IOU: The Grub-Stake (1923)

Who I owe: Poet and Musician John "Jack" Hayes from Robert Frost's Banjo and I met March of last year. We had breakfast in Concord, MA and during breakfast John told me about a silent film that he and Eberle composed and performed the music for. The movie was The Grub-Stake (1923). He also told me a lot about Nell Shipman and sent me a copy of The Nell Shipman Collection Volume 3 which contained The Grub-Stake. I had the film in my to-watch stack for too long. Way too long. Now I'm making amends and discovering how wonderful Nell Shipman, the movie and the music all were. Thanks John!

In John's Words:  Eberle Umbach and I composed the music to Nell Shipman’s “The Grub-Stake” in 2005-2006, following our first silent film score, for Shipman’s “Back to God’s Country,” which we composed in 2004-2005. The late Tom Trusky, director of the Idaho Film Collection, commissioned our score for the release of Shipman’s complete existing works in a DVD collection. Mr Trusky was a wonderful man, a Shipman scholar and largely responsible for the re-discovery of her work, and he was very kind and supportive of our music.

The score uses 18 instruments, from the very familiar, like the guitar and the flute, to the more obscure, like the zither, melodica, slide whistle and marimba, as well as variations on common instruments, such as the tenor guitar, toy piano and the plectrum banjo. Eberle and I wrote the score so that it could be performed live as written, so there were a lot of instrument switches! But at least one of us keeps a steady background of music going throughout the entire film, and we play as a duo the majority of the time.


We incorporated a number of different musical genres in the score—from ragtime to bossa nova, and with a number of other musical gestures in between. Eberle in particular strove to capture an old-time Americana feel in much of the music. When we scored and performed these silent films, we did so under the name of the Bijou Orchestrette.

Review: First of all, let's talk about Nell Shipman. Wow. What a woman. Hailing from Canada, Nell Shipman was a one-woman movie making machine. She founded the Shipman Curwood Producing Company as well as the Nell Shipman Productions. Nell Shipman wrote, acted, directed, produced, marketing, funded and cast her acting crew. And this is in the 1910s and 1920s! Early film history has a severe deficit of female directors. So for Nell Shipman to be able to do what she did is amazing. She was independent, a business woman and creative to boot. Also, she shot a lot of her films on location, in the wild and did a lot of "stunts" herself. She was also an animal trainer and used some of her animals in The Grub-Stake. Wow! I'm so impressed by her. I'm also hypnotized by Nell. She wasn't a gorgeous woman but she has a very inviting face and a curvaceous figure. I couldn't help but be mesmerized by her on screen.

The Grub-Stake (1923) was one of Shipman's biggest pictures. With a $180,000 budget, she shot the film on location in Washington State and Idaho (even though the plot mostly takes place in Alaska). Unfortunately, the distributor of the film went under so the film never made it out to theaters. And it also bankrupted Nell Shipman's production company. She couldn't take care of her animals financially after that either and had to send them to the San Diego Zoo. A sad ending to a good project.

The film follows the story of Faith Diggs, a small town girl whose father is in poor health. She takes on odd jobs (and even sells her to make ends meet and to help her dad out but it isn't enough. So Faith grub-stakes an older businessman. What does the term grub-stake mean?

Basically, she promises to work for the man, and then accepts his proposal of marriage, in exchange for his help. The man brings Faith and her father to Alaska. But turns out the man has sold Faith to a brothel! And he's already married! What's a girl to do? She escapes with a friend, her father and a bunch of sled dogs and finds refuge in the wilds of the Klondike. She gets separated from her father for a while, befriending some bears and other wild animals. And the drama continues as she falls in love with another man and her "husband" sends out a bounty hunter for her (and the dogs she stole). The film moves at a steady pace but doesn't have that many dull moments. Nell Shipman really milked the ending though, which could have been much shorter than it was.

I think John and Eberle did a wonderful job with the music. The different instruments suited the plot which was very varied itself. I loved the American folk feel to it and it's pretty cool that a film from Idaho has music played by residents of that state! I'm sure composing music for a silent film is no easy task so kudos to John and Eberle for doing such a fantastic job giving sound to such a vibrant film.

IOU: Who's Afraid of Virginia Woolf? (1966)

Who I Owe: My good friend Kevin gave me a copy of Who's Afraid of Virginia Woolf? (1966) eons ago. It was so long ago I don't remember why he gave it to me. It could be for various reasons. He got a newer enhanced version of the DVD and passed down his older version to me (I've gotten several really great films this way!). I created a boxed set of films that tested the Hays Code/Production Code back in grad school. This film was very influential in bringing down the code in the 1960s which was then replaced with a rating system. It's a depressing film and boy does Kevin like depressing films. I apologize to Kevin for being so late to the game in watching this one!

Review: Who's Afraid of Virginia Woolf? (1966) (TCM link) is based on Edward Albee's play by the same name. It's the only film to have been nominated for every single Oscar category in the Academy Awards (although now with so many categories, that will be impossible to achieve again). It won 5 including Best Actress (Elizabeth Taylor) and Best Cinematography (Haskell Wexler). It's the 4th out of the 11 films real-life couple Elizabeth Taylor and Richard Burton made together. It also co-stars Sandy Dennis (who miscarried during the filming) and George Segal. Elizabeth Taylor gained 30 pounds for the role and looks noticeably different with special makeup and some gray hairs. Oh and the swears! Everything from "god damn you" to "bitch" is used. My favorite phrases include "angel boobs", "monkey nipples" and "hump the hostess".

Elizabeth Taylor plays Martha, the daughter of the president of a Northampton, MA college and wife to History professor George (Richard Burton). They like to play very emotionally abusive games with each other and shouting matches are regular conversations from them. They have Biology professor Nick (George Segal) and his demure wife Honey (Sandy Dennis) over for drinks. With the liquour flowing, the mind games start and they get worse as the film goes on. Then there is the question of Martha and George's son. Where is he?

My reaction? This film is fucked up. Twisted. Demented. It messes with your brain. It's angry and loud. It's uncomfortable to watch yet the cinematography will hypnotize you. Each actor delivers wonderful performances, the dialogue is cutting and frank, there are no subtelties here. It's all shoved right into your face. Even though I own it now, I think I will put this film away until I forget the details. So I can pick it up again and be newly traumatized. So Who's Afraid of Virginia Woolf? I am!

IOU: Madam Satan (1930)

Person I owe: Jonas of All Talking! All Singing! All Dancing!. I owe Jonas more than just this movie. I owe him a lot. He has sent me lots of great early talkies and silent films (more early talkies because that's his specialty). It's been hard to find the time to watch all those wonderful treasures. Jonas sent me a copy of Madam Satan (1930) long before Warner Archive made it available on DVD. And I'm ashamed that I only got to it now. What a fantastic film. Thank you Jonas!

Review: Madam Satan (1930) is one of the most entertaining Pre-Code movies I have ever seen.  It's both fun and bizarre. It stars Kay Johnson as Angela Brooks, the wife of Bob Brooks (Reginald Denny). Bob and his best friend Jimmy (Roland Young) go out regularly to paint the town red. Bob thinks that Angela is just blah now that she's his wife. And it turns out Bob is cheating on Angela with an entertainer named Trixie (Lillian Roth). While the two guys try to hide the affair in various ineffective ways, Angela is on to their schemes and wants to see what is going on for herself. It seems like Trixie's got her feline claws in deep with Bob and we think that Angela's lost him forever. That is, until Angela declares war!  The first 50 minutes of the film deal with the situation between the four characters. The other 1 hour and 10 minutes consists of a wild trip on a Zeppelin complete with a futuristic operetta (as Jonas calls it), crazy costumes that would shock and entice Lady Gaga and a grand finale that only a director like Cecil B. Demille could deliver.

This movie is so much fun to watch. The social drama at the beginning is full of fun jokes and physical humor. But once you hit that 50 minute mark, you are wowed by all the crazy Zeppelin shenanigans. You'll find yourself with your jaw to the floor, one hand on your head and one hand over  your mouth. It's that crazy. Like so many Pre-Codes, this film is full of sexual innuendos and experimentations of all sorts. What makes this film different to me is that I love the message. There are many Pre-Codes in which the ending completely undoes the original boundary-pushing message. In Madam Satan, we learn that men should appreciate their women. Because love, caring and intelligence don't have to stifle the carnal pleasures of a romantic relationship. And floozies don't always win in the end. I feel like in this day and time floozies seem to win because of their aggressiveness and charm. What ever happened to the value of self-respect? You want to be like Angela and NOT Trixie. And I like that message. Yes I do indeed.

If you haven't seen this movie, WATCH IT NOW! Don't wait as long as I did. Order a copy for yourself and several for your friends. If my review doesn't convince you, here are some screen caps for your viewing pleasure.

Angela is trapped like that cagged bird.

What do two drunk men do? Take a shower in their suits in the middle of a bedroom. Yeah.

Lillian Roth is the villain but her smile is too infectious for you to complete hate her.

Roland Young has some great expressions of confusion and fear in the film.

You are invited!

Zeppelin!

Lady Gaga would totally rip this off for one of her music videos.

One of the many WTF moments.

At this point I was jumping up and down in my seat cheering. Go Madam Satan!

IOU: Charlie Chan at the Opera (1936)

Person I Owe: Frank. Frank is a good friend of mine, a co-worker and an enthusiast of many many things including Charlie Chan films. I let him borrow my Charlie Chan boxed set and in exchange he let me borrow Charlie Chan at the Opera (1936) and a couple other films too. Now that was a long time ago, so I need to get this back to him. Because we work together, I have at least 5 opportunities each week to exchange DVDs with Frank. It's very nice and we exchange books as well. It's great sharing with friends, especially friends with such great taste in movies and books!

Review: Charlie Chan at the Opera (1936 or 1937) is the most famous of all the Charlie Chan films. Why? Because it stars Warner Oland, whom many Charlie Chan enthusiasts deem the best of the six or so actors who played Charlie Chan. Co-starring in the film is Boris Karloff, the biggest name ever to appear in a Charlie Chan film. This one hour drama is fun to watch as Karloff creeps everyone out and Oland/Chan outwits everyone with his proverbs and serious detective skills. I want to point out that William Demarest, a very good character actor who appeared in many films during the 1930s including a few with Humphrey Bogart, plays a dimwitted cop. My favorite line of the film is uttered by his character: (to Chan) "You are like chop suey! Mysterious but still a swell dish."

Karloff plays opera star Gravelle (::snickers::) who escapes from an insane asylum. He seeks revenge against the other opera stars, including his previous lover Madame Lili Rochelle, with whom he had a child Kitty Gravelle. First Charlie Chan is put on the case to help the police find Gravelle but then when murders start happening at the opera house, Chan is determined to find the killer.

This is a great film to introduce to someone who is new to the Charlie Chan movies. Some folks are sensitive to the stereotyping in the film. I tell them that even though Charlie Chan can be a bit of a caricature his character is always smarter than everyone else. Now if he could only be a bit nicer to his son! Thank you Frank for letting me borrow this film!