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Gif made from Eadweard Muybridge’s “Animal Locomotion” Series, 1887, Plate 166
This series of still photographs was of a nude man jumping over a man’s back. The original vintage collotype measured 20 x 24 inches.
One of Muybridge’s main working methods was to rig a series of large cameras in a line to shoot images automatically as the subjects passed. Viewed in a Zoopraxiscope machine, his images laid the foundation for motion pictures and contemporary cinematography.
“The Weekend”, Written and Directed by Andrew Haigh, Starring Tom Cullen, Chris New and Jonathan Race
The Man in the White Suit, Film Gif, Computer Graphics
The 1951 film “The Man in the White Suit” is a satirical comedy film made by Ealing Studios in London. The film was directed by Alexander Mackendrick and starred Alec Guinness, Joan Greenwood, and Cecil Parker.
The plot of the film involves a brilliant research chemist who has an obsession with creating an everlasting fabric which repels dirt and never wears out. Lauded for his efforts at the success of the fabric’s creation, Sidney Stratton, played by Alec Guinness, is chased, at the climax of the movie, through the streets when the textile industry realizes this creation marks the inevitable decline of the industry.
“The Man in the White Suit” opened at the Marble Arch Odeon cinema in London on the 10th of August in 1951. It became one of the most popular films of the year in Britain. The film was nominated for an Academy Award for Best Screenplay Writing.
A Year: Day to Day Men: 20th of July
A World of Blue Tiles
July 20, 1938 was the birthdate of English actress, Dame Enid Diana Elizabeth Rigg in Yorkshire, England.
Diana Rigg’s career in film, television and theater has been wide-ranging. Her professional debut was in the production of “The Caucasian Chalk Circle” at the York Festival in 1957. She made her Broadway debut with the play “Abelard and Heloise” in 1971, earning the first of three Tony Award nominations for Best Actress in a Play. She received her second nomination in 1975 for her role in “The Misanthrope”.
In the 1990s, Diana Riggs had triumphs with roles at the Almeida Theater in Islington, England, including “Medea” in 1992, which moved to Broadway where she received the Tony Award for Best Actress, “Mother Courage” at the National Theater in 1995, and “Who’s Afraid of Virginia Woolf?” at the Almeida Theater in 1997. In 2011 Riggs played Mrs. Higgins in “Pygmalion” at the Garrick Theater in the West End of London; in February of 2018 she returned to Broadway in a non-singing role of Mrs. Higgins in “My Fair Lady”.
Diana Rigg appeared in the British 1960s television series “The Avengers” from 1965 to 1968 opposite Patrick McNee as John Steed, playing the secret agent Emma Peel in 51 episodes. Rigg auditioned for the role on a whim, without ever having seen the program. Although she was hugely successful in the series, she disliked the lack of privacy that it brought. Also, she was not comfortable in her position as a sex symbol, She also did not like the way that she was treated by the Associated British Corporation (ABC).
In 2013, Diana Rigg secured a recurring role in the third season of the HBO series “Game of Thrones”, portraying Lady Olenna Tyrell, a witty and sarcastic political mastermind popularly known as the Queen of Thorns, the grandmother of regular character Margaery Tyrell. Her performance was well received by critics and audiences alike, and earned her an Emmy nomination for Outstanding Guest Actress in a Drama Series for the 65th Primetime Emmy Awards in 2013.
Diana Rigg reprised her role in season four of “Game of Thrones” and in July 2014 received another Guest Actress Emmy nomination. In 2015 and 2016, she again reprised the role in seasons five and six in an expanded role from the books. The character was finally killed off in the seventh season, with Rigg’s final performance receiving critical acclaim.
The Titans of Terror!
Segundo De Chomon, “La Grenouille (The Frog)”, 1908, Pathé Films
“La Grenouille” is a short early silent film that was released in France in 1908. It was created and directed by Segundo De Chomon. The story follows a magical frog and a young woman whom upon climbing unto a fountain rock initiates a series of spectacles. It was a rather unusual film for the era; it employed film illusion techniques used only by a few directors at that time of early filmmaking .
Segundo Víctor Aurelio Chomón y Ruiz was born on October,17 in 1871, He was a pioneering Spanish film director who produced many short films in France while working for Pathé Frères. De Chamon has been compared to Georges Méliès, due to his frequent camera tricks and optical illusions.
The soundtrack is contemporary, not the original score.
Buster Keaton: “The Bell Boy”, 1918, Silent Film
“The Bell Boy” is a 1918 American two-reel silent comedy film produced by the Comique Film Company. It was written by actor and director Roscoe “Fatty” Arbuckle with starring roles by Arbuckle and Buster Keaton as bell boys in the Elk’s Head Hotel. The cinematography was done by Elgin Lessley, an American hand-crank cameramen of the silent film era, and cameraman George Peters. “The Bell Boy” was released by Paramount Pictures on March 18, 1918 with a running length of thirty-three minutes.
Much of the material in the film was later re-used by Buster Keaton in his 1937 “Love Nest On Wheels”, one of the rare films in which Keaton appeared onscreen with his family, with whom he had performed on the vaudeville stage. The mop sequence in the film was reused by Keaton in his last film appearance in the 1966 comedy short “The Scribe”, filmed shortly before his death from lung cancer on February 1, 1966.
Buster Keaton was recognized as the seventh-greatest film director by Entertainment Weekly in 1996 and the American Film Institute ranked him in 1999 as the 21st greatest male star of the classic Hollywood cinema. Keaton was presented in 1959 with an Academy Honorary Award to celebrate his achievements in the film industry.
A Year: Day to Day Men: 12th of July
Small Flowers
July 12, 1908 was the birthdate of American comedian Milton Berle.
Milton Berle, born Mendel Berlinger, appeared as a child actor in his first silent film “The Perils of Pauline, filmed in Fort Lee, New Jersey, and released in 1914. He continued to play child roles in many other films: “Rebecca of Sunnybrook Farm” with Mary Pickford; “The Mark of Zorro” with Douglas Fairbanks Sr.: and “Tillie’s Punctured Romance” with Charlie Chaplin and Marie Dressler.
By the early 1930s, Milton Berle was a successful stand-up comedian. Berle was hired in 1933 by producer Jack White to star in the short musical theatrical film, “Poppin’ the Cork”, about the repeal of Prohibition. Berle co-wrote the musical score for that film and also the title song for the RKO 1940 “Lil Abner”, starring Buster Keaton. The Philip Morris company sponsored “The Milton Berle Show” which aired on NBC starting March 11, 1947. It teamed up Berle with comedian Arnold Stang, later a familiar face as Berle’s sidekick. This show, which lasted until April 13, 1948, became a major stepping stone for Berle’s television career.
His first television series was “The Texaco Star Theater” on ABC, showcasing Berle’s highly visual style, characterized by vaudeville slapstick and outlandish costumes. After the show moved to NBC, it dominated Tuesday night television for years and won two Emmy Awards the first year. Berle’s autobiography notes that in Detroit, “an investigation took place when the water levels took a drastic drop in the reservoirs on Tuesday nights between 9 and 9:05. It turned out that everyone waited until the end of the Texaco Star Theatre before going to the bathroom.” Television set sales doubled after Texaco Star Theater’s debut.
Like his contemporary Jackie Gleason, Milton Berle proved a solid dramatic actor and was acclaimed for several such performances, most notably his lead role in “Doyle Against the House” on the Dick Powell Show in 1961, a role for which he received an Emmy nomination. He also played the part of a blind survivor of an airplane crash in “Seven in Darkness”, the first in ABC’s popular Movie of the Week series.
During this period, Berle was named to the Guinness Book of World Records for the greatest number of charity performances made by a show-business performer. Unlike the high-profile shows done by Bob Hope to entertain the troops, Berle did more shows, over a period of 50 years, on a lower-profile basis. Berle received an award for entertaining at stateside military bases in World War I as a child performer, in addition to traveling to foreign bases during World War II and the Vietnam War. The first charity telethon was hosted by Berle in 1949. A permanent fixture at charity benefits in the Hollywood area, he was instrumental in raising millions for charitable causes.
In 1979, Milton Berle was awarded a special Emmy Award, titled “Mr. Television” He was in the first group of inductees into the Television Hall of Fame in 1984. Milton Berle has two stars on the Hollywood Walk of Fame, placed on February 8, 1960, for his work in television and radio.
A Year: Day to Day Men: 8th of July
Red Towel and Mirror
July 8, 1934 was the birthdate of British comedian, comedy writer, and actor, Martin Alan “Marty” Feldman.
Marty Feldman was born in the East End of London, the son of Jewish immigrants from Kiev, Ukraine. He suffered in childhood from thyroid disease and developed Graves’ ophthalmopathy, causing his eyes to protrude and become misaligned. By the age of twenty, he had decided to pursue a career as a comedian.
In 1954, Marty Feldman first met Barry Took, a West End revue performer, forming an enduring writing partnership with him which lasted for twenty years. Together they wrote most of the shows of “Bootsie and Snudge”, a situation comedy for the ITV Network, and the BBC radio show “Round the Home” from 1964 to 1967. Feldman became chief write and script editor for the 1966-67 “The Frost Report”, which introduce John Cleese, Ronnie Barker, and Ronnie Corbett to television.
Marty Feldman’s appearance on the sketch comedy series “At Last the 1948 Show” as the fourth cast member of the group raised his profile on television. His character, frequently a harassing pest, interacted with fellow comedians John Cleese, Tim Brook-Taylor, and Graham Chapman. Thirteen series were made during the ten-month run, of which eleven complete shows survive.
On film, Marty Feldman is best known for his portrayal of Igor (pronounced Eye-Gore) in the now-comedy classic by Mel Brooks “Young Frankenstein”, released in 1974. The screenplay was written by Mel Brooks and Gene Wilder, who had Feldman in mind when he wrote the part. Feldman improvised many of his scenes’ lines during the shooting.
Feldman later in his career, appeared as a guest on “The Dean Martin Show”, ventured into Italian cinema in the sex comedy “Sex with a Smile”, appeared with Gene Wilder in Wilder’s directorial debut “The Adventure of Sherlock Holmes’ Smarter Brother”, played Marty Eggs in Mel Brook’s “Silent Movie”, starred in his own written and directed comedy “The Last Remake of Beau Geste”, and showed up in a cameo role with the Cookie Monster on “The Muppet Show”.
Marty Feldman died from a heart attack in a hotel room in Mexico City on December 2, 1982 at the age of forty-eight, while filming “Yellowbeard”. He is buried in Forest Lawn- Hollywood Cemetery near his idol, Buster Keaton, in the Garden of Heritage.
João Lima, (The Bird Thief)
A Year: Day to Day Men: 3rd of July
A Luxurious Sprawl
July 3, 1945 was the birthdate of American actor, Michael Cole.
Michael Cole was born in Madison, Wisconsin. He has appeared in numerous films and television shows, beginning with his first role in the 1961 film drama “Forbid Them Not”. In 1966 Cole had the role of Mark in the 1966 science fiction film “The Bubble”, later re-titled “Fantastic Invasion of Planet Earth”, which introduced the Space-Vision 3-D system. He played the character Spivey in the 1967 western “Chuka”, known for Cole’s military-fort flogging scene. He later starred in the 1971 science fiction movie “The Last Child” which was nominated for a Golden Globe Award.
Cole also appeared in many television shows. He played Kipp in the 1966 season of “Gunsmoke”. During the 1970s, he made guest appearances on “Wonder Woman”, “The Love Boat” and “CHiPs. He also worked on “Murder, She Wrote”, “Fantasy Island”, and Diagnosis Murder”. Cole later appeared in Stephen King’s 1990 two-part television movie “It”, playing the older version of Henry Bowers.
The role that made Michael Cole an international celebrity was his role as Pete Cochrane, a troubled youth turned crime fighter in the 1968-1973 “The Mod Squad”. Cole’s boyish good looks and brooding, deep voiced personality meshed perfectly with his character’s background. Aaron Spelling, the executive producer of the show, thought Cole was perfect for the part of Pete. Cole, however, originally balked at taking the part; but he was persuaded to do it after reading the script and realizing the show’s potential appeal. “The Mod Squad” resonated with the counter-culture-era viewers and ran for a total of 123 episodes over five seasons.
Michael Cole is also known for an incident in 1973 which was broadcast live on Australian television during the annual TV Week Logie awards. Stepping on stage to accept an award, Cole, described later as drunk or “emotionally tired”, gave a barely coherent “thank you” speech that ended with the actor saying, “Oh, shit.” This was the first time this profanity had been heard on Australian television.
Michale Cole continues to act in film and television projects. He appeared as Charles Hadley in a 2006 episode of the television series “ER”. He also made an appearance in the 2007 psychological thriller “Mr. Brooks” as the attorney for Demi Moore’s character Tracy Atwood. The film was directed by Bruce Evans and showcased performances by Kevin Costner, Demi Moore, Dane Cook, and William Hurt.
A Year: Day to Day Men: 26th of June
The Art of Concentration
June 26, 1925 marks the release of the Charlie Chaplin film “The Gold Rush”.
The 1925 American comedy “The Gold Rush” was in every respect the most elaborate undertaking of Charlie Chaplin¹s career. For two weeks the unit shot on location at Truckee in the snow country of the Sierra Nevada. Here Chaplin faithfully recreated the historic image of the prospectors struggling up the Chilkoot Pass. Six hundred extras, many drawn from the vagrants and derelicts of Sacramento, were brought by train, to clamber up the 2300-feet pass dug through the mountain snow.
For the main shooting the unit returned to the Hollywood studio, where a remarkably convincing miniature mountain range was created out of timber (a quarter of a million feet, it was reported), chicken wire, burlap, plaster, salt and flour. The spectacle of this Alaskan snowscape improbably glistening under the baking Californian summer sun drew crowds of sightseers
In addition, the studio technicians devised exquisite models to produce the special effects which Chaplin demanded, like the miners’ hut which is blown by the tempest to teeter on the edge of a precipice, for one of the cinema’s most sustained sequences of comic suspense. Often it is impossible to detect the shift from model to full-size set.
“The Gold Rush” abounds with now-classic comedy scenes. The historic horrors of the starving 19th century pioneers inspired the sequence in which Charlie and his partner Big Jim are snowbound and ravenous. Charlie cooks and eats his boot, with all the airs of a gourmet. In the eyes of the delirious Big Jim, he is transformed into a chicken – a triumph both for the cameramen who had to effect the elaborate trick work entirely in the camera; and for Chaplin who magically becomes a bird.
The lone prospector’s dream of hosting a New Year dinner for the beautiful dance-hall girl provides the opportunity for another famous Chaplin set-piece: the dance of the rolls. The gag had been done before, by Chaplin’s one-time co-star Roscoe “Fatty” Arbuckle; but Chaplin gave unique personality to the dancing legs created out of forks and rolls. When the film was first shown audiences were so thrilled by the scene that some theaters were obliged to stop the film, roll it back and perform an encore.
“The Gold Rush” was the first of his silent films which Chaplin revived, with the addition of sound, for new audiences. For the 1942 reissue he composed an orchestral score, and replaced the inter-titles with a commentary which he spoke himself. The film today is accepted to be one of Chaplin’s most perfectly accomplished films and declared by him to be the one by which he wanted to be remembered.
Fritz Lang’s “Siegfried”, First Film of the “Die Nibelungen” Series,1924
A Year: Day to Day Men: 18th of June
Not Clark Kent
June 18, 1969 was the release date of Sam Peckinpah’s western “The Wild Bunch”.
In 1967, Warner Brothers-Seven Arts producers Kenneth Hyman and Phil Feldman were interested in having Sam Peckinpah rewrite and direct an adventure film. At the time, William Goldman’s screenplay “Butch Cassidy and the Sundance Kid” had recently been purchased by 20th Century Fox. It was quickly decided that “The Wild Bunch”, which had several similarities to Goldman’s work, would be produced in order to beat “Butch Cassidy” to the theaters.
Peckinpah’s epic work was inspired by his hunger to return to film work, the violence seen in 1967’s “Bonnie and Clyde”, America’s growing frustration with the Vietnam War, and what he perceived to be the utter lack of reality seen in Westerns up to that time. He set out to make a film which portrayed not only the vicious violence of the period, but as well the crude men attempting to survive the era. Multiple scenes involving slow motion action sequences inspired by Kurosawa’s “Seven Samurai”, characters leaving a village as if in a funeral procession, and the use of inexperienced locals as extras, would become fully realized in “The Wild Bunch” film.
The film was shot in the anamorphic format, a technique of shooting a widescreen picture on a standard 35 mm film. This arose from the desire to maximize the overall image detail while retaining the use of standard cameras and projectors. Telephoto lenses were used by cinematographer Lucien Ballard to compress foreground and background images in perspective. The editing of the film is notable in that shots from multiple angles were spliced together in rapid succession, often at different speeds, placing greater emphasis on the chaotic nature of the action and the gunfights.
Peckinpah would film the major shootouts with six cameras, operating at various film rates, from 24 frames per second stepping up to 120 frames per second. When the scenes were eventually cut together, the action would shift from slow to fast to slower still, giving time an elastic quality never before seen in motion pictures up to that time. By the time filming wrapped, Peckinpah had shot 333,000 feet of film with 1,288 camera setups. Editor Lou Lombardo and Peckinpah remained in Mexico for six months editing the picture.
The violence that was much criticized in 1969 remains controversial. Peckinpah noted it was allegoric of the American war in Vietnam, the violence of which was nightly televised to American homes at supper time. He tried showing the gun violence commonplace to the historic western frontier period, rebelling against sanitized, bloodless television Westerns and films glamorizing gunfights and murder: “The point of the film is to take this façade of movie violence and open it up, get people involved in it so that they are starting to go in the Hollywood television predictable reaction syndrome, and then twist it so that it’s not fun anymore, just a wave of sickness in the gut … it’s ugly, brutalizing, and bloody awful; it’s not fun and games and cowboys and Indians.”
