Ninotchka. 1939. USA. Directed bu Ernst Lubitsch
Oops! I almost left out Ninotchka. Somehow, this 1939 masterpiece slipped through the cracks. I apologize for whatever inconvenience this violation of my self-imposed chronology may cause, although I don’t think the Prime Directive has been threatened.
These notes accompany the screening of George Cukor’s </i>Camille</a> on December 22, 23, and 24 in Theater 3.</p>
Of all the major film directors of the classical Hollywood period, only two were local New York City boys. Although one of them, Raoul Walsh, romanticized the city in several of his films, he was a cowboy at heart. George Cukor (1899–1983), on the other hand, seemed to bring the city’s cosmopolitan culture to his career. I don’t mean to suggest that natal geography is destiny, but being close to Broadway as a child and becoming a stage manager there at 20 was bound to have an impact.
Blanche Sweet in Judith of Bethulia. 1914. USA. Directed by D. W. Griffith. Acquired from the artist
These notes accompany the D. W. Griffith Leaves Biograph program, which screens on November 4, 5, and 6 in Theater 3 as part of the two-year </em>An Auteurist History of Film</a> exhibition.</span></p>
1915 marked the publication of poet Vachel Lindsay’s The Art of the Moving Picture, the first serious attempt in English to come to grips with the medium that had outgrown penny arcades and nickelodeons and was now threatening to appear in venues that would rival cathedrals. In the preceding year, as extraordinary European films like Benjamin Christensen’s The Mysterious X (released as Sealed Orders in the U.S.) and Giovanni Pastrone’s Cabiria were arriving on American shores, D. W. Griffith had been tearing at the seams of his constraining Biograph contract. As with so many early commentaries on the movies, Lindsay struggled to find the language that would do justice to his thoughts. (One thinks of a young Eugene O’Neill groping for words, or of Griffith himself, trying to articulate something previously undefined and unrecognized.) In fact, in his enthusiasm for film, indicative of the heady atmosphere of the times, Lindsay waxed positively Biblical, informing filmmakers: “All of you who are taking the work as a sacred trust, I bid you God-speed…. You will be God’s thoroughbreds…. It has come then, this new weapon of men, and the face of the whole earth changes. In after centuries its beginning will be indeed remembered. It has come, this new weapon of men, and by faith and a study of the signs we proclaim that it will go on and on in immemorial wonder.”
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