Showing posts with label Female Filmmakers. Show all posts
Showing posts with label Female Filmmakers. Show all posts

Wednesday, July 17, 2019

Be Natural: The Untold Story of Alice Guy-Blache



"Here is a woman who helped invent cinema, and there is a silence around her. It's absolutely intolerable and even stupid that we can't see these films." - Nicole Lise Bernheim, circa 1975


I’ve heard it said many times that we must preserve Alice Guy-Blache’s legacy. I didn’t fully appreciate the weight of this statement until I saw Pamela B. Green’s documentary Be Natural: The Untold Story of Alice Guy-Blache. This early filmmaking pioneer was present for the birth of cinema and helped shaped it at its very inception. She wrote, produced and directed and used filmmaking techniques such as close-ups, tinted color, synchronized sound, double exposure and various special effects that would become essential to filmmakers in the silent film era and beyond. She worked with various studios and in 1910 co-founded Solax Studios in Fort Lee, NJ with her husband Herbert Blache and business partner George A. Magie. After two decades of work and a thousand films, she disappeared from the industry and was mostly forgotten. In the years that followed and as film history was taken more seriously, Guy-Blache’s contributions were not recognized in the same way as her peers, including other women filmmakers like Lois Weber and Dorothy Arzner. Her legacy fell victim to deceit and the spread of misinformation. At the end of her life, she fought to set the record straight on many matters and her daughter Simone Blache even published her memoirs. But history still threatened to forget Guy-Blache forever. What needed to change? Her surviving films needed to be found, restored, viewed, studied and discussed. The more we learn about Alice Guy-Blache and her work, the better we can maintain an accurate depiction of the early days of cinema and the people who made it all happen.

Be Natural takes an investigative approach as it explores Alice Guy-Blache’s life and career, uncovers information, seeks out family members and interviews contemporary filmmakers in an effort to give Guy-Blache the recognition she deserves. The documentary employs mixed media visuals, archival photographs, interview footage with Guy-Blache from the late 1950s and the early 1960s. The film is narrated by Jodi Foster who also served as executive producer. While I was watching the film I thought to myself that this would be just the sort of project that Hugh Hefner would have invested in and I was right! He was also an executive producer along with Robert Redford and Regina K. Scully among others. There are so many talking heads in this documentary that it’s a bit overwhelming. Some discuss Guy-Blache at length and others appear for just a quick soundbite. Filmmakers featured include Peter Bogdanovich, Geena Davis, Agnes Varda, Diablo Cody, Ben Kingsley, Ava DuVernay, Kathleen Turner, Gillian Armstrong, Janeane Garofalo, etc. There are also interviews with family members, historians, professors, authors and archivists. Classic film enthusiasts will recognize some familiar faces including Kevin Brownlow, Anthony Slide, Cari Beauchamp and Jan-Christopher Horak. The documentary was inspired by Alison McMahan’s book Alice Guy Blache, Lost Visionary of the Cinema and director/producer Pamela B. Green established a Be Natural research team who did the investigative work on the film.

The documentary is choppy and jumps around a lot. Sometimes at a dizzying pace. I wish it could have slowed down and taken its time a bit. That doesn’t diminish the documentary’s importance which is profound. The film speaks to those of us who believe in the preservation of history and the acknowledgment of great works of those who have since passed on. Time and neglect can erase history and its up to us to speak Alice Guy-Blache’s name, to watch her films and to let future generations know about her story. Be Natural leads the charge in the name of Alice Guy-Blache.

Be Natural: The Untold Story of Alice Guy-Blache is a profoundly important and enlightening documentary on an early filmmaking pioneer that time threatened to forget.

screens in select theaters this summer and fall. Visit the official website for more information. The film will be available on digital July 23rd and DVD August 20th from Kino Lorber.


Monday, December 10, 2018

Pioneers: First Women Filmmakers





curated by Shelley Stamp



In collaboration with the Library of Congress, Kino Lorber and film historian Shelley Stamp have curated an impressive and comprehensive collection of early female directed films. Pioneers: First Women Filmmakers is a 6 disc Blu-ray set (also comes in DVD format) that contains over 50 films ranging from shorts, feature films and incomplete movies. The set also includes 8 short informational documentaries, various commentary tracks and original music. What began as a Kickstarter campaign now is is a bonafide piece of film history that any movie buff would be proud to own.

We talk about Pre-Codes, that time period after the silent film era and before the strict enforcement of the Hays Code, when filmmakers had more free rein on releasing films with explicit content. But what about the pre-studio era of silent films? In the early days of motion pictures, the art form wasn’t taken seriously. This opened doors for African-American, Jewish and Female filmmakers to use their creative talents in a new field. Being a film director was a viable career for women because there was no set gender standard. According to film historian Cari Beauchamp, there were over 100 movie studios in the 1910s and between 1920 and 1933 those consolidated into only 7. Along with the male-dominated unions and guilds that sprung up during this time, female filmmakers were shut out making room for the male directors who would take over Hollywood. For one glorious period in early film history however, there was an output of great films that ranged in breadth, depth and subject matter.

“The films that these female pioneers wrote, produced, and often directed have an emotional depth one doesn’t find in other films.” – Ileana Douglas

Included in Pioneers: First Women Filmmakers are 58 of these films, each offering a look into an incredible time in the early history of film. Each disc is arranged by theme and a handful of the films included are exclusive to the Blu-ray set which makes that one even more valuable. With 80% of silent films lost, it’s incredibly important to appreciate what we have and that includes incomplete films. According to Rob Stone, Moving Image Curator for the Library of Congress, fragments tend to languish in vaults and are even more forgotten than whole surviving films. I’m grateful that the Pioneers set includes fragments as well films with some damage, restored to the best of the ability of the preservationists who worked on this project.

Each of the 6 discs contains extras, either commentary tracks or documentaries, averaging about 15 minutes each, on different subjects. These documentaries add real value to the set and I encourage you to watch them before tackling any of the films. They provide context and background information that is crucial to appreciating the movies you are about to see. The talking heads in these docs include principal curator Shelley Stamp as well as other curators, film historians, experts, archivists, preservationists, etc. My only small critique is that these extras start rather abruptly and could have used a short intro for more ease in viewing.

In addition to the docs and commentary is a 76 page booklet which includes an introduction by Ileana Douglas, an essay on the history of female filmmaking by Shelley Stamp, essays on the restoration and spotlights on one particular film and one particular filmmaker, information about the Women’s Film Preservation Fund and a thorough index of credits for the films included in the set. It’s a substantial booklet that reads like a film history book on its own. Another element that adds a lot of value to the set is the original music by silent film accompanists and composers such as Ben Model, the Berklee Silent Film Orchestra, Renee C. Baker, Makia Matsumura, Maud Nelissen, Dana Reason, Aleksandra Vrebalov, etc. I was particularly struck by the score for Back to God’s Country (1919) by Dana Reason and Salome (1923) by Aleksandra Vrebalov.

Going through the Pioneers set was an education in itself. It’s feminist film history in a box. These trailbrazers set a precedent that film history has forgotten and it’s up to us to make sure those lessons are not lost. The subject matters range from gender identity, marriage, adultery, birth control, religion, sexual abuse, etc. However not all of these directors were progressive proto-feminists. Lois Weber for example was a former missionary and had very conservative views. As we’ve learned over the years of studying the history of film, the more perspectives the better.

Some of my favorite films in this set include Mabel Normand’s comedies, Alice Guy Blache’s rags-to-riches-to-rags short A Fool and His Money (1912), Zora Neale Hurston's ethnograph vignettes of African-American life in rural Florida circa 1928, Lois Weber’s controversial feature Where Are My Children? (1916) (starring Tyrone Power Sr.!), Weber’s marital drama Too Wise Wives (1921) (featuring a very young Louis Calhern), Nell Shipman’s Back to God’s Country (1919) (she’s my favorite of the early female filmmakers) and Nazimova’s fantastical Salome (1923).

The Pioneers: First Women Filmmakers set contains the following:

Disc 1: Alice Guy-Blaché 
Disc 2: Lois Weber
Disc 3: Genre Pioneers
Discs 4 & 5: Social Commentary
Disc 6: Feature Films Era

Directed by Alice Guy-Blaché 
Greater Love Hath No Man (1911)
Tramp Strategy (1911)
Algie the Miner (1912)
Canned Harmony (1912)
Falling Leaves (1912)
A Fool and His Money (1912)
The High Cost of Living (1912)
The Little Rangers (1912)
Burstup Homes' Murder Case (1913)
The Coming of Sunbeam (1913)
A House Divided (1913)
Matrimony's Speed Limit (1913)
The Ocean Waif (1916)

Directed by Lois Weber
On the Brink (1911)
Fine Feathers (1912)
From Death to Life (1912)
Hypocrites (1912)
The Rosary (1913)
Suspense (1913)
Lost By a Hair (1915)
Sunshine Molly (1915)
Idle Wives (1916)
Scandal (aka Scandal Mongers) (1916)
Where Are My Children? (1916)
Too Wise Wives (1921)
What Do Men Want? (1921)

Directed by Helen Holmes
Hazards of Helen Ep. 09: Leap From the Water Tower (1915)
Hazards of Helen Ep.13: The Escape on the Fast Freight (1915)
The Hazards of Helen Ep. 26: Wild Engine (1915)

Directed by Grace Cunard
Purple Mask, The; Episode 5, Part 1 (1917)
Purple Mask, The: Episode 12 (Vault of Mystery) (1917)
Purple Mask, The; Episode 13, Part 1 (The Leap) (1917)
A Daughter of "The Law" (1921)

Directed by Mabel Normand
Caught in a Cabaret (1914)
Mabel's Blunder (1914)
Mabel Lost and Won (1915)
Mabel and Fatty's Wash Day (1916)

Directed by Nell Shipman
Back to God's Country (1919)
Something New (1920)

Directed by Ida May Park
The Risky Road (1918)
Bread (1918)
Broadway Love (1918)

Miscellaneous
49 - '17 (1917) directed by Ruth Ann Baldwin
The Colleen Bawn (1911) script by Gene Gauntier
That Ice Ticket (1923) directed by Angela Murray Gibson
Ethnographic Films (1929) directed by Zora Neale Hurston
The Call of the Cumberlands (1916) directed by Julia Crawford Ivers
Motherhood: Life's Greatest Miracle (1925) directed by Lita Lawrence
Eleanor's Catch (1916) directed by Cleo Madison
Her Defiance (1916) directed by Cleo Madison
The Song of Love (1923) directed by dir. Frances Marion
Salome (1923) produced by Alla Nazimova
The Red Kimona (1925) directed by Dorothy Davenport Reid
Linda (1929) directed by Dorothy Davenport Reid
When Little Lindy Sang (1916) directed by Lule Warrenton
The Cricket (1917) directed by Elsie Jane Wilson
The Dream Lady (1918) directed by Elsie Jane Wilson
Curse of Quon Gwon: When the Far East Mingle with the West (1916) directed by Marion E. Wong

Extras/Short Documentaries
An Introduction to Series
About the Restorations
Alice Guy-Blache
Lois Weber
Mabel Normand
Serial Queens
Social Commentary
The End of an Era








Thank you to Kino Lorber for sending me a copy of Pioneers: First Women Filmmakers for review.

Saturday, November 24, 2018

The Female Gaze by Alicia Malone


The Female Gaze
Essential Movies Made by Women
by Alicia Malone
Various Contributors
Hardcover ISBN: 9781633538375
Mango
November 2018

AmazonBarnes and NoblePowell's

“I think there is still a misconception that all directors are Cecil B. De Mille types with a loud voice and a whip. Perhaps maybe that’s why there’s always been some puzzlement about a woman in the director’s role.” – Gillian Armstrong

TCM host and film expert Alicia Malone's follow-up to her book Backwards and in Heels, is a comprehensive guide to the history of female directors in Hollywood and beyond. The Female Gaze: Essential Movies Made By Women catalogs over 50 films, directed by women, in chronological order from 1906 to present day. The book is a mix of articles written by Malone as well as a variety of female film critics and experts.

Malone's articles in particular are in-depth studies of particular films with an examination of the plot, behind the scenes information and biographical details on the woman director. Malone also focuses on the director's career, especially before, during and after making the discussed film. A common thread in her research, something Malone will tell you herself, is that the success of a movie made by a woman director does not necessarily open doors to other work. Looking at the chronological order of the book we see far more female directed films in this century than in the previous one. However, even today, women directors still face an uphill battle to get their movies made.


“With conversations about women’s experiences in Hollywood currently at fever pitch, I am often asked how to best support women in film. The answer? Watch movies made by women.” - Alicia Malone

Why does this matter? If you're a woman on film Twitter, you've had a man try to explain to you (i.e. mansplain) that there is no difference between a male and female director in terms of the end product. But the truth is that there is a difference. A big one. Representation matters and having a diverse group of voices helps us avoid the reinforcement of stereotypes and caricatures and gives us new perspectives that both enlighten and inform. Malone's book is invaluable not only in that it spotlights the female filmmakers but it also explains how their visions made their film unique. Reading each essay, especially about the films I hadn't seen, felt like uncovering a new treasure.

In addition to Malone's articles are a variety of short form pieces by other female film critics. I was happy to see familiar names including friends Marya Gates, Farran Smith Nehme, Danielle Solzman and so on. In a few cases one movie is discussed twice and because the pieces are by two different writers it gives a nice balance of perspectives. And for those of you worried that the book is too one-sided, there are quotes from male voices too including Francis Ford Coppola, Martin Scorsese, Robert Osborne, Roger Ebert, Barry Jenkins, etc.

The Female Gaze is more skewed to 21st century films but there are some fine articles about early movies that classic film fans will enjoy. Pieces on Alice Guy-Blache's The Consequences of Feminism (1906), Germaine Dulac's La Souriante Madame Beudet (1922), Dorothy Arzner's Dance, Girl, Dance (1940), Maya Deren's Meshes of the Afternoon (1943), Ida Lupino's The Hitch-Hiker (1953). I wish there were a few more articles about classic female film directors. Maybe one on my favorite early female director Nell Shipman would have been a nice addition. If you picked up Kino Lorber's Pioneers First Women Filmmakers boxed set (review coming soon!), a collection of silent films made by female film directors, Malone's book would make for a nice companion.

Alicia Malone’s The Female Gaze shines a much needed spotlight on female filmmakers and their movies. This is an indispensable resource for film historians and feminists alike.

Thank you to Mango for sending me an electronic copy of The Female Gaze for review. 

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