City Lights (prod. Charles Chaplin), Part Four: The Perfect, Problematic Ending Of City Lights.

I have loved this series of posts on City Lights, one of my favorite movies of all time. The last post is all about the ending which always reduces me to tears: tears of joy and pain. It is so bittersweet, and I enjoy the ambiguity of the last scene.

Then again, I am sentimental at heart and love that part of Chaplin and his films. I even love Limelight!

Do not read the entry if you don’t want spoilers or haven’t seen it. But if you haven’t seen the film: why not!?! It truly is a marvelous work, and one that is often recommended to people who have never seen a silent film before.

In other news, I’ve been watching Bravo all afternoon. I can so easily get addicted to their realit shows. Today it was Tabatha’s Salon Takeover, wherein Tabatha comes in to turn around failing salons and get them profitable again! My favorite today was the ovary-phobic all-male 30-minutes short-cut high-end salon… HA! It illuminated what you sometimes find in exclusively gay male environments, the feeling of “EW, GIRLS!” that isn’t that far removed from the misogyny in hetero male culture. Well, she changed that and things actually got better and the stylists enjoyed working with women.

I also caught several epsiodes of Launch My Line, wherein non-fashion designers work with designer experts to launch their own fashion lines. Most ridiculous so far is the architect who chose blacks and lavenders as base fabrics, which made everything he did look like some modern version of mourning dress. But another is the DJ Club impresario who somehow impresses the judges enough with his barely competent designs. Wow. My favorite is Merle, because she uses great colors. I also admit I love a convertible design, which is what Merle is all about. I blame my weakness for them on my Day to Night Barbie!

These kinds of shows are why I don’t need to have cable in my house. Too much time lost to marathons!

Currently, I’m watching Poirot adapations with Suchet: The Murder of Roger Ackroyd and Cards on the Table. I rented them from the library (yay!), and had recently read both novels again. I did do some investigation on bridge for that book, as I had no idea what it was beyond complicated 4-person game that Omar Sharif wrote about for the papers.

I am always disappointed in the tv versions of Christie works in that they always change things or make things more dramatic, especially the endings. The same thing happened tonight in The Murder of Roger Ackroyd. I suppose poison and suicide wasn’t good enough for an ending!?! I am not sure why in this adaptation of Cards on the Table that they changed Inspector Battle to Inspector Whosit and Colonel Race to Colonel Sahib, though. ETA: And why did they make so many other things different? Rhoda and Ann, Mrs. Lorrimer, etc. DAMN folks, just keep it the same… why change things so drastically?

But one way in which I am never disappointed with Christie adaptations is seeing so many familiar faces in the cast. There are always people from Austen adaptations, Harry Potter, Jeeves & Wooster, Sherlock Holmes, and many other BBC/Granada/etc productions turning up in these. I always pull up IMDB after or during one of these films.

Now that I have finished my first semester of grad school, I’ve been on the hunt for leisure reading. After going through a few more Agatha Christies, I decided to pick up one of my books on early sound films. Specifically, The Speed of Sound by Scott Eyman. It is a well-researched and relatively thorough depiction of the times that is very good about explaining how sound films developed and the differences between the sound-on-film and sound-on-disc systems. I have a few problems with the book (mainly Eyman’s dislike of musicals, his desire to brush off the possibilities of anti-Semitic behavior, plus the rather homophobic description of certain things, such as F. W. Murnau’s tragic accident that ended his life.)

However, I still enjoy the book and have re-read it many times. This time, re-reading sparked in me the desire to look on youtube and the web to find out if any portions of these films were available online. I already knew some users on youtube had uploaded musical sequences from early sound musicals, but I had not checked for any non-musical films.

One of the films mentioned that particularly caught my interest in Eyman’s book was 1929′s Bulldog Drummond, starring Ronald Colman, Joan Bennett, Lilyan Tashman, Claud Allister, Montagu Love, and Wilson Benge (who seems to have played a butler every time he made a picture.) It was directed by F. Richard Jones, and art direction was by William Cameron Menzies.

“Bulldog Drummond matches a polished, sophisticated, hero against polished, sophisticated villainy, something Hitchcock was to do for the next half-century, and whenever the tone threatens to get too trivial, Menzies’ ominous, expressionist sets serve to ground the proceedings and keep the film from floating away on arch clouds of stiff-upper-lip Englishness.” Scott Eyman, The Speed of Sound

Bulldog Drummond is the hero of a series of British adventure novels from between the wars.

Captain Drummond finds himself bored after WWI, and puts an ad in the paper advertising his services for just about anything, as long as it is exciting.

He gets a pile of letters, and responds to one from Phyllis, a beautiful and mysterious blonde who is worried about he care her uncle is receiving at a local “hospital” from Dr. Lakington & Co. (including heavy Carl Peterson and devious gal pal Irma, as well as a gang of roughs).

Along for the ride are Drummond’s upper-class twit pal Algie and faithful butler Danny.

Dr. Lakington and Co. (male versions) are suitably creepy and menacing.

Irma is tough, seductive, and strong.

More gory scenes like Dr. Lakington injecting drugs into Uncle Travers or Bulldog fighting with Dr. Lakington are done in silhouette, which I rather liked.

The sets are very nice, with lots of shadows and interesting effects. This is the vestibule at the hospital.

The nefarious lab

Algie attempting to chat up Irma

Tied up with planks!

A happy ending?

This film lived up to my expectations and even more so. Lots of wit is to be had, as well as shooting, jumping in and out of cars and buildings, and many attempts by Algie to get Irma’s phone number. The sound is quite good, although Joan Bennett’s enunciation is not very clear and it is quite difficult to figure out just what words she is saying, particularly in the beginning. Ronald Colman is just as dashing and smooth as ever, and the rest of the actors have relatively clear voices for a 1929 production. The camera moves more than others I’ve seen, but is still static in some cases. However, there are some good outside shots and shots featuring moving cars, featuring both the inside and outside of the car.

There’s even a couple song interludes with the barmaid and her beau downstairs at the inn.

The picture quality is not too bad, with lots of contrast between light and dark and few if any shots where you’re left wondering what the hell it is on screen.

There are quite a few more in the Bulldog Drummond series of films, with at least one more starring Colman. I highly recommend this one. Maybe even go up and pick up one of the books the movies are based on. They’re just as much fun as James Bond.

The film can be found in a couple places, as it is in the public domain now. I watched it on Hulu, but was greatly annoyed by the commercials playing every 7-10 minutes. There is also a partial copy at the Internet Archive, but it conks out at about 42 minutes, far short of the original 90 minutes.

Another review link: Best Actor Of 1929-30: Ronald Colman (Bulldog Drummond)