Fifty Years of Film in 50 weeks, #4: He Who Gets Slapped, 1924

From a classic western last week to a circus thriller/romance/tragedy, a bit of whiplash. But this film represents several film history milestones and I was thrilled to watch it for the first time.

He Who Gets Slapped (1924)

Director: Victor Sjöström (as Victor Seastrom)
Writer: Victor Sjöström & Carey Wilson (based on the play He, the One Who Gets Slapped by Leonid Andreyev)
Cinematographer: Milton Moore
Producer: Louis B. Mayer for MGM
Starring: Lon Chaney, Norma Shearer, John Gilbert, Marc McDermott, Ruth King, Tully Marshall 

Why I chose it
Because of the name? I had heard of this film; it hadn't registered strongly for me as a 'must-see' film yet I remembered the name. When it appeared, during my research, on a list of acclaimed 1924 films, I added it to my shortlist; my Twitter followers voted it to the top.

'No-spoiler' plot overview

Poor Parisian scientist Paul Beaumont (Chaney) lives on the generosity of his patron, Baron Regnard (Marc McDermott), unaware Regnard has designs on both Beaumont's scientific breakthrough and his wife Marie (Ruth King). He loses both to this embodiment of evil, and is further disgraced when both, separately, slap him across the face to put him in his place. When done in front of an audience of academics, they break into hysterical laughter. Fast forward a few years, and Paul has become the star clown of a circus act in which a posse of identically-dressed clowns slap him repeatedly until he tumbles around the circus ring to the delight of audiences. His circus moniker? You guessed it: 'He Who Gets Slapped', 'HE' for short. HE meets young circus horse-acrobat Consuelo (Norma Shearer) and becomes infatuated with her. She, however, has fallen in love with her handsome partner Bezano (John Gilbert). The Baron reappears when Consuelo's opportunist father bribes him into proposing marriage to Consuelo. These developments are discovered by HE, who is determined to have his revenge on his old enemy, and save Consuelo in the process.

Production Background and 1924 in Film History

This film emerged as the first production of newly formed MGM, with Louis B. Mayer at the helm. Mayer had concluded his deal with Samuel Goldwyn earlier in the year, and hired Swedish director Victor Sjöström to direct. Already an acclaimed director in Sweden, Sjöström used expressionistic visuals to illustrate his cinematic morality tales such as his wonderful The Phantom Carriage (1921), which I saw for the first time a few months ago. Norma Shearer and John Gilbert were not the 'stars above the title' yet in 1924. Lon Chaney was the star, and already had over 100 film credits to his name. Also appearing in the film was a live lion! The lion was not credited, but his appearance coincided with the first appearance of "Leo" the MGM Lion in the opening credits. I noticed that in those credits, this version of Leo did not open his mouth once.

Some other notable film-related events in 1924*:

• Theaters started screening double features for the first time.
• Prolific silent-era producer/director Thomas Ince died in what was rumored to be murder or accidental homicide aboard the pleasure boat of William Randolph Hearst, by Hearst, or Charlie Chaplin, or ??. It seems that the modern view is that despite some melodramatic antics on the boat, Ince likely succumbed to long-standing coronary disease.
• Erich von Stroheim (featured in the first of my blog series, here) released his epic masterpiece Greed based on the novel McTeague.
• C.B.C. Film Sales Company changed its name to Columbia Pictures Corporation.

*Thanks to filmsite.org

My Random Observations 

• Ah, silent film - how I'd missed you before I started this blog project! 
• Like last week, the visuals in this film are breathtaking, but for different reasons. Instead of panoramic vistas, we have expressionistic lighting, symbolic flourishes, and creative dissolves.
• Lon Chaney. There aren't enough superlatives to describe his talent and performance here. While I loved him in Phantom of the Opera (1925), I didn't really appreciate the range of his pantomime abilities, including his mastery of his body as well as his face. I especially loved seeing him as rather normal-looking scientist Paul Beaumont before his transformation to "HE" the clown. He believably embodied the love and passion for discovery that the best scientists have. (He also looked a bit like Paul Muni as Louis Pasteur!)
• Along those lines, I struggle to accept that Marie, Paul's wife, throws him over for the clearly slimy Baron. I mean, money is great and all, but for me having a nerdy scientist husband on the cusp of fame is the far better choice.
• I find the fact that Paul/HE falls for Consuelo to be a sign of how much he's damaged psychologically. While she is lovely and kind, obviously NOT right for him even if she weren't in love with Benzano. The pity and sorrow we feel for him are more intense than if he saw himself as a big-brother or father-figure to Consuelo.

Screenshots 

Poor Paul Beaumont (Chaney, center) doesn't know
that he's about to be betrayed by these two.

That look! Beaumont listens to the Baron 
taking credit for his invention - the start of his
humiliation.

Academics laughing at the first 'slap'

Symbolic scene of a clown spinning a globe

More clowns enter the earths' orbit

And then the earth dissolves into a circus ring

Romance at the circus: Bezano (Gilbert)
and Consuelo (Shearer)

Kind Consuelo pins a fabric heart on HE's 
Clown costume, much to his delight.

Fabulous shot of clowns laughing at HE's antics

Two slimy opportunists (Marshall & McDermott)
plan their next scheme.

Some small questions the film asks us.

This lion is ready for his close-up.

Lighting on a hand (the Baron's) reaching to unlock an 
off-limits cabinet enhances the treachery of the moment.

Where to Watch
Check it out on YouTube here.

Spooooky October Classic Film Screenings in Greater Boston

Now that we're well into fall, it's time to think about seeing some scary movies on the big screen, classic style.  Luckily, if you live in Boston you have many options to get your fright fix.  Get out your calendar and mark it up with these:

Coolidge Corner Theater
Thurs Oct 27:  Two years ago, I had the privilege of seeing the classic silent film Phantom of the Opera with Lon Chaney in the title role, at the Coolidge, with the world premier score composed and performed live by the Berklee Silent Film Orchestra based at Boston's Berklee School of Music.  I've written before about the special one-of-a-kind relationship between the Berklee School of Music film scoring department and the Coolidge.    On October 27th is a repeat performance of this film with the live Berklee score -- if you haven't seen it you absolutely must.  A special part of the score is an actual soprano vocalizing as part of the orchestration, to create an eerie experience, almost if you're in the audience at the opera!

Lon Chaney & Mary Philbin star (from www.coolidge.org)

Mon Oct 31: Jumping ahead several decades, the Coolidge is presenting, on Halloween night, a double feature of Hitchcock's horror/thriller Psycho (1960) in 35 mm, followed by The Texas Chain Saw Massacre (1974), "perhaps the most frightening film ever made."  These special screenings are part of the "Big Screen Classics" series.

Mon Oct 10:  This one is a don't miss, The Manchurian Candidate, directed by John Frankenheimer, released in 1962.  It's a powerful surrealist and darkly comedic trip through international political intrigue and dysfunctional family dynamics, and with its study of subversive forces in politics, it's speaks to our time in some ways.  Terrifically acted by Laurence Harvey, Angela Lansbury, Frank Sinatra and others.  It was a thrill for me to see this for the first time at the 2016 TCM Film Festival with Angela Lansbury present to share her experiences making the film.

Angela Lansbury & Laurence Harvey

Brattle Theatre
Not to be outdone, the Brattle is presenting must-see classics of spooky cinema on Halloween weekend:

Sun Oct 30: Nosferatu (1922) tells the Dracula legend in FW Murnau's classic silent film, and will be screened along with live music by the Andrew Alden Ensemble.  I'm not familiar with this group, but they have ties to the Berklee School of Music Film scoring department, as Mr. Alden himself is a graduate.  He lives now in Rochester, NY, and his group of professional musicians performs in New England and New York to silent films, among other gigs.  Their new score for Nosferatu sounds like it shares more modern, electronic elements that we are familiar with from the Alloy Orchestra, which is also originally from Boston.

Max Schreck as the 'undead' in Nosferatu

Mon Oct 31: The Bride of Frankenstein (1933) this 35mm screening is free! Director James Whale reunited Colin Clive and Boris Karloff from his Frankenstein (1931) and brings in Elsa Lanchester to be the 'bride.'  This is highly satisfying and entertaining film, which served as an inspiration to the parody Young Frankenstein from director Mel Brooks starring the late Gene Wilder.

While not specifically spooky-themed films, some of the programming of the Harvard Film Archive and the Somerville Theatre deserves mention:

Harvard Film Archive

Marlen Khutsiev

The HFA is running special retrospective series with films from Russian director Marlen Khutsiev, the "unsung master of the modern cinema."  I will admit to being completing unfamiliar with his films, but with him appearing in person, at age 91, at the HFA for screenings on October 9 and 10, this might be really cool.

Continuing the theme of Russian cinema, several offerings in the HFA series on Russian and Soviet Film "Beyond Potemkin" look intriguing.  This series provides an opportunity to see some films on the big screen that may never come around again.  Included are:

Sun, Oct 16: Bed and Sofa (1927, Dir Abram Room).
Sun Oct 23, 5 PM: The House on Trubnaya Square (1928, Dir. Boris Barnet), with live piano accompaniment by Donald Sosin.
Sun Oct 23, 7PM Outskirts (1933, Dir Boris Barnet), an acclaimed WWI film.

Virginia Mayo

Somerville Theatre
The Somerville's classic big screen offerings in October are a pleasing blend of silent adventure, drama, comedy, mystery and noir.
Sun Oct 2:  Silents Please The Mark of Zorro (1920, Dir. Fred Niblo), with Douglas Fairbanks at his peak.
Wed Oct 5:  I love the combination here: a special double feature of The Thin Man (1934, Dir. W.S. Van Dyke) and Requiem for a Heavyweight (1962, Dir. Fred Nelson, written by Rod Serling).
Sun Oct 23:  A Virginia Mayo Double feature of White Heat (1949, Dir. Raoul Walsh) and The Secret Life of Walter Mitty (1947, Dir. Norman Z. McLeod).

April Classic Film Screenings in Greater Boston

Another month has nearly passed, and April promises to bring an enticing assortment for classic film fans in and around the Hub.  Check these out!

Coolidge Corner Theatre
As part of their "Cinema Jukebox" series, in which films with compelling soundtracks are presented, this month it's the Sharks & Jets in WEST SIDE STORY (1961) on Wednesday April 11.

And on April 25, Chaplin's later masterpiece THE GREAT DICTATOR (1940) in which Chaplin satirizes Hitler, comes to the big screen as part of the "Big Screen Classics" series.  This is a favorite of mine, and I must say, somewhat timely. My favorite scenes are those with Jack Oakie as Mussolini knock-off "Napoloni".   You Must Remember This podcast series is featuring two episodes on Chaplin, his life during WWII and the making of his film.  Also well worth spending the time.

Somerville Theatre
Next weekend, on Sunday April 3rd, grab a big box of popcorn and sit back (because it will be a while--nearly 3 hours) to view D.W. Griffith's INTOLERANCE.  I will admit to not yet making it through an entire screening but perhaps this time will be the charm.  Pianist Jeff Rapsis will provide live accompaniment for this installment of the 'Silents, Please' film series.

Then, on April 21 a double feature of two films marking 60 years since they first premiered:  A FORBIDDEN PLANET and THE SEARCHERS (both 1956).  I've not seen the former film, and since it's first on the bill, co-presented with the Boston Sci-Fi Film Festival, I will put it on my calendar.  Walter Pidgeon in color, in a sci-fi!

Finally, the Somerville brings a 70mm version of  Hitchcock's VERTIGO to the big screen, playing three consecutive evenings on April 22, 23, and 24th.  I had a chance to catch this at the Harvard Film Archive a couple years ago, so I don't think I'll make this one, but I'm sure it will be a treat.

Harvard Film Archive
Starting in March, the HFA engaged current director Guy Maddin to program an extensive series of films and write up notes for each.  All of this can be found here "Guy Maddin Presents".  His film choices have ranged from silents, pre-codes, through to films made much later in the 20th century.  Even if you don't go to any of these, check out the series online to read Maddin's entertaining film notes for a couple of dozen films. The series sponsors the following screenings in April:

April 1, 7 PM: CHILDREN OF MONTMARTRE (LA MATERNELLE) -- a French film from 1933 that Maddin describes as incredibly movingly as directed by Marie Epstein & Jean Benoit-Levy, and "a little masterpiece".   At 9 PM is THE FACE BEHIND THE MASK (1941), which Maddin says is his favorite Peter Lorre film, a "B-movie wonder!"

April 2, 9 PM is THE THREAT (1949) is a noir starring Michael O'Shea, Virginia Grey, and Charles McGraw.  Maddin says this one "is hilariously mean, raw-boned and brawny and absolutely delightful."

On Sunday April 3 at 5 PM is a late silent with Loretta Young and Lon Chaney called "LAUGH, CLOWN, LAUGH."  One guess as to who plays the clown.  Maddin claims this has the "oddest love triangle in film history."  Hmmm.  Martin Marks will provide live musical accompaniment.

Finally on April 10 at 5 PM is WICKED WOMAN (1953) starring Beverly Michaels, for which this apparently was her most memorable role, according to Maddin.  He also says this is a good companion piece for the B-noir Poverty Row classic DETOUR.  Sounds like fun.  (Shhhh, this film is also on YouTube right now, so see it there if you can't get to the Archive, that being your first choice of course!)