Feeds:
Posts
Comments

Archive for July 31st, 2011

The first in a month long series of pieces on pre-code Hollywood running on Sunday, Tuesday and Friday…

by Allan Fish

(USA 1932 88m) not on DVD

The sins of the fathers

p  Sam E.Rork  d  John Francis Dillon  w  Edwin J.Burke  novel  Tiffany Theyer  ph  Lee Garmes  m  Peter Brunelli, Arthur Lange  art  Max Parker

Clara Bow (Nasa ‘Dynamite’ Springer), Gilbert Roland (Moonglow), Thelma Todd (Sunny DeLan), Monroe Owsley (Larry Crosby), Estelle Taylor (Ruth Springer), Fred Kohler (Silas Jennings), Margaret Livingston (Molly), Oscar Apfel, Russell Simpson,

Ask any serious film connoisseur to name the sexual icon of twenties cinema and it’s a reasonably safe bet that Louise Brooks would get more votes than any other.  Yet she was off-Hollywood, as it were, her potential – Beggars of Life aside – only realised in the German seediness of G.W.Pabst.  Hollywood’s own sex symbol was Clara Bow, and her ultimate fate is as depressing as her personality was anything but.  Here’s the girl who so personified Elinor Glyn’s definition of ‘It’ that they made Clara the star of a film of the same title, a star not afraid to tantalise her audience, as in the skinny dip sequence in Hula, and very aware of the effect she had on men.  As David Thomson observed, “her fevered agitation – the fluttering eyes, the restless fingering of men, and teasing angled glances – does seem to speak for the liberated lascivious energies of the new American girl of the twenties.”  Sadly, Clara went a little too far, her excesses and exhibitionism legendary, with rumours of wild parties that became gang bangs – an entire football team, so they say – so that eventually middle class moral America shunned her and she was washed up and washed out by 30. 

Yet don’t let anyone tell you that she didn’t cope with talkies, the truth is very different, as her last two films made at Fox illustrate, with Clara shown in an altogether more intriguing light.  The last, Hoop-La, is memorable for her skinny dip, insouciant yet casual stripping into her night clothes, her snake-eyed costume and her general ‘go ahead and look’ attitude to her body which would have made Jean Harlow blush.  Unbelievably, it was also the influence for Ozu’s A Story of Floating Weeds.  The penultimate, though crazier and more uncontrolled, now seems even more fascinating… (more…)

Read Full Post »