Film

Welcome to 24 Frames per Second, a New York Public Library blog tagline devoted to film. By following the 24fps@NYPL tag you’ll easily be able to read films reviews and suggestions from Library staff system wide which will hopefully lead to many lively and insightful comments and discussions. You will also be able to find information here about film screenings at local branches. Hopefully the posts here will expose you to some films you may not have seen or encourage you to possibly revisit or reconsider some of those films you haven’t seen in a long time. And of course, all the films discussed here are available in the branches of The New York Public Library.

So, let us get things under way….  read more »

In 1919, D.W. Griffith announced that he was opening an independent film studio in Mamaroneck, New York; it had been only five years since the director left the East Coast for Hollywood. But that five-year period had been a momentous one, not only for Griffith—whose West Coast output during this time included Birth of a Nation, Intolerance, and Broken Blossoms—but for the film industry in general. By 1915, 80 percent of American films were made in southern California, and by 1919, the factory system that came to characterize Hollywood production during its classical period was largely in place.

Griffith’s return East is Richard Koszarski’s jumping-off point for his book Hollywood on the Hudson, a survey of film production in and around New York during the 1920s and 30s. It’s a story of stops and starts, with the former outweighing the latter—indeed, despite the success of Way Down East, his first film made there, Griffith’s Mamaroneck experiment eventually failed, as did attempts to sustain feature film production at Paramount’s Astoria Studio in Queens, Fox Studio in Manhattan, and Vitagraph in Brooklyn.

Yet Koszarski’s argument is that movies never entirely left New York: music and comedy shorts, “race” films, and cartoons continued to be made through the 1930s, and even when this activity faded, newsreels, documentaries and nascent television production helped keep the necessary infrastructures alive. In the process, New York filmmaking established a scrappy, independent identity that served as an alternative model to the Hollywood studio system when feature production started trickling back after World War II.

Come to the Riverside Branch on Thursday, May 14 at 6:00pm, where Koszarski will appear to discuss his book and its colorful cast of characters, including Ernst Lubitsch, Oscar Micheaux, Betty Boop creator Max Fleischer, and television pioneer David Sarnoff. Admission is free to the program, which is part of LPA Cinema Series’ Meet the Scholars series.

We're pretty excited at the Library today, because tonight is the debut screening of a documentary short of Design by the Book at the Brooklyn Arts Council Film Festival!

Design by the Book began life as a series here at NYPL, co-produced by Grace Bonney of Design*Sponge. It follows the experiences of five local artists as they explore the Library's collections (and the building itself too!) in search of inspiration for their work. I was their resident reference librarian and had great fun helping them out in their searches. We're planning some super fall programming that will bring more crafty and artsy books out of the stacks and to the DIY-ing masses, so stay tuned if you want to get some hands-on library inspiration too. But in the meantime, come to tonight's event and see some great films and meet the makers!

What: Design by the Book will be screened as part of a curated collection entitled Artists in Residence
When: 9:00pm
Where: Galapagos Art Space in DUMBO (16 Main Street at the corner of Water Street)

Tomorrow marks the 40th anniversary of the premiere of the first work from one of the most notorious men in the history of Hollywood. He is prolific, having had a hand in the making of over one hundred film and television projects. That hand though has been the heavy hand of disassociation through loss of creative control. This man’s name is now synonymous with bad films and bad decisions. His name is Alan Smithee.

Death of a Gunfighter was released on April 25, 1969 in West Germany. The United States premiere was a few weeks later on May 9th. The New York Times gave a positive review for film, stating it was "sharply directed by Allen Smithee who has an adroit facility for scanning faces and extracting sharp background detail". Variety said “Smithee's direction keeps the action taut and he draws convincing portrayals from the supporting cast". Even Roger Ebert, though not familiar with the name, commented possitively on Smithee’s direction.

The absurdity of all this was that Allen Smithee did not exist.

Robert Totten was the original director of Death of a Gunfighter. He left well into production due to disagreements with the lead actor, Richard Widmark. Totten was replaced with Don Siegel but when the film was finished neither wanted to take credit because the final product did not represent either director’s creative vision. The Director’s Guild of America decided to use a pseudonym. Al Smith was the first choice but it was too common and there were already individuals in the film industry with that name. Allen Smithee was chosen because it was uncommon enough but not too strange to stand out. Though his name was later retroactively applied to some earlier works, Death of a Gunfighter was the first film attributed to Smithee.
The standard spelling later became Alan Smithee.

A perfect example of Smithee’s work is the extended televised version of Dune. The original feature film was directed by David Lynch. It was later edited with additional footage without Lynch’s involvement. Lynch had his name removed from this version and also replaced his screenwriting credits with the name Judas Booth, an inside joke and his way of saying the studio betrayed him and killed his film.

In the publishing world these name games are more common and done for entirely different reasons. A press release in the mid 1980’s informed the world of the death Richard Bachman from cancer of the pseudonym. Before I Wake, by Eric Bowman was really written by Mark Frost. And of course there is Lemony Snicket. Usually these pseudonymous writers have fans in the know waiting for more material, but no one is waiting for Alan Smithee films. His few fans are more of the cult classic variety, his films reserved for bad movie nights, his career a trivial footnote in Hollywood history.

On Saturday April 25th at 2PM The Jefferson Market Branch will be one of the stops for The Black Maria Film and Video Festival. Yes, I know I know, the weather is finally nice, Spring is finally here, but we've got an incredible line up this year so you really must try and stop by.

"Since 1981, the annual Black Maria Film and Video Festival, an international juried competition and award tour, has been fulfilling its mission to advocate, exhibit and reward cutting edge works from independent film and videomakers. The festival is known for its national public exhibition program, which features a variety of bold contemporary works drawn from the annual collection of 50 award winning films and videos."

Please click through to see the selection of films we are screening...  read more »

Film noir is the theme for Jefferson Market’s Monday night films this month. We’ll start the series with Fritz Lang’s Hangmen Also Die. Please take a look at The New York Public Library’s online calendar for our other upcoming films.

We’ll also have a special non-noir Saturday film screening of Blithe Spirit on March 21, 2009 at 2pm. Based on the play by Noel Coward, Blithe Spirit is getting a revival on Broadway this month. The 1945 movie poster described the film as “super-naturally spicy screen entertainment” in “blushing Technicolor. Can you resist? I think not!

Our February films came to an end with a screening of a film about Harold Arlen, the composer of such standards as It’s Only a Paper Moon and Stormy Weather and the music to The Wizard of Oz. The film had some wonderful performances by Rufus Wainwright, Debbie Harry, and Jimmy Scott, whose appearance was a highlight for me.

When I first moved to New York City I made a short list of jazz performers I wanted to see. The list wasn’t short for long, as a handful of names were added each time I’d scratch one off. Most of the individuals on this list were musicians who were around in the 1950s and were amazingly still around and performing. Jimmy Scott was on that list and the first show I saw upon moving to NYC. You might remember Scott from his haunting performance in the last episode of Twin Peaks.

A few of the other names on that short list that were quickly marked off include:  read more »

I just finished Malcolm Gladwell’s new book Outliers. I also recently booked (through the summer) films for Jefferson Market’s Monday night film screenings, including some great music documentaries in February. I’ve been thinking about both Outliers and music a lot recently.

On Monday February 2nd at 6PM we are showing Let’s Get Lost, Bruce Weber’s 1988 documentary about Chet Baker. This is an amazing film that has yet to be released on DVD in the United States. The reason? Unknown! If you haven’t seen Let’s Get Lost this would be the perfect opportunity to do so. Watch for appearances by a young Chris Isaak and Flea of Red Hot Chili Peppers. Also of note are interviews with Baker’s childhood friend Jack Sheldon who later voiced such School House Rock classics as Conjunction Junction and I’m Just a Bill.

On Monday February 9th at 6pm we are showing Is It Really So Strange? This documentary takes a look at an unlikely Morrissey fan base: Latino youths in East Los Angeles. The Smiths broke up in 1987 but Morrissey’s cult of adoring, devoted, and obsessed fans has never been more adoring, devoted, or obsessed. Johnny Marr has also remained busy with many side projects including stints with The Talking Heads, REM, and Modest Mouse. Much news was made about the reunion tours of famously disbanded acts such as The Pixies and Van Halen. Now if the songwriting team of Morrissey and Marr ever got back together, that would be cause for celebration. I know, I know, but never say never.

Lastly, on Monday February 23rd at 6pm we are showing Stormy Weather: The Music of Harold Arlen. My earliest recollection of the Arlen song Stormy Weather is from the May 8, 1987 episode of Miami Vice entitled Heroes of the Revolution. It wasn’t like I was even a fan of Miami Vice, but OK, I did watch a few episodes! I don’t know what it was about that song or why I remember the first time hearing it. To this day I can still picture Detective Gina Navarro Calabrese singing in a club with Crockett and Tubbs watching. Actually I don’t even remember if Crockett and Tubbs were in the audience. But they’re in the memory. As far as what I hear in my head when I picture this season three scene from Miami Vice it is now always Ella Fitzgerald’s version. For me, Ella’s is the definitive version of the song. Gina, Crockett, Tubbs, and Ella.

Which brings me to Outliers. The ideas in this book I found most interesting dealt with opportunities. Think about Ella Fitzgerald, Chet Baker, or The Smiths. Each was at the right place and right time for what they were doing. Jazz vocals? You’d be hard pressed to find a better time and place than 1930’s Harlem. Jazz musician? Sure there was an East Coast/West Coast thing going on, but being a jazz musician on either coast in 1951? You can’t beat that time or place! How about a post punk British pop rock band headed by an incredibly talented guitarist and a lyricist well-versed in literature and poetry with a unique vocal delivery? The time and place would ideally be one where you could catch the ear of British DJ John Peel. Peel is singled-handedly credited with launching the careers of countless bands and musicians. If he liked your music then he played your music and you sold many records and became famous. Sure talent comes into play (see Gladwell’s discussions on the 10,000 hour rule) but you can’t ignore the idea of being at the right place at the right time and taking advantage of the opportunities available. Gladwell takes a unique look at computer programmers (Bill Gates, Bill Joy), Jewish lawyers, The Beatles, and hockey players and shows that opportunity (which involves the 10,000 hour rule and being at the right place at the right time) is the key to success. After reading Outliers, I’m convinced.

That got me to thinking. What about librarianship? Being a librarian circa 1880 with Melvil Dewey would have been quite an opportunity and being around for the computer revolutions circa 1980 and 1995 would have been equally as interesting. But in regards to technology, access to information and resources, and the quickly changing virtual landscape (aren’t these all opportunities?) when would be the perfect time to be a librarian?

How Soon is Now?

Librarians of the world, unite and take over.

Here is a listing of Monday night films at Jefferson Market through November. I’ll post detailed descriptions as the screening dates approach, but for now take a look and mark your calendars.

Of particular interest: On November 3rd, Werner Herzog’s Stroszek. This has to be one of my favorite movie endings of all time. America’s endless pursuit of entertainment! Herzog has called the final minute one of the best things he’s ever filmed. Bonus points for you if you happen to know the reported connection between this film and Ian Cutis of Joy Division. On November 11th, Errol Morris’ Gates of Heaven appropriately paired with Werner Herzog Eats His Shoe.

Click through for the full schedule...  read more »

10. It is hot outside. It is cool inside. Very cool!

9. It’s FREE!

8. I’m thinking about unveiling the world premiere of my new composition 4:34, a tribute of sorts, based on Cage’s own 4:33. So show up early! My composition is one second longer, and therefore, one second better!

7. See number 4.

6. The first film on the first night features Rahsaan Roland Kirk.
You might not know his name but you probably know his music. When you think of the Austin Powers flicks what song do you think of? Soul Bossa Nova by Quincy Jones? That catchy melody played on flute, that’s Kirk. Imagine a large African American male in a top hat playing three saxophones at the same time. He is also playing a flute with his nose. By using the circular breathing technique he plays continuously without stopping to take a breath. He is also blind. Sound like something out of a dream? Described as a “supernatural one-man vaudevillian freak show,” Ronald Kirk was born on August 7, 1936. Sickness at the age of two left him blind. A dream compelled him to change his name from Ronald to Roland. Years later he heard the name Rahsaan (also in a dream) and he added that one too. He never really received the credit or attention his contemporaries received, in part due to being labeled a gimmicky multi-instrumentalist. But he was no gimmick. He was the real deal.

5. The Jefferson Market Branch is easy to get to, in the heart of Greenwich Village.

4. See number 9.

3. John Cage was born on Sept 5, 1912 so you can come and celebrate (one month early) what would have been his 96th birthday.

2. John Cage once asked, “Which is more musical, a truck passing by a factory or a truck passing by a music school?” Come to our Monday night film screenings in August and you might find out.

1. Did I mention, like all the great events and programs at NYPL, that it is free? That is very cool. Very cool indeed.

See here for a complete listing of our August film schedule.

John Cage
Nine Films
Every Monday in August at 6PM
Jefferson Market Library
425 Avenue of the Americas at 10th Street
NY, NY 10011
1-212-243-4334

The schedule:

   read more »

On a recent Saturday and with a few friends, I visited the Brooklyn Museum and the near-permanent exhibit, American Identities. Tired from the walk, we loitered around the first room and looked at the disparate paintings, furniture & objets d’art. Also in this room was a television monitor showing a loop of Thomas Edison’s films of revelers at Coney Island. These films reminded one of us of another Edison film from Coney Island that hasn’t made it onto the Library of Congress’ American Memory site: “Electrocuting an Elephant” (1903). Two grainy versions of the film are available here & here, but it’s perhaps best to start with the reported account of the execution from the New York Times.

I’m not quite sure of the aesthetic merits of this animal snuff film, but it is imprinted in my mind like Andy Warhol’s Electric Chair series. The inventor of the electric chair was, of course, Mr. Thomas Alva Edison and the elephant was named—after a little girl who ‘growed’—Topsy.

The New York Times announced today that a new animated adventure featuring the inventor Wallace and his long-suffering dog companion Gromit is in the works. It promises to be a murder mystery set in a bakery, and I look forward to a reunion with this quirky man and beast duo.

Movies, you say, in a blog the focuses on the handmade? Even IF one of the characters is a knitter (and Gromit is), why mention the film here? Maybe it’s a stretch, but here’s my reasoning. Wallace and Gromit are the work of Aardman Animations, which uses three dimensional stop motion animation techniques to create films and shorts beloved on both sides of the Atlantic. In their films, including The Wrong Trousers and Creature Comforts (these and others are available at the branches for checkout–just do a keyword search for Aardman and they’ll come up), the animation is the result of labor-intensive hands-on stop motion filming, as each plasticine character is slightly adjusted, frame by frame, to simulate movement. So there’s definitely a handmade facet to this filming, see? NYPL has books that can help you learn more about this animation process: Cracking Animation and Creating 3-D Animation are two to read.

And if you want to look deeper into Aardman, there’s a typescript screenplay for the Aardman film Chicken Run at the Performing Arts Library too.

(Will Wallace and Gromit’s bakery look anything like the New York City one above? Image from the NYPL Digital Gallery.)