The estimable Alan Jacobs on what we can learn from our elders…
There are a lot of stories about the intense conflicts between old Hollywood and new Hollywood. An oft-told one says that at a party Dennis Hopper went up to George Cukor, pointed a finger in his face, and said, “We’re gonna bury you.” This sense that the new Hollywood was at war with the old one — that the new could only live if the old died — was a commonplace idea at the time. But it was not a view held by one of the hot new directors of the Sixties, Peter Bogdanovich…
… When he came to Hollywood, Bogdanovich made a point of getting to know the people who had made so many of the movies he loved. He compiled a book of interviews with old-time directors — he also did one with old-time actors, but the one with directors is particularly noteworthy.
Of all those interviews, the most fascinating is the very first one, with Allan Dwan, because Dwan was present at the creation. He had played football at Notre Dame, got an engineering degree there, worked on designing lights for early filmmakers in Chicago — no one had thought of going to Los Angeles yet — and gradually drifted into making movies himself. He sold some stories, then became a scenario manager (that is, someone who sought and recommended stories for turning into screenplays) and ultimately a director, making dozens and dozens of films — none of them especially famous. His attitude towards movie-making was workmanlike, and he just accepted the tasks set before him.
(He told Bogdanovich that when directors started taking seventeen weeks to make a picture that he would have made in seventeen days, that brought in the producers to manage everything. After that, no director was safe from studio interference. This reminds me of something Christopher Nolan said in his Desert Island Discs interview a few years ago: that right from the beginning of his career he made a particular point of bringing his movies in ahead of schedule and under budget because that was the only way to keep the studio execs away from his sets.)
Dwan’s stories are wonderful because they show what it was like for Hollywood to be invented. Nobody knew what they were doing. He tells about his days as a writer and scenario manager: he showed up at a shoot in Arizona only to discover that the director had disappeared and the actors were just sitting around. He called his bosses in Chicago to report what had happened, and they told him, “Well, you’re the director now.” He had no idea what a director did — but, with the help of the actors, he directed the movie. This happened in 1911. Dwan kept directing movies until 1961.
He tells another story about getting his car repaired and talking to the mechanic, who turned out to be interested in photography. Dwan hired him as a cameraman because he desperately needed one and in those days they weren’t easy to find. That mechanic-turned-cameraman eventually became a director — his name was Victor Fleming, and one of his pictures was Gone with the Wind. Dwan remembered a prop man who liked to wear fake teeth and prosthetic noses. Dwan asked him, “Why are you doing this? Do you want to be on the other side of the camera?” The guy said, “Well, kind of.” That was Lon Chaney.
He also tells of watching a pickup baseball game near the Paramount lot and seeing a girl — maybe 11 or 12 — who was the best player out there and made sure everybody knew it. She was whacking the ball all over the field and taunting the boys mercilessly. Dwan talked to her; he thought she’d make a great impression in the pictures. Her name was Jane Peters, but eventually a studio changed it to Carole Lombard. (Lombard, by the way, was quite an athlete: Clark Gable fell in love with her after she thrashed him in a tennis match.)
Dwan had a thousand stories like this. It’s fascinating to see how this industry — this art form — developed when nobody knew how to make movies. Dwan himself was the first to figure out that you could dolly a camera backwards, putting it on rails or a truck and backing up. (This actually disoriented viewers at the time, made them feel woozy). He helped D.W. Griffith figure out how to do a crane shot for Intolerance. All such techniques had to be improvised — and when an improvisation worked it became an invention. You basically had to think like an engineer, and Dwan was an engineer.
And when you put all the improvised and then repreated techniques together, you get the dominant artistic medium — and the dominant form of entertainment — of the 20th century. But nobody could possibly have guessed any of that when Dwan was just getting started. It’s to Bogdanovich’s great credit that he listened to these people…
* a reference to the belief that Jesus was involved in the creation of the universe, appropriated by Dean Acheson as the title of his memoir.
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As honor those on whose shoulders we stand, we might recall that it was on thus date in 1985 that Pee-wee’s Big Adventure premiered. Following the success of The Pee-wee Herman Show in 1981, Pee-wee (Paul Reubens) was hired by Warner Bros. to write (ultimately with help from Phil Hartman and Michael Varhol) the script for Pee-wee’s Big Adventure. Impressed with Burton’s work on the short film Frankenweenie (1984), the producers and Reubens hired him to direct. The film was scored by Danny Elfman, marking his first among many collaborations with Burton. It was a success in its initial release and has, of course, become a cult classic.
Faulkner at work on a screenplay on the balcony of his L.A. apartment
While William Faulkner spent most of his life in the Oxford, Mississippi area that he made famous, he did a considerable– and fascinating– stetch in Hollywood. John Meroney reports…
… It all started in 1932, when, riding on the success of his novel Sanctuary, Faulkner got word that Leland Hayward, a prominent Hollywood talent agent, had secured for him a $500-a-week contract (the equivalent of $8,500 today) to write scripts at Metro-Goldwyn-Mayer. Faulkner was a modernist, and film was still a new, exciting form of storytelling. But that wasn’t the reason Faulkner accepted. It was the money.
At the same time Faulkner received the offer from Metro, he got news that his publisher, Cape & Smith, was bankrupt. Faulkner had been planning on $4,000 ($68,000 in today’s money) from the company for Sanctuary but was informed he wouldn’t see any of it. Suddenly, he was broke. Word apparently got around Oxford. When he tried writing a check for three dollars at a sporting goods store, the owner told him, I’d rather have cash. All at once, Hollywood became attractive. Faulkner didn’t even have the money to send a wire to answer yes. Eventually MGM advanced him some cash and paid for his train ticket, and days later he arrived in Culver City.
He was so naive about the industry that he entertained hopes he would be writing for the famous movie star Mickey Mouse. But the folks at Metro informed him, No, Mickey lives at another studio out in the Valley—we want you for a Wallace Beery picture. “Who’s he?” Faulkner asked…
… Faulkner completed four story treatments in four weeks. That kind of productivity earned him a meeting with up-and-coming director Howard Hawks [see almanac entry here]. He liked Faulkner’s writing and purchased a Saturday Evening Post short story by him that he wanted Faulkner to adapt into a script for Hawks to direct. Over a “couple of quarts of whiskey,” as Hawks recalled in an interview, they clicked and found common cause. “[Faulkner] got up the next morning and started to work, and in five or six days, he had a script,” Hawks said. “It was one of the finest scripts I’ve ever read.” Hawks showed it to Metro’s head of production, Irving Thalberg, who concurred. “Go out and make it!” he ordered Hawks. The result was Today We Live, a drama starring Gary Cooper and Joan Crawford, released in 1933. William Faulkner now had a hit movie to his credit. And, more important, the beginning of what would become an ongoing professional connection with Hawks…
…Faulkner sometimes hunted with Hawks, and on one dove hunting trip recounted by the director, Hawks invited along Clark Gable, already a star. Faulkner and Hawks began discussing literature and eventually Gable asked, “Mr. Faulkner, what do you think somebody should read if he wants to read the best modern books? Who would you say are the best living writers?” Faulkner replied, “Thomas Mann, Willa Cather, John Dos Passos, Ernest Hemingway, and myself.” Gable asked, “Oh, do you write, Mr. Faulkner?” Faulkner replied, “Yeah. What do you do, Mr. Gable?”…
As we fathom fish out of water, we might recall that it was on this date in 1987 that the United States Postal Service issued a 22-cent postage stamp in Faulkner’s honor. Very early in his career, Faulkner had briefly served as Postmaster at the University of Mississippi, and in his letter of resignation in 1923 wrote:
As long as I live under the capitalistic system, I expect to have my life influenced by the demands of moneyed people. But I will be damned if I propose to be at the beck and call of every itinerant scoundrel who has two cents to invest in a postage stamp. This, sir, is my resignation.
Painting weddings for a few years now, I have spent a fair bit of time observing strangers move through a room. Seeing someone new, I always have a feeling of noticing their internal architecture. I did not realize that some people do not feel this way, at least not as intensely.
By internal architecture, what I mean is, when someone talks to me, what I notice first are the supporting beams propping up their words: the cadence and tone and desire behind them. I hear if they are bored, fascinated, wanting validation or connection. I often feel like I can hear how much they like themselves.
I hear the speed at which they metabolize information and the nature of their attention. Attention falls on the spectrum of jumping bean to steady stream. Where it falls depends on a person’s nature, and also how much they want to be in that conversation. Someone’s quality of attention is evident from the questions they ask (how much they diverge from what the speaker is saying), if their gaze is wandering elsewhere, if they are fidgeting, restless. The outlier is dissociation, when someone is noticeably vacant, their attention completely absent.
Sometimes I see their feelings towards me when we talk, but that has the largest room for error in retrospect. Maybe the person I have the hardest time seeing clearly is still myself. I can see people more clearly when I am watching them talk to others.
I watch the person with the loudest laugh. The most striking thing isn’t the volume—it’s the feverish pitch. As the night goes on, it begins to sound more like desperation. Their joy has a fraying quality; it is exhausting to carry because it comes with a desire to seem happy and make others happy at all times…
* “This is, if not a lifetime process, awfully close to it. The writer broadens, becomes deeper, becomes more observant, becomes more tempered, becomes much wiser over a period time passing. It is not something that is injected into him by a needle. It is not something that comes on a wave of flashing, explosive light one night and say, ‘Huzzah! Eureka! I’ve got it!’ and then proceeds to write the great American novel in eleven days. It doesn’t work that way. It’s a long, tedious, tough, frustrating process, but never, ever be put aside by the fact that it’s hard.” – Rod Serling (and here and here)
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As we look, we might send observant birthday greetings to Howard Hawks; he was born on this date in 1896. A key film director, producer, and screenwriter of the classic Hollywood era. Hawks explored many genres– comedies (screwball and straight), dramas, gangster films, science fiction, film noir, war films and Westerns– in films including Scarface (1932), Bringing Up Baby (1938), Only Angels Have Wings (1939), His Girl Friday (1940), To Have and Have Not (1944), The Big Sleep (1946), Red River (1948), The Thing from Another World (1951), and Rio Bravo (1959). His frequent portrayals of strong, tough-talking female characters came to define the “Hawksian woman“. Relevently to this post, Hawks directed Gentlemen Prefer Blondes (1953), which of course, ends with a double wedding.
A close observer of human behavior, Hawks transmuted what he learned into unique, powerful, and wonderfully-entertaining work. Critic Leonard Maltin called him “the greatest American director who is not a household name.” Roger Ebert called Hawks “one of the greatest American directors of pure movies, and a hero of auteur critics because he found his own laconic values in so many different kinds of genre material.”
It’s getting harder and harder to sift the wheat from the chaff– the truth from the misinformation, disinformation, and just plain noise. Here to help, Rocky Parker, with a collection of verification tools– aimed at journalists, but available to us all…
Presenting accurate information to readers is crucial to journalists maintaining trust with their readers. But despite journalists’ best efforts, trust in the media continues to be an issue. The latest American Views report from Gallup and the Knight Foundation found that more U.S. adults have no trust at all in the media (36%) than trust it a great deal or fair amount.
The explosion of AI-generated content on the internet has only added another layer and more complications as readers and journalists work to determine who (or what) created a piece of content and if it’s accurate. And if you’re sourcing story ideas from social media, the recent removals of fact-checking teams from several platforms will make your verification even more difficult.
In light of these challenges… we thought it’d be a good time to round up a few verification tools that journalists should bookmark…
* Stan Freberg’s parody of “Sgt. Joe Friday” (Jack Webb) on Dragnet
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As we confirm, we might might recall that it was on this date in 1941 that Orson Welles’ first feature film, Citizen Kane, premiered at the Palace Theater in New York. A quasi-biography (based on the life of William Randolph Hearst, with elements of those of Joseph Pulitzer and Chicago tycoons Samuel Insull and Harold McCormick), it was nominated for Academy Awards in nine categories, winning Best Writing (Original Screenplay) for Herman Mankiewicz and Welles.
Considered by many critics and filmmakers to be the greatest film ever made, Citizen Kane was voted number 1 in five consecutive British Film Institute Sight & Sound polls of critics, and it topped the American Film Institute’s 100 Years … 100 Movies list in 1998, as well as its 2007 update.
Citizen Kane is particularly praised for Gregg Toland‘s cinematography, Robert Wise‘s editing, Bernard Herrmann‘s music, and its narrative structure, all of which were innovative and have been precedent-setting.
Kane (in his role as owner of The Inquirer): Read the cable.
Mr. Bernstein (Kane’s business manager): “Girls delightful in Cuba. Stop. Could send you prose poems about scenery, but don’t feel right spending your money. Stop. There is no war in Cuba, signed Wheeler.” Any answer?
Kane: Yes. “Dear Wheeler: you provide the prose poems. I’ll provide the war.”
Around half the world’s population live in places that held elections in 2024. Some 1.65bn ballots were cast across more than 70 countries. But while the number of democratic elections in a single year has never been higher, 2024 also brought big challenges. According to the latest democracy index published by EIU, our sister company, on February 27th, global democracy is in worse shape than at any point in the nearly two-decade history of the index.
Since 2006 EIU has scored 167 countries and territories on a scale of zero to ten based on five criteria: electoral process and pluralism, functioning of government, political participation, political culture, and civil liberties. The countries are then grouped into four categories: full democracies, flawed democracies, hybrid regimes and authoritarian regimes.
For the 16th consecutive year, Norway was named the most democratic country in the world, with a score of 9.81. New Zealand and Sweden followed. Afghanistan has been the lowest-ranked country since 2021, scoring just 0.25 points. The biggest change came from Bangladesh, which dropped 25 places. Rebuilding democracy there will be an enormous task after the ouster of Sheikh Hasina, the country’s longtime autocratic ruler. But there is cause for optimism. A temporary technocratic government, led by Muhammad Yunus, a Nobel peace prizewinner, has restored order and stabilised the economy. For those reasons, we named Bangladesh our country of the year in 2024.
The global average dropped to a new record low of 5.17, down from a high of 5.55 in 2015. Just 6.6% of the world’s population now lives in a full democracy, down from 12.5% ten years ago. And a large share of the world’s population—currently two in five people—lives under authoritarian rule.
Despite the promise of a global election extravaganza, some of the ballots were a farce. Polling day in Pakistan, for example, was marred by violence. The most popular politician, Imran Khan, whose own democratic credentials are questionable, was jailed shortly before the election took place. The country’s score dropped from 3.25 in 2023 to 2.84. In Russia another sham election gave Vladimir Putin a fifth term as president—it scored just two points on the index. In other countries—including Burkina Faso, Mali and Qatar—elections were cancelled altogether.
Even Europe—home to nine of the top ten countries in the index—saw some notable declines. France was downgraded from a full democracy to a flawed one. This mostly reflects a deterioration in its confidence-in-government score after president Emmanuel Macron’s snap election in June failed to secure a legislative majority for any single party or bloc. (Four different prime ministers during the course of the year did little to instil confidence either.) Romania was also downgraded after allegations of Russian interference, illegal social-media tactics and campaign-finance violations prompted the constitutional court to annul the presidential election and call for a new vote. In Asia, South Korea dropped out of the full-democracy category after President Yoon Suk Yeol declared—then hastily revoked—martial law, plunging the country into crisis.
America remained a flawed democracy, shifting only slightly from its position in 2023. But it could face bigger problems this year: the first month of President Donald Trump’s second term has already challenged the political independence of the civil service and seen a flurry of executive orders of questionable legal authority.
Mr Trump’s victory in 2024 was part of a broader global backlash against incumbents. The next test for global democracy in 2025 will be how these newly elected leaders choose to govern…
* John Adams, whose own handiwork as a Founding Father has been nicked, but so far evaded the fate he predicted (in an 1814 letter to John Taylor)
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As we batten the hatches, we might recall that it was on this date in 1933 that RKO‘s King Kong premeired. Directed and produced by Merian C. Cooper and Ernest B. Schoedsack, with special effects by Willis H. O’Brien and music by Max Steiner, it received rave reviews, with praise for its stop-motion animation and score… and has only grown in esteem: in 1991, it was deemed “culturally, historically and aesthetically significant” by the Library of Congress and selected for preservation in the National Film Registry. In 2010 it was ranked by Rotten Tomatoes as the greatest horror film of all time and the fifty-sixth greatest film of all time.
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