boblipton
Joined Feb 2002
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Gaston Modot steals the key to Ernest Bourbon's apartment for a lover's tryst. Her father somehow discovers the details, and appears at the residence, which he proceeds to demolish. Bourbon shows up and tries to stop him, so the urge to destruction is transferred to him.
The hows of this short comedy from Jean Durand's unit are a bit obscure. Still, there is a bit of a plot to offer to the viewers, who may have grown a bit tired of destruction for its own sake. Mack Sennett's production at Keystone may seem poorly motivated and concluded to the modern viewer, but they were models of writing and editing that were cutting into the more violent European slapstick.
The hows of this short comedy from Jean Durand's unit are a bit obscure. Still, there is a bit of a plot to offer to the viewers, who may have grown a bit tired of destruction for its own sake. Mack Sennett's production at Keystone may seem poorly motivated and concluded to the modern viewer, but they were models of writing and editing that were cutting into the more violent European slapstick.
Edwardian music-hall star Jessie Matthews gives her farewell performance and heads off to marry. But the fellow doesn't show up and she's in a family way. So she goes and hides in South Africa. Twenty years later, she's back in London, her own daughter, trying to get on the stage, unable to get any work. Former chorus boy and now publicist Sonnie Hale sees an opportunity to pass her off as her mother, making a comeback at the age of 60.
British Gaumont wanted Fred Astaire in this movie, but they couldn't come to terms with RKO. It's an interesting speculation as to the shape of the musical numbers with Astaire, but here they mostly concentrate on Miss Matthews, who performs with a degree of sexuality not seen in her other movies. The choreography and camerawork by Glen MacWilliams shows the same intention of showing the performances in full length. The sogs include three Rodgers & Hart numbers, as well as several by Harry Woods and an assortment of out-of-copyright tunes.
British Gaumont wanted Fred Astaire in this movie, but they couldn't come to terms with RKO. It's an interesting speculation as to the shape of the musical numbers with Astaire, but here they mostly concentrate on Miss Matthews, who performs with a degree of sexuality not seen in her other movies. The choreography and camerawork by Glen MacWilliams shows the same intention of showing the performances in full length. The sogs include three Rodgers & Hart numbers, as well as several by Harry Woods and an assortment of out-of-copyright tunes.
James Brill narrates this early Encyclopedia Britannica film about how muscles work, and how to use exercise to build strength.
Peculiarly, despite the title, posture is not really studied in this educational short. Instead, it's almost all about muscles, their reflexes, and so forth. This makes me think that they were trying to sell this to schools that tried to train up young people -- particularly girls -- to behave. Sit up straight,, young lady! If you make that face, it will freeze that way. And so forth. It seems that the film company's marketing people decided these would be bought out of a catalogue, and a title would sell to people who didn't bother to read the description.
Peculiarly, despite the title, posture is not really studied in this educational short. Instead, it's almost all about muscles, their reflexes, and so forth. This makes me think that they were trying to sell this to schools that tried to train up young people -- particularly girls -- to behave. Sit up straight,, young lady! If you make that face, it will freeze that way. And so forth. It seems that the film company's marketing people decided these would be bought out of a catalogue, and a title would sell to people who didn't bother to read the description.