Favorite Film Discoveries of 2014: Part One (Shorts)

This is the same idea as “Favorite Older Films First Viewed in” which I did since 2011. The idea was one I first saw on Rupert Pupkin Speaks. I have usually done the list in parts. This time I will find ways to group the films. I noticed I had four short films that are available to view online so I figured I’d start with them.

Les Oeufs de Pâques (1907)

I only recently discovered the works of Segundo de Chomon. He seems a worthy Spanish counterpart to Georges Méliès. This is a presentational, magic style of silent film implementing many invisible cuts, but it is very enjoyable.

His Wooden Wedding (1925)

Many thanks to Fritzi over at Movies, Silently for suggesting this film when I wanted a wedding-themed silent. I was unfamiliar with Charley Case before viewing this film, and look forward to seeing more. It’s quite funny. Enjoy!

Mickey’s Race (1933)

This is a selection that is fitting not only in light of Mickey Rooney‘s recent passing, but it also plays into my Poverty Row April theme.

This is purportedly the last of the series of Mickey McGuire shorts (back when Rooney was credited as such) that he starred in while not signed with a major studio. The story is simple escapist fare and fairly humorous. It’s more noteworthy because I had not yet seen one of these shorts. Enjoy!

Please follow the link to view the film:

https://archive.org/embed/MickeysRace1933ShortFilm

The Fly (1981)

I when watching this film preferred to take a textual approach rather than a subtextual one. Regardless, it’s one of the most impressive pieces of first-“person” perspectives I’ve seen. For more of a read and more of a background on this film check the post on The Dissolve that drew this piece to my attention.

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Favorite Older Films First Viewed in 2013 (Part 2 of 5)

This is an list I first saw on Rupert Pupkin Speaks. The idea is to list your favorite films from the past year that you saw for the first time, but exclude new releases. This allows much more variety and creates a lot of great suggestions if you read many of them.

Since I tracked these films much more closely this year my list grew long. I will occasionally combine selections by theme, but there is enough for five posts. These choices are in no particular order.

Enjoy!

The Marriage of Maria Braun (1979)

The Marriage of Maria Braun (1979, Rainer Werner Fassbinder Foundation)

One theme that was hard to split up among all these lists were the works of Rainer Werner Fassbinder. While Fassbinder made the lists in 2011 and 2012 I saw one and two films of his in those years respectively. This year I saw quite a bit more, and then got both region 2 box set of his films.

I was more hooked on his work than any other filmmaker this year, and this is the first of his selections that will show up here. The postbellum period in Germany’s history was one of his major preoccupations and while I’ve not yet seen all that’s readily available this appears to be both the most evocative and effective of his works on the time period; whereas Fassbinder paints the portrait of a nation, and a period of time, through the eyes of one woman.

The Narrow Margin (1952)

The Narrow Margin (1952, RKO Radio Picutres)

This is another selection from 31 Days of Oscar and was one of the films I had heard the least about going into my viewing. Here was my initial take:

Here’s another film with a short running time but a hell of a lot of wallop. The setup is great: cops escorting a grand jury witness cross-country to testify against a mobster. When you throw in the fact that it’s a film noir tale, you know you’re gonna be thrown for a loop quite a few times and boy does it have some doozies up its sleeve. This movie’s the kind of good that had me absolutely buzzing after it was over. Amazing.

It was a late night viewing that kept me riveted and is very memorable.

The One and Only, Genuine, Original Family Band (1968)

The One and Only, Genuine, Original Family Band (1968, Disney)

Viewed, but not written up, during my March to Disney theme this film had a few surprises in store. Sure enough there were a few staples of Disney live-action musicals within in, especially enjoyable toe-tapping songs; but perhaps most surprising (in a move reflective of the time in which the film was produced, and something that would never happen now) there’s a lot of familial in-fighting of a political nature. Not only that but the backdrop is one of frontier days prior to the Dakotas joining the union. Therefore, there’s also an American history reminder folded neatly into the plot, which if you pay close attention to the Walt Disney World attractions was a favorite of Uncle Walt himself also. There’s much to like in this not-too-frequently-referred-to film.

Hearts of Humanity (1932)

Hearts of Humanity (1932)

This is a film that was part of my Poverty Row April theme this past year. It’s also an example of how the initial scoring is not always indicative of how lasting a film will be. There was a film that scored higher, in part because of a more generic title, that I had to slip back in to the final post because this one was more memorable.

Here’s a blurb from my original review:

In this film there’s an example of much of what I was talking about as a boy is orphaned one day through two unrelated acts. Both his parents die on the same day. His father has just learned of his mother’s demise when he meets his unfortunate fate. The plot that follows his less high-stakes to an extent, but it is moving. Jean Hersholt is endearing in the lead and Jackie Searl shows his ability to play endearing characters as well as conniving ones, though his Irish accent isn’t that great. It’s a simple film, but a truly enjoyable one in the style that only this era could produce.

This is a film you can find on archive.org.

Blood Car (2007)

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I’m not very up-to-date on HBO and Showtime. I have, at the moment, one show I watch on DVD (i.e. late) from each. I say that by way of an introduction to the fact that I’ve been slow to catch up on the Anna Chlumsky renaissance, most notably HBO’s Veep. Granted she has a supporting role, but this was one of her first roles back from her departure from acting after a promising, if not A-list, career as a young actress.

Blood Car is a hilarious horror/comedy that riffs tremendously on current events and concerns and takes them to absurd extremes for comedic and horrific effect. Fueling automobiles with blood is a tad ridiculous, but how far away from that are we really?

Ariel (1988)

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Over the course of the week via Netflix I finally viewed the Proletariat Trilogy, which I had meant to see for quite some time. I thought that perhaps the films were just going to seem passable, although brisk, a bit off-balance comedically, unique and visual; but then there was Ariel. A man’s father commits suicide and he is framed for a crime he didn’t commit. Upon escaping from jail he wants to flee the country but of course things don’t go smoothly. I would recommend all the films as they are short and quick-moving but this is the unusually warmest and most human.

Orphans of the Storm (1921)

The Gish Sisters

Here’s one I was able to see, yes, because it’s on YouTube but the reason I even looked for it was a blogathon. Silent features, even if you’ve seen more than a few, can be a bit daunting; especially one this lengthy. However, the later the vintage on a silent feature the more like the modern language of film it is, that and this film very quickly absorbs you as I stated in more words in my original post.

Dead Ringer (1964)

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I shouldn’t have to try too hard to sell a film starring Bette Davis and Bette Davis. However, what bears noting is that the film is worth watching for more than just the unique double-starring role for the legend. It’s a classic revenge thriller formula with a great ending and brilliant support from Karl Malden.

The Fly (1958) and Return of the Fly (1959)

The Fly (1958, 20th Century Fox)

I discussed the entire original Fly Trilogy during 61 Days of Halloween. However, they really stood out through now. I took a while to watch the box, and didn’t get in as many new vintage titles during that timeframe this year as I wanted to, but these were great not just on their own but also how they work back to back (as I watched them very close to one another. They make a great double-bill.

61Days of Halloween: The Fly (1958)

Introduction

For an introduction to the concept of 61 Days of Halloween, as well as a list of previously featured films, please go here.

The Fly (1958)

If you’re like me (and in this regard, you just might be) you’re likely to have seen the 1986 version of The Fly first. With that being the case, it’s likely you think there’s nothing that compare with it. Superficially speaking you’d be right, however, both films have separate and equally valid aims with their versions of the story. Aside from a modernized filmmaking approach, Cronenberg’s The Fly is seeking a more realistic handling of the tale. The 1958 version is working in the highly-stylized 1950s horror/sci-fi milieu.

What’s more is that that version of the tale tells its story in a different way, backtracking and retracing the events that have come to pass and ultimately trying to prove the highly improbable tale. However, with all the affectation of 1950s horror/sci-fi the film is tremendously and not without its chill-inducing moments.

The use of Cinemascope and the vivid color photography is used to great effect in this film. Not to mention the sound design which takes the buzzing of a common housefly and turns it into something even more terrible than it normally is.

A fact I was unprepared for was the covert Canadian-set nature of this tale. While this achieved through the occasional use of French words, surnames, and not much in the way of accents (in a very Old Hollywood way) it does add an additional texture to the film.

Then, of course, there is the incomparable Vincent Price. While not the eponymous character in this film he plays, due in part to the structure, a central figure in the tale. As per usual, he is marvelous adding a seriously needed dose of gravitas to a tale with a preposterous concept.

And therein lies the genius of the film. For it does commit to its concept and delivers many spine-chilling moments, and though different in tenor, is a classic in its own right.