The Crazy Ray At 3:25 While Paris Sleeps

Paris qui dort (1925)

aka At 3:25

aka The Crazy Ray

directed by Rene Clair
photography by Jean Wiener

Mandarin Mystery Art Deco

Here's another little Republic program-filler loaded with Art Deco goodness:

 

I always cringe while watching films with titles like this, bracing myself for sudden appearances of racist depictions but the only Oriental appearance is on a stamp. Whew!

A very lovely demonstration of decorous lounging on an Art Deco chair (bias-cut silk evening gown required):

Oh golly, I want those sconces!

Out of respect for Franklin Pangborn, who faints repeatedly throughout the picture, I didn't include the great one but you can

watch it here for yourself.

The Mandarin Mystery (1936)

directed by Ralph Staub

cinematography by Jack Marta

most snowiest time of the year day 18

Wheee, more ice skating!

There is the briefest shot of Clark Gable gliding from one edge of the frame to the other on skates (not pretty enough to include here), but unfortunately not one glimpse of Jean Harlow or Myrna Loy on ice.

It is a gorgeous Art Deco ice rink, one I imagine ICELAND in Berkeley resembled before it was recently closed. Not only was I born late, but now I'm showing up too late for what little is still left!

Wife vs Secretary (1936)

directed by Clarence Brown

frills over onyx

Wow, does that ever look like fun!
This is a great title sequence-
graceful, curvilinear, flowery,
and completely unlike the design of the film itself.
Just like Fred and Ginger with their
graceful steps and her frilled gowns gliding
over the hard flat Art Deco sets.
Its a contrasting platform that serves to highlight the art of the dance
of the hands and of the feet.

Carefree (1938)
directed by Mark Sandrich
art direction by Van Nest Polglase

sunday in the richmond district

San Franciscans often complain that the westernmost part
of the city is just too far away,
boring and out-of touch.
It's such a shame for they are missing out on some gems.

While it's not quite the step back in time people believe,
you can pretend you are back in the 1920s
this Sunday in the Richmond District.

Step 1) Spend the afternoon at the Legion of Honor's Cartier jewelery show.
Marvel at the fabulous Art Deco diamond cuffs worn by Gloria Swanson
in Sunset Boulevard amongst many, many other pieces from the era.

Step 2) Rest your bedazzled eyes on the screen at the 1926 Balboa Theater,
which will be showing the darkly German-Expressionist
The Cat and the Canary (1926) on it's 84th birthday.
Be sure to dress, their parties are quite the deal-
short features, live vaudeville acts
and birthday cake.

Have a lovely time, darlings! I'll add pictures next week.

now i'm rich

Ahora Soy Rico (1952)

directed by Rogelio A Gonzalez

cinematography by Agustin Martinez Solares

set design by Jorge Fernandez

Another Mexican gem, brimming with film noir moodiness. The art direction is fabulous. The composition in nearly every frame is a work of art. Sadly the print was very poor, else I'd share a lot more images of the art moderne apartments which contain many key scenes.

What really impressed me was Pedro Infante. Within a meandering plot that includes gangsters and marital disharmony, there is a deeply moving scene in which Infante is struggling with his male inferiority complex. He literally howls in pain. The scream shatters the momentum of the story, taking a moment to rawly expose the underlying unrest in all of film noir. Very powerful and very moving.

adventures in early film design- repetition

a nous la liberte 1931

directed by rene clair

art direction by lazare meerson

I know this film is already well known, maybe even because of the Charlie Chaplin controversy (thought personally, I think the antics in this film are derivitive of Buster Keaton- i guess all's fair in film criticism.) What impresses me is the architecture that relentlessly reinforces Rene Clair's themes.

A major theme is repetition, evidenced by the arrangement of the actors as well as the costumes, decor and lighting. There's often an asymmetrical placement of these visual cues, so it feels as though everything continues into infinity. The situation seems hopeless and impossible to change.

Its a visual restriction of movements, pointing out the direction for characters to move.

Another theme is conformity; the straight lines and occasional curves provide the templates.

Also: why is Rene Clair so mean to his female characters? Still, this film is far more toned down than Under The Roofs of Paris where the poor female protagonist is under attack throughout the film, either directly or indirectly.

Sheesh.