Wednesday, May 4, 2022

Undercrank Productions: Little Old New York (1923)

What would you do for a million dollars? For Patricia O'Day (Marion Davies), she would go as far as live her life as a boy so that her family could inherit what was rightfully theirs. When Patricia's rich American uncle passes away, she and her father John (J.M. Kerrigan) are visited in Ireland by the uncle's proprietor. The uncle's will stipulates that the sole heir of the $1 million fortune is Patrick O'Day (Stephen Carr), Patricia's brother. Patrick has two months to travel to New York to claim the inheritance or lose it forever. However, Patrick is gravely ill and won't survive the treacherous journey over the Atlantic. 

Upon arrival, Patricia plays the part of her brother by donning a page boy haircut and boys clothes. She meets Larry Delavan (Harrison Ford, the other one!) whom everyone, including Larry himself, thought would inherit his step-father's fortune. The story follows Patricia as she plays the part of Patrick, enters high society, invests in steamboat technology, gets caught up in the world of sports gambling, faces an identity crisis and falls in love.

Little Old New York (1923) was a box office hit for star Marion Davies. The film was so popular that it beat box office sales for the previous record holder Robin Hood (1922). Based on the play by Rida Johnson Young, the film adaptation was produced by William Randolph Hearst's company Cosmopolitan Corporation and filmed at his studio on 127th Street and 2nd Avenue in New York City. A fire broke out at the studio while filming was still underway. The negatives for the film, which at that point was two-thirds complete, were miraculously salvaged. However, costumes and sets had to be recreated. 

A big marketing push for the film included a press conference with Davies, an invitation for the public to be extras in one of the scenes and having theater usherettes dress like characters in the movie (not sure if they were made to mimic Marion Davies' boy look or the other female characters wearing 19th century garb). The film premiered at Hearst's Majestic theatre in Columbus Circle and a couple months later premiered in London. Little Old New York was remade in 1940 with Alice Faye in the lead role.



Marion Davies is absolutely charming as the lead character. She uses her feminine wiles and masculine energy to adeptly play this binary role. I'm really drawn to stories about gender representation especially when they spotlight stereotypes in a way that criticizes them (whether intentional or not). I would recommend this film to fans of silents, Marion Davies and period pieces.

At 1 hour and 47 minutes, Little Old New York feels a bit too long. A natural resolution to the story could have happened much earlier in the film. Overall, the movie watched more like chapters in story of Patricia/Patrick O'Day's adventures rather than one cohesive feature film. 

Little Old New York (1923) is available on DVD from Undercrank Productions, in association with Edward Lorusso, and features a lively original score by accompanist Ben Model. According to Undercrank's website, the film is presented from a 2k digital scan made from the Library of Congress's 35mm nitrate print. The DVD is a result of a Kickstarter campaign and also includes an excerpt from Hold Fast (1916).


Shop Little Old New York (1923) DVD at the following retailers.

AmazonBarnes and Noble — Deep DiscountMovies Unlimited


Thank you to Undercrank Productions for sending me a copy for review!

Sunday, May 1, 2022

2022 TCM Classic Film Festival: Day #4 Recap

 


Waterloo Bridge (1940)

Bright and early on the final day of the festival, I headed over to the Chinese Multiplex for a special screening of Waterloo Bridge (1940). 




The film was introduced by author Sloan De Forest. I'm a big fan of her books and it was great to finally see her in person (had a great chat with her afterwards!). Waterloo Bridge (1940) stars Vivien Leigh and Robert Taylor as two lovers from completely different social sets who get separated during WWI only to have a devastating reunion sometime later. It's based on a 1930 play and was adapted to screen as a pre-code in 1931. Unbeknownst to us and even to De Forest, the print being screened was the British censored version which cut out the more suggestive scenes in relation to Vivien Leigh's character.


Club TCM

A brief visit to Club TCM helped me rest and recharge for the final hours of the festival. On display were costumes from a few notable classic films. It was difficult to take pictures so I did my best to snap one of these costumes Ingrid Bergman and Paul Henreid wore in Casablanca (1942)



Live Read: I Married a Monster from Outer Space (1958)



I've never been to a live read before so I jumped at the chance to attend this one. Led by Dana Gould, a group of comedians reenacted the cheesy sci-fi movie I Married a Monster from Outer Space (1958). The script was read by actors David Koechner, Laraine Newman, Jonah Ray, Janet Varney and Baron Vaughn. Musician Eban Schletter performed live music and sound effects for the event. 

I wasn't sure what to expect but I did think they would show the actual movie, or at least clips of it, during the live read. Instead, it was just the actors taking turns at the mic to read the dialogue with a static background on the screen behind them.

The live read was a helluva lot of fun. I was in the second row with some friends and we had the best view in the house.




Coffy (1973)

The closing night movie was one of my top selections for the festival. There was a massive line to get in and I'm glad I made it. The event started with an interview by TCM host Prof. Jacqueline Stewart and Coffy star Pam Grier. I think Stewart only got two questions in because Grier had much to say and a lot of love to share. And what better way to enjoy this blaxploitation classic for the first time with the film's star and a lively crowd in attendance.





Closing Night Party

The closing night party is always bitter sweet. It's an opportunity to catch up with anyone you may have missed and to say goodbyes. I didn't stay long because the poolside party was quite crowded. I did get an opportunity to chat with former child star Gordon Gebert. (A big thanks to Laura who helped get his attention for me!). This was a real joy. I was able to tell him how much Holiday Affair (1949) means to me. He must have heard that a million times that evening. He was so gracious and told me stories about working with Robert Mitchum, Janet Leigh, Burt Lancaster and Norman Lloyd.





So you may be asking, what was the best part of the TCM Classic Film Festival? The people of course! I got to spend so much quality time with good friends, acquaintances and complete strangers. The festival is like a big reunion for me and I cherish all the moments I get to spend with all of my far away friends. I didn't share much about my friends in these posts. However, I shared plenty on my social media. Make sure to head over to Twitter and look up #TCMFF @raquelstecher to see all the fun we had during the festival. I appreciate the TCM staff as well as all my amazing friends for making this a festival to remember.

Saturday, April 30, 2022

2022 TCM Classic Film Festival: Day #3 Recap



 The Flame and the Arrow (1950)

My day started with an impossible time block. There were so many good events happening at the same time and it was difficult to chose. It came down to one person: Gordon Gebert, the child star of one of my all-time favorite movies of all time, Holiday Affair (1949). It was imperative that I see him in person! And he was going to be at the special screening of The Flame and the Arrow (1950). 





This swashbuckler starring Burt Lancaster, Virginia Mayo, Nick Cravat, Norman Lloyd and of course Gordon Gebert, was being screened at the Hollywood Legion Theatre. Ahead of the film there was a special presentation by visual effects artist Craig Barron and sound designer Ben Burtt in which they discussed the film's use of color, forced perspective and painted backgrounds and the various sound effects. They also shared the story of Lancaster and Cravat's working relationship as acrobats turned actors and their lifelong friendship and we were treated to some rare home video clips of the two palling around.

The presentation was followed by an interview with Gordon Gebert who delighted us with all sorts of stories about being a child actor working for Warner Bros. and RKO, being on set of The Flame and the Arrow, his stunts in the film and learning archery and ballet for certain key scenes. After the presentation and interview we were treated with a 1960s Technicolor print of the film. It was a fun movie made better by the amazing cast and Jacques Tourneur's direction. 


The French Way (1940)


The next block was a difficult one too. I had to choose between several amazing options, including seeing The Hustler (1961) with Piper Laurie in attendance. But I opted for the Josephine Baker film The French Way which was made in 1940 but released in 1945 due to the war. Film historian Donald Bogle gave a presentation which included lots of background information about Josephine Baker herself. We were also treated with an archival interview of Baker on a cruise ship and a beautiful restoration of the film by Jeff Joseph of SabuCat Productions. International films are few and far between at the festival and I'm always delighted to catch at least one during my festival experience. 

Donald Bogle

The French Way was a beautiful little film. Baker shines despite the fact she's given limited screen time and no love interest. Micheline Presle is also in the film playing a young French woman debating whether to elope with her beau. Filmed during the French occupation, the story includes the characters preparing for air raids including a scene where Josephine Baker of hobo Leon (Lucien Baroux) to help tape up her windows and several scenes in bomb shelters.


Blue Hawaii (1961)



My goal at this year's festival was to attend all three of the poolside screenings, even if I didn't stay for the whole movie. The third and final screening was the Elvis movie Blue Hawaii (1961) which is quite perfect for the poolside setting. Attendees dressed up Hawaiian shirts, wore leis and sipped on Blue Hawaiian cocktails. I was planning on leaving early to attend to attend the special screening of Drunken Master II (1994) but alas after having a few of those cocktails I was quite literally too drunk to go see the other film. After a couple of really tough years, this was just the sort of evening I needed.



Stay tuned for more TCMFF coverage!

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