

Just up; a new video in the Frame by Frame series, directed and edited by Curt Bright, covering movie posters from the classical era of the Hollywood studio system.

Click here, or on the image above, to see the video now.

About the Author

Wheeler Winston Dixon

Wheeler Winston Dixon, Ryan Professor of Film Studies at the University of Nebraska-Lincoln, is an internationally recognized scholar and writer of film history, theory and criticism. He is the author of thirty books and more than 100 articles on film, and appears regularly in national media outlets discussing film and culture trends. Frame by Frame is a collection of his thoughts on a number of those topics. All comments by Dixon on this blog are his own opinions. To contact Prof. Dixon for an interview, reach him at wdixon1@unl.edu or wheelerwinstondixon.com

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