Harry Langdon (June 15, 1884 – December 22, 1944)
Charlie Chaplin said he “only felt threatened by Harry Langdon.” Samuel Becket wanted Langdon to act in his experimental film, but had to use Buster Keaton after Langdon’s early death. James Agee, Kevin Brownlow, Walter Kerr, Robert Youngson, Harold Lloyd and Mack Sennett were among those who sang high praises for Langdon’s art.
Langdon’s characterization expressed the most pronounced silence of the era’s clowns. This is why, despite his fans’ claims (seen on the documentary included on “Lost and Found: The Harry Langdon Collection”), sound proved completely disastrous for him. Langdon’s persona was only suited to the abstract plane that silent cinema offered.
Continue reading “HARRY LANGDON: ACTOR RETROSPECTIVE ON THE ANNIVERSARY OF HIS DEATH”
The Chaser (1928) was Harry Langdon‘s second directorial feature for First National studios. His third and final feature, Heart Trouble (1928) is considered lost. The few who did see Heart Trouble claimed that it could have restored Langdon to prominence. However, by then First National had written their star off, canceled his contract and punished his risk-taking by yanking Heart Trouble. In most likelihood the studio destroyed all the copies.
In his review of Chuck Harter and Michael Hayde’s book “Little Elf: A Celebration of Harry Langdon,” Leonard Maltin writes: “Harter and Hayde are so pro-Langdon that they feel it necessary to disparage Frank Capra [who directed Langdon’s first film] at every opportunity… the authors take heavy-handed swipes at Capra at every opportunity, ignoring the fact that Langdon’s features did take a nosedive after the collaborators parted company. I remember sitting with an audience stunned into silence as we watched Three’s A Crowd and The Chaser when Raymond Rohauer first presented them theatrically in 1971. They are painfully unfunny. There were other factors that worked against these late-silent features aside from Capra’s departure, but Langdon was not destined to succeed as his own producer, as this book explores in detail.” Continue reading “HARRY LANGDON’S THE CHASER (1928)”
Both Charlie Chaplin and Harold Lloyd warned Buster Keaton against signing with MGM studios. Keaton was enticed by a financially lucrative offer, but his peers cautioned that such a deal would not be worth losing artistic control. Keaton signed anyway and, in his own words, “wound up making the biggest mistake of my life.” MGM in the 1920s was the closest a Hollywood studio ever came to a fascist state and, as predicted, Keaton discovered he had sold his soul. He was finished as an artist. The Cameraman (1928) was Keaton’s first film for MGM and studio interference quickly became the status quo. The … Continue reading THE CAMERAMAN (1928) AND FILM (1965)
These two Buster Keaton films, separated by seven years, represent the artist at his most hyperkinetic. Playhouse (1921), co-directed by Keaton and Eddie Cline, is a twenty-two minute short and one of Keaton’s most surreal efforts. The movie iris-ins on Keaton’s Opera House. It’s actually a vaudeville show, in which Keaton is the conductor, every member of the orchestra (dubbed Buster Keaton’s minstrels), a stagehand, and the entire audience. The crowd consists of the actor in three drag guises, a spoiled tyke, a befuddled husband, a lethargic old man, and (alas) Keaton in (mercifully brief) blackface. This is the sole area … Continue reading PLAYHOUSE (1921) AND STEAMBOAT BILL JR. (1928)
Charlie Chaplin‘s The Circus (1928) has long been considered something akin to Beethoven’s 4th Symphony, which composer Robert Schumann referred to as “a Greek maiden between two Norse gods (the Eroica and the Fifth).” The Circus is the the maiden between two certifiable Chaplin masterpieces: The Gold Rush (1925) and City Lights (1931). Yet, Beethoven’s Fourth, seen without Schumann’s assessing lens, has, on occasion, proven to be a maiden unleashed, as in Carlos Kleiber’s live, mercurial Munich version (on DVD) and Herbert Von Karajan’s devastatingly sensuous 1963 performance with the BPO. Like Beethoven’s 4th, The Circus is an underrated opus. Seen without the preconceived assessment of historians, it is an interesting gem. … Continue reading CHAPLIN’S THE CIRCUS: A FORMIDABLE GREEK MAIDEN BETWEEN TWO NORSE GODS
Paul Leni’s credentials as an avant-garde painter and art director served him well. A Jewish German refugee, he came to the United States in 1927 at the invitation of Universal Studios. His first film for them was the old dark house melodrama, The Cat and the Canary (1927), a critical and box office hit. Leni and Universal followed up with The Man Who Laughs (1928) and his final film, The Last Warning (1929), which was released shortly after his untimely death from blood poisoning at 44. Due to his brief life and career, Leni remains the most enigmatic of the silent horror mavericks (at least, that’s the pedestrian label often … Continue reading PAUL LENI’S THE MAN WHO LAUGHS (1928)