Getting to know Busby Berkeley - thanks to the Harvard Film Archive

As a new classic film fan, after I heard the name just once or twice, the first image my mind conjured of Busby Berkeley came directly from the improbable sing-song throwback-style name.  It was an image of a simpler time, but also one of extravagance and fun, decadence and flamboyance. In a vague sort of way I'd picked up that this man was responsible for a number of spectacles in the early years of Hollywood. And that much was true.  He was a musical-number choreographer responsible for kaleidoscopic, dazzling, often surreal visual images of human bodies, mostly leggy women, punctuating depression-era tales such as 42nd Street, Gold Diggers of 1933 or 1935, or 1937, into the MGM musical heyday of For Me and My Gal, and Take Me Out To The Ball Game.

Berkeley (1895-1976) as a young man

Thanks to the retrospective at the Harvard Film Archive over the past several weeks, Mr. Berkeley's image has come into much clearer focus for me.  Here's a collection of some of my observations thanks to the several films (all from the 1930s) that I treated myself to there, as well as a rare screening of a French television interview (Cineastes de notre temps) with Mr. Berkeley in the 1970s.

A typical image of chorus girls in formation as shot from above.  

Interesting Facts from Berkeley's Biography and Career 

• While born in LA, he actually spent a few of his early years in my adopted state of Massachusetts, and toiled away in the legitimate theater locally, before moving to Broadway, and then Hollywood.
• The inspiration for his complex, timed dance maneuvers was stated to have emerged from his days during WWI in the army setting up marching companies of soldiers.  Interestingly, in the French TV interview, he dramatically plays down this influence.  Read more here in this New Yorker piece by Richard Brody.
• By using the camera, through its placement and movement capability to show performances that could *only* be done by the new medium of the moving picture.  In fact, many of his early movies had 'backstage' narratives, allowing multiple moments of stage performances, which would morph, right before your eyes, from rather static two dimensional views to brilliant, ethereal, multi-dimensional moving images disconnected from time, or even gravity  A good example of this can be seen here in this scene from Gold Diggers of 1933.
• He advanced from choreographer to director, but the later films in which he directs aren't quite as visually spectacular.
• He struggled with alcoholism, was married six times, and was responsible for the death of three people from a car accident, which haunted him for many years, and was said to have cost him at least two Academy Awards.
• His work underwent a rediscovery of sorts in the 1970s.  

The Films (those designated with * are new to me from this retrospective)

*Night World (1932) Directed by Hobart Henley for Universal, this one is a dark, *very* pre-code tale of love and loss in a seedy speakeasy.  It stars Lew Ayres, fresh off his lauded performance in All Quiet on the Western Front, Mae Clarke as the showgirl with the heart of gold, and Boris Karloff as the unpleasant owner of the speakeasy.  George Raft also appears in a small role.  There is a staged number in the middle of the film in which a small group of young chorus girls perform a musical number as the nightclub's entertainment, and some of the usual Berkeley touches, ceiling camera, camera through the parallel legs of the girls, etc., are featured.  While not a spectacular film, it's entertaining for it's 58 minute run time.  Lew Ayres was a terrific drunk, and Clarence Muse, an African-American actor, played the club's doorman dealing with a personal problem.  Muse's character was sympathetic and well-drawn, significantly more so than the typical minority character of that era.

Alice Brady & Adolphe Menjou

*Gold Diggers of 1935 No doubt the best in this series is the first Gold Diggers of 1933, but I was pleasantly surprised by this one, Berkeley's first sole directorial feature.  Now that the Production Code was being enforced, much of the pre-code charm of the earlier film was off limits, and a new kind of charm had to be found.  In this case, the film played much more as a screwball comedy, a genre that was on the rise at this time in the mid-1930s.  However, the pacing, musical numbers, and comedy all are in harmony for good time.  Dick Powell is back, but this time his leading lady is Gloria Stuart, a gifted actress but without the infectious personality of a Joan Blondell.  I loved Alice Brady, who'd won me over with her portrayal of Carole Lombard's zany mother in My Man Godfrey.  Here she is...wait for it...a zany mother...who is frugal to the extreme, but wants to see her daughter (Stuart) married off to a wealthy but hopelessly clueless snuff-box historian, of all things.  The family is vacationing in an up-state resort hotel, with Adolphe Menjou as the hired producer to put on a show, and Powell is a hotel employee who has greater ambitions.  Frank McHugh, Hugh Herbert, Glenda Farrell, and Grant Mitchell all shine in memorable secondary roles.  

Footlight Parade I saw this one during last year's "Members' Weekend" at the HFA.  In addition to the fabulous choreographed numbers, most near the end of this spectacle, I recommend this one for a young James Cagney in a pre-code in which he was NOT playing a gangster.  As a theater impresario he was a blast to watch. 

*Fast and Furious  This was a relatively minor offering, not to be confused with a series of films from earlier this century starring Vin Diesel, that I saw as the second of a double feature with Night World.  Berkeley directs, ably, but there are no major musical numbers.  It's a cut rate "Thin Man" style murder mystery with sparring husband-and-wife detectives, here played by Franchot Tone and Ann Sothern.  There was a fair amount of slapstick humor with a lion loose in a hotel (the MGM lion??).

*Whoopee (1933)The last film I saw in the retrospective was Berkeley's first.  The HFA located a digital version of a restored print, which looked pretty good, with its two-strip technicolor.   This is a decidedly racist Eddie Cantor vehicle, with a relative mild blackface scene, but outside of those parts I found it hilarious and highly entertaining nonetheless.  A comic/western/romance, this was a big hit on Broadway and the film version was also a winner with the public.

Eddie Cantor as a rich hypochondriac with his smitten nurse,
Ethel Shutta (photo from IMDb)

The other Berkeley films I've seen are:   *42nd Street (1933);  Gold Diggers of 1933, Roman Scandals (1933).

Classic Movies on the big screen in Greater Boston -- Jan 2017 edition

The 'musical' must be the theme for classic movies on the big screen to open 2017 in Greater Boston.

I don't normally feature the TCM/Fathom Events screenings of classic films on this blog, because they are a US-wide initiative, but this January 15th & 18th the screening of Singin' in the Rain deserves your consideration, first because it's a fabulous and fun movie, and secondly, it's Debbie Reynolds' break-out role.  May she rest in peace.  For those who haven't seen it, it's a musical from 1952 that tells the story of the development of the movies from silent to sound through the eyes of fictional cinema star Don Lockwood (Gene Kelly).  There are great musical numbers and joy in nearly every scene -- and this coming from one who is not a big fan of Hollywood musicals.  It inspired, among others, the 2011 Oscar winner The Artist.

Use this link to pre-order tickets.  In the Greater Boston area the following theaters are participating:
Fenway 13 (Boston); Assembly 12 (Somerville); Revere Showcase Cinemas (Revere); Burlington 10 (Burlington); Lowell Showcase Cinemas (Lowell); Legacy Place (Dedham); Braintree 10 (Braintree); Patriot Place (Foxboro); Randolph Showcase (Randolph).

Harvard Film Archive

Speaking of musicals. at the HFA the 'Busby Berkeley Babylon' continues through much of January, perhaps an early sign that 2017 might be a good year after all!  There are too many to highlight all here, so definitely check out the link above for the complete listing.  For those new to Busby Berkeley, you must see the classics: 

Fri Jan 6th 9 PM: 42nd Street (1933) directed by Lloyd Bacon, an effort to "marry the dark, urban gangster picture with the spectacular, exhilarating musical", as described by Brittany Gravely of the HFA.  Screened using a 35 mm print.

Mon Jan 23rd, 7 PM:  For Me and My Gal (1942), with Gene Kelly in his film debut, and Judy Garland, when she was particularly vibrant.  This one was directed by Berkeley himself.

Garland & Kelly, For Me and My Gal

The lesser known films are also worth checking out as there are fewer opportunities to see them.  I'm particularly interested in:

Sat Jan 21, 7 PM: Whoopee (1930), which is the first ever film choreographed by Berkeley, featuring musical theater star Eddie Cantor.   

Sun Jan 22, 7 PM:  Gold Diggers of 1937 (1936), also directed by Lloyd Bacon and starring Berkeley regulars Dick Powell, Joan Blondell, and Glenda Farrell.

Coolidge Corner Theatre

Monday, Jan 2 7:00 PM -- The Umbrellas of Cherbourg screens to open the 'Big Screen Classics' series at the Coolidge.  This French film from 1964 launched the career of Catherine Deneuve.  It's a drama/romance/musical by Jacques Demy in which all the dialogue is sung, like an opera (score by Michel Legrand).  Roger Ebert called it "a surprisingly effective film, touching and knowing, and, like Deneuve, ageless."  I've not seen it, but considering Monday is a holiday, I may go to my neighborhood theater and check it out, if I'm not at the Brattle for the Marx Bros. marathon (see below)!

The Brattle Theatre

I mentioned this last month, but starting tomorrow Jan 1 and going through Tuesday, is the Brattle's 'Marx Brothers' Marathon.'  For those inclined to binge-watching this would be the ultimate experience, as all are early-career pre-code Paramount productions, digital presentations of restored versions of these films.  The lineup tomorrow, starting at 12 noon, and going through util about 8:30 PM, are:  The Cocoanuts, Animal Crackers, Monkey Business, Horse Feathers, and Duck Soup.  Then on Monday, Jan 2, a double feature of Animal Crackers and Duck Soup, then Tuesday it's a double feature of Horse Feathers and Monkey Business.  My favorite of these is Horse Feathers -- in which the brothers take over a college campus and wreak havoc, of course.  

Groucho Marx somehow is appointed the President of Huxley College

Sunday Jan 29: Then for something completely different, as part of the 'Cinema of the Occult' Repertory Series, it's Bell, Book and Candle (1958, Dir. Richard Quine).  I've not seen it, but with the big names James Stewart, Kim Novak, Jack Lemmon, Ernie Kovacs, and Elsa Lanchester, it should entertain, if nothing else.  

An advantage for the Boston-area cinephile is the proximity of local experts who can curate and illuminate these screenings -- for this particular series, each film will be introduced by scholars/writers Peter Bebergal, Pam Grossman, & Janaka Stucky.  

Tues Jan 31 Also in the series is Night of the Demon aka Curse of the Demon (1957), directed by Jacques Tourneur, perhaps best known for his fabulous noir Out of the Past, and starring Dana Andrews and Peggy Cummins.  I haven't seen this but looking at the film poster, with the statement ''most terrifying story the screen has ever told", it seems one must not miss it!  It's received an average rating of 7.6 on IMDb, which is pretty good for IMDb standards.  I need to see more films by Dana Andrews so this might be a good start for the year.

December Classic Film Screenings in Greater Boston

November turned out to be a much busier month than I had originally thought, and my blog output dropped off precipitously.  I fear December will be the same way, although my goal will be to pick up my game just a bit.  On to the main attraction, which features both holiday and non-holiday themed films to punctuate your cold days and evenings in the cinema this month.

Harvard Film Archive

The HFA is once again offering an intriguing blend of offerings.

Sunday Dec 4, 4:30 PM -- the theatre's 8th Annual 'Vintage Holiday Show' of short films 'from the HFA vault' celebrating all things holiday.  It's billed as 'family friendly' and is likely to be much better than your average walk down holiday nostalgia lane.  And, its total 96 minutes of running time is completely free! These films were originally part of the Boston Public Library's circulating collection.   If I didn't already have a commitment I would attend this -- something very different and sure to be a delight.  Included in the list of films, both animated and live action, are:

From 'A Figgy Duff Christmas' (HFA Website)

The Great Toy Robbery (Jeff Hale, 1963); Six Penguins (Asporoah Panov, 1973);  Max's Christmas (Michael Sporn, 1988); The Cop and the Anthem (Peter Mark Schifter, 1982); The Cherry Tree Carol (Gardner Compton, 1968); A Figgy Duff Christmas (William Gough, 1978); Animal's Best Friend (Hermina Tyrlova, 1973); A Charles Dickens Christmas: From the Pickwick Papers (John Barnes, 1958); The Night Before Christmas (John Wilson, 1968).

Busby Berkeley

'Busby Berkeley Babylon'

Busby Berkeley was a giant in early film musical choreography; his visuals are still stunning today.  He turned big musical numbers into dazzling kaleidoscope-like frenzies of costumes, props, and bodies, especially those of the female variety.  The HFA is presenting an extensive retrospective of Berkeley's films 'Busby Berkeley Babylon' during December and January.  It's worth your time to read the HFA write-up of Berkeley's life and career (did you know he spent some of his earlier years Boston area doing stage direction for the Somerville Stock Company?!), and descriptions of all the films.  Here are the ones that are most exciting to me:  

From 'Gold Diggers of 1933' 

Sunday December 11, 7 PM.  King of Jazz (1930), a 'rediscovery' that I missed at Capitolfest in August, a 'lavish production' in 2-strip Technicolor, celebrating bandleader Paul Whiteman. 

Friday, December 16, 9 PM Dames (1934) starring pre-code superstars Joan Blondell, Dick Powell, and Ruby Keeler.  It's apparently a celebration of sexuality only slightly veiled, flaunting the restrictions of the upcoming Production Code that would prohibit overt references to sex, among other sinful (!) activities.

Saturday, December 17th 7:00 PM Roman Scandals (1933, D. Frank Tuttle), a wild farcical romp through ancient Rome via an extended dream, starring Eddie Cantor, Gloria Stuart, and Edward Arnold.  It's known also for the 'blink-and-you'll-miss-it' first film appearance of Lucille Ball as a 'Goldwyn Girl' with long blond locks.  I saw it at Capitolfest in 2014 and it was quite the experience.

Barbara Stanwyck giving Gary Cooper
More that he bargained for. 

Coolidge Corner Theatre
Monday, December 5, 7:00 PM: Barbara Stanwyck and a young, hot Gary Cooper in the classic screwball comedy Ball of Fire, directed by Howard Hawks and written by Billy Wilder and Charles Brackett. (I can't help but think of Jerry Lee Lewis whenever I hear the title of this movie!)  It's about a group of lexicographers and their collision with a high-spirited young woman mixed up with the mob.  I've not yet seen this film and unfortunately can't attend this screening, but otherwise I would most certainly be near the head of the queue for this one!  Adding to the fun is a special guest appearance -- Ben Zimmer, award-winning language columnist for the NY Times, will speak before the film about the science of studying slang, and how it's evolved over the decades.  A regular feature of the Coolidge's fun Science on Screen Series showcases expert speakers talking about an aspect of science related to the film in some way.  

Monday, December 12, 7:00 PM: Bogey & Bacall send sparks across the celluloid in one of their most heralded noirs -- The Big Sleep, screened in 35 mm as part of the Big Screen Classics Series.  The narrative of this film, also directed by Howard Hawks, is nearly impossible to follow, but heck, the plot's not the main pleasure of watching this one!

Humphrey Bogart and Lauren Bacall form an uneasy alliance in
The Big Sleep (photo from imdb.com)

Kirk Douglas in his prime

Brattle Theatre

Sunday, Dec 25 - Thurs Dec 29 (Christmas week) the Brattle is programming films of Kirk Douglas to celebrate his 100th birthday (actually on Dec 9).  Happy birthday, Kirk!
Check out the whole series, but if you are free on Dec 26th, check out a double feature of  'rarities' from 1951:  Detective Story, a noir directed by ace William Wyler; also starring William Bendix, Cathy O'Donnell, Eleanor Parker.  That's followed by Ace in the Hole, directed by Billy Wilder, and also starring Jan Sterling and Robert Arthur.



Sunday, January 1, and Monday January 2:  While technically a new month, it deserves a mention here: ring in the New Year with the Marx Bros!  The Brattle's presenting a marathon of films from these pioneers of early film comedy, betting on once you see one, you can't stop until you've seen them all!  All are new restorations of the old favorites, all of which are the early, pre-code Paramount films, so if you attend the whole festival you'll see the style of the brothers evolve over a four year period, from The Cocoanuts (1929) to Duck Soup (1933).  My favorite of theirs is Horse Feathers, which I got to see at the 2016 Turner Classic Film Festival. 

Zeppo, Groucho, Chico, and Harpo Marx are up to no good in 'The Cocoanuts'