Readers of this blog are by now aware of my unfortunate fascination with the mundane. Today the topic is sidewalk elevators. Never have I stepped over an iron plate embedded in a sidewalk without anxiously anticipating the moment it would spring up with something or someone on it, yet I confess this has never happened. It happens constantly in old movies.
One example would be during the song “I’m Just Fella with an Umbrella” in “Easter Parade” (1948). After Peter Lawford leads us into the song, Judy Garland takes a verse as they stroll along the city street. They nearly fall into an open sidewalk elevator, which closes a split second before they walk over it. They turn and look incredulously back at it, never missing a beat, and continue with the verse. There was nothing on the elevator, so there is no explanation as to who was using it or why.
In “Date to Skate” (1938), one of the funniest Max Fleischer Popeye cartoons, Popeye takes Olive Oyl roller-skating. The gags fly fast and furious as Olive loses control and speeds out of the roller skating rink and onto the street. For once our hero must save her not from Bluto, but from herself. At one point she flies over a sidewalk elevator that is just beginning to open. There are sacks of flour and boxes on the elevator platform, so at least this one is being used for some purpose.
In “Mutts to You” (1938) The Three Stooges operate a dog washing business, and when they come across a baby they believe has been abandoned, a chase scene involves several innocent bystanders on a city street. The boys run from a stereotyped Irish cop by dressing as stereotyped Chinese laundrymen, (except for Curly, who pretends to be a buxom Yiddish-speaking Irish lass) and emerge from a street elevator in costume with a laundry cart. For them the mysterious sidewalk elevator is not a nuisance or a waiting trap, but a necessary part of their escape.
I have never seen any carts or boxes or sacks of flower, or escaping people emerge from the iron plates in the sidewalk that I may happen to see downtown in cities. But I’m not taking my eye off them. You never know.
Any other films you can think of with sidewalk elevators?
Showing posts with label Easter Parade. Show all posts
Showing posts with label Easter Parade. Show all posts
Monday, April 14, 2008
Thursday, April 5, 2007
Easter Parade
“Easter Parade” (1948) set in 1911-1912, showcases Irving Berlin’s Tin Pan Alley hits, and one hit of the Great Depression, which was the song “Easter Parade.” The film opens on the day before Easter, and just as Fred Astaire’s spending spree to buy flowers, a hat, and a stuffed bunny for Ann Miller indicate, it once was really the busiest shopping day of the year.
When Ann dumps Fred for bigger things (just as the aforementioned lout Lee Bowman in “My Dream is Yours”) Fred snatches Judy Garland from the gutter pretty much as Jack Carson snatches Doris Day in “My Dream is Yours,” and pushes her to become his new singing and dancing partner.
They rehearse for the first time on Easter Sunday, and she gets a glimpse of the Easter Parade and the beautiful people strolling home from church to see and be seen.
Judy Garland is clearly Fred Astaire’s equal in dancing, and she makes one of his most delightful partners. Their “A Couple of Swells” routine is now classic. Two people in shabby clothes and blacked out teeth never looked so good. The rolling backdrop behind them as they sing “we’ll walk up the avenue” reprises the Easter Parade theme of strolling along with the swells.
Another fun number is “Girl On A Magazine Cover,” which displays elegant fashions and a riot of colors. It’s interesting to note how many of these old-time magazines (Redbook, Harper’s, etc.) are still being published.
Judy, his protégé, makes good and their act is a success. That they fall in love is of course inevitable, and she reverses the roles at the end of the film on the following Easter Sunday by presenting Fred with a top hat “bonnet”, flowers, candy, and a live rabbit, singing to him the song “Easter Parade.” The final shot is Judy and Fred strolling down Fifth Avenue with the wealthy fashion setters, in nice clothes and no blacked-out teeth.
Irving Berlin, responsible for this and all the songs in the film, emigrated to the US from Russia with his family in 1893. Jerome Kern, asked of his opinion of Berlin’s place in American music famously replied, “Irving Berlin IS American music.” Berlin was one of our most prolific, and most patriotic, songwriters. That he celebrated secular aspects of Christmas and Easter so successfully may be due to his realization that compromise, rather than exclusion, is the true American trait. Or, it may due to his being a Jewish man who was happily married to a Roman Catholic woman, which upset both their families, and he learned firsthand the benefits of compromise that sometimes leads to the development of a new, shared heritage. The American secular holiday created just such a new, shared heritage, including an Easter with flowers, fashions, candy, and songs, and movies which celebrated them.
That’s it for this week. See you next week, and Happy Easter.
When Ann dumps Fred for bigger things (just as the aforementioned lout Lee Bowman in “My Dream is Yours”) Fred snatches Judy Garland from the gutter pretty much as Jack Carson snatches Doris Day in “My Dream is Yours,” and pushes her to become his new singing and dancing partner.
They rehearse for the first time on Easter Sunday, and she gets a glimpse of the Easter Parade and the beautiful people strolling home from church to see and be seen.
Judy Garland is clearly Fred Astaire’s equal in dancing, and she makes one of his most delightful partners. Their “A Couple of Swells” routine is now classic. Two people in shabby clothes and blacked out teeth never looked so good. The rolling backdrop behind them as they sing “we’ll walk up the avenue” reprises the Easter Parade theme of strolling along with the swells.
Another fun number is “Girl On A Magazine Cover,” which displays elegant fashions and a riot of colors. It’s interesting to note how many of these old-time magazines (Redbook, Harper’s, etc.) are still being published.
Judy, his protégé, makes good and their act is a success. That they fall in love is of course inevitable, and she reverses the roles at the end of the film on the following Easter Sunday by presenting Fred with a top hat “bonnet”, flowers, candy, and a live rabbit, singing to him the song “Easter Parade.” The final shot is Judy and Fred strolling down Fifth Avenue with the wealthy fashion setters, in nice clothes and no blacked-out teeth.
Irving Berlin, responsible for this and all the songs in the film, emigrated to the US from Russia with his family in 1893. Jerome Kern, asked of his opinion of Berlin’s place in American music famously replied, “Irving Berlin IS American music.” Berlin was one of our most prolific, and most patriotic, songwriters. That he celebrated secular aspects of Christmas and Easter so successfully may be due to his realization that compromise, rather than exclusion, is the true American trait. Or, it may due to his being a Jewish man who was happily married to a Roman Catholic woman, which upset both their families, and he learned firsthand the benefits of compromise that sometimes leads to the development of a new, shared heritage. The American secular holiday created just such a new, shared heritage, including an Easter with flowers, fashions, candy, and songs, and movies which celebrated them.
That’s it for this week. See you next week, and Happy Easter.
Tuesday, April 3, 2007
Easter In Hollywood - 1949
Easter in the old movies comes to us in fashion, flowers, and songs. The two films, “Easter Parade” and “My Dream is Yours” give us plenty of these, along with colors of the rainbow like so much Easter egg dye.
Though Cecil B. DeMille may have tackled both the story of Christ and the story of Moses, a holiday like Easter was usually presented its most secular clothing. But, Hollywood did not create this new Easter, it merely exploited it.
As far back as the mid-1900s, Easter began a new secular role when New York City’s Fifth Avenue became the site of the so-called “Easter Parade,” when the wealthy classes strolled home from church in the latest European fashions, watched with fascination by the working class people who hovered on the edges of society. This is the world Judy Garland gets a glimpse of as a young, awkward hoofer in “Easter Parade.”
As the 20th Century dawned, other cities picked up this craze, and after World War I, when the boom of the 1920s put more money in the working man’s pockets, the idea of springtime fashions became possible for everyone. Amid the frenzied commercial cult of the 1920s, new clothes were requisite for the entire family. Milliners were as important to life then as the milkman. One didn’t leave home without a hat, and if a holiday required new clothes, then it also required new hats. The Easter bonnet was born.
The holiday spending spread to candy, flowers, and small toys in the shape of rabbits and chicks. In some cities, the biggest shopping day of the year, right through the Depression, was not the day after Thanksgiving as it is now, but Holy Saturday.
By 1948-49, which gave us “Easter Parade” and “My Dream is Yours” there were more families, more kiddies, and more money. Freddie, the little boy of single mom Doris Day in “My Dream is Yours” gets showered with presents of toy rabbits by all the adults.
The song Fred Astaire sings while chapeau shopping in “Easter Parade” is called “Happy Easter,” and on his radio show on April 17, 1949, Easter Sunday, Jack Benny and Mary Livingstone sing this song while they take their listeners on an imaginary Easter parade up Wiltshire Boulevard in Los Angeles, touting the movie. One of the passers by they “meet,” incidentally, is played by Sheldon Leonard, who has a minor role in “My Dream is Yours,” and also a character played by Mel Blanc, who does the voice of Bugs Bunny in the animated sequence in “My Dream is Yours.” Before we get into playing Six Degrees of Sheldon Leonard, let’s note that by the following year, 1950, Gene Autry released his hit, “Here Comes Peter Cottontail,” and the American suburban Easter was firmly in place, planted by Hollywood. The “bunny trail” was the back yard.
The whole family may not get new Easter clothes anymore, but the candy makers still do a brisk business, and these two movies remain to tell us a lot about how things used to be.
More tomorrow on “Easter Parade” and “My Dream is Yours.”
Though Cecil B. DeMille may have tackled both the story of Christ and the story of Moses, a holiday like Easter was usually presented its most secular clothing. But, Hollywood did not create this new Easter, it merely exploited it.
As far back as the mid-1900s, Easter began a new secular role when New York City’s Fifth Avenue became the site of the so-called “Easter Parade,” when the wealthy classes strolled home from church in the latest European fashions, watched with fascination by the working class people who hovered on the edges of society. This is the world Judy Garland gets a glimpse of as a young, awkward hoofer in “Easter Parade.”
As the 20th Century dawned, other cities picked up this craze, and after World War I, when the boom of the 1920s put more money in the working man’s pockets, the idea of springtime fashions became possible for everyone. Amid the frenzied commercial cult of the 1920s, new clothes were requisite for the entire family. Milliners were as important to life then as the milkman. One didn’t leave home without a hat, and if a holiday required new clothes, then it also required new hats. The Easter bonnet was born.
The holiday spending spread to candy, flowers, and small toys in the shape of rabbits and chicks. In some cities, the biggest shopping day of the year, right through the Depression, was not the day after Thanksgiving as it is now, but Holy Saturday.
By 1948-49, which gave us “Easter Parade” and “My Dream is Yours” there were more families, more kiddies, and more money. Freddie, the little boy of single mom Doris Day in “My Dream is Yours” gets showered with presents of toy rabbits by all the adults.
The song Fred Astaire sings while chapeau shopping in “Easter Parade” is called “Happy Easter,” and on his radio show on April 17, 1949, Easter Sunday, Jack Benny and Mary Livingstone sing this song while they take their listeners on an imaginary Easter parade up Wiltshire Boulevard in Los Angeles, touting the movie. One of the passers by they “meet,” incidentally, is played by Sheldon Leonard, who has a minor role in “My Dream is Yours,” and also a character played by Mel Blanc, who does the voice of Bugs Bunny in the animated sequence in “My Dream is Yours.” Before we get into playing Six Degrees of Sheldon Leonard, let’s note that by the following year, 1950, Gene Autry released his hit, “Here Comes Peter Cottontail,” and the American suburban Easter was firmly in place, planted by Hollywood. The “bunny trail” was the back yard.
The whole family may not get new Easter clothes anymore, but the candy makers still do a brisk business, and these two movies remain to tell us a lot about how things used to be.
More tomorrow on “Easter Parade” and “My Dream is Yours.”
Monday, April 2, 2007
Easter Films - Sacred vs Silly
With Easter approaching and this week, Holy Week, the most important in the Christian calendar, it’s interesting to take a look at Americans’ ability to walk that line between the sacred and the silly. Obviously jelly beans and chocolate bunnies have nothing to do with liturgy, yet they are now part and parcel of Easter.
Movies have not grasped the holiday and wrung it to bits the way they’ve commandeered Christmas, but two Easter films we’ll be dealing with this week are stamped with that genuine American attitude of compromise. The Passion of Christ cannot, for most of us, be reduced to a lighthearted musical review of songs and dances. But, the secular aspects of any religious holiday are more comfortably shared, celebrated, and kidded. Thus the sacred and the silly are separated, but not necessarily opposing.
By the way, we’re talking “old” movies (see Intro in archives), so “Godspell” and “Jesus Christ Superstar,” despite their merits as musicals, are not the issue here. Nor will either help us to understand that American invention of the secular persona for a sacred holiday.
The two films are “Easter Parade” and “My Dream is Yours,” from 1948 and 1949. These postwar years play a big a part in the character of these films. The post-war years had a strange duality to them. On the one hand, the GI Bill of Rights provided the resources for a generation of young men to pursue education, business, and a suburban tract home. On the other hand, despite this drive to a seek out a wonderful future, there was a kind of fatigue after the horrors of war and a yearning to turn back the mind, if not the clock, to a happier time and place. That’s generally called nostalgia, and it’s usually mostly made up.
There was the bewildered realization that after victory in the war and especially with the invention of the atom bomb, America was now the most powerful nation on earth, an aspect of our lives with which Americans still struggle. Yet, there was a naiveté about our power and our bomb, that led Doris Day, in “My Dream Is Yours” to sing a novelty tune called “The Geiger Counter Song” with a “tick-tick-tick” syncopation to “give me a radioactive kick.”
“Easter Parade” eschewed the modern times and sent us back to 1911-1912, where modernity was represented in large plumed hats and ragtime, a more comfortable spot for us to be, evidently. The film was intended to be a showcase for a variety of Tin Pan Alley Irving Berlin tunes. Ironically, the song “Easter Parade” was not from this era, but was written by Berlin for the musical review “As Thousands Cheer” in 1932. It’s always been hard to film a movie about the past and not get slapped in the head by unruly anachronisms. That is because we want the past to be what we want it to be, and not what it was.
More tomorrow on these Easter films.
Movies have not grasped the holiday and wrung it to bits the way they’ve commandeered Christmas, but two Easter films we’ll be dealing with this week are stamped with that genuine American attitude of compromise. The Passion of Christ cannot, for most of us, be reduced to a lighthearted musical review of songs and dances. But, the secular aspects of any religious holiday are more comfortably shared, celebrated, and kidded. Thus the sacred and the silly are separated, but not necessarily opposing.
By the way, we’re talking “old” movies (see Intro in archives), so “Godspell” and “Jesus Christ Superstar,” despite their merits as musicals, are not the issue here. Nor will either help us to understand that American invention of the secular persona for a sacred holiday.
The two films are “Easter Parade” and “My Dream is Yours,” from 1948 and 1949. These postwar years play a big a part in the character of these films. The post-war years had a strange duality to them. On the one hand, the GI Bill of Rights provided the resources for a generation of young men to pursue education, business, and a suburban tract home. On the other hand, despite this drive to a seek out a wonderful future, there was a kind of fatigue after the horrors of war and a yearning to turn back the mind, if not the clock, to a happier time and place. That’s generally called nostalgia, and it’s usually mostly made up.
There was the bewildered realization that after victory in the war and especially with the invention of the atom bomb, America was now the most powerful nation on earth, an aspect of our lives with which Americans still struggle. Yet, there was a naiveté about our power and our bomb, that led Doris Day, in “My Dream Is Yours” to sing a novelty tune called “The Geiger Counter Song” with a “tick-tick-tick” syncopation to “give me a radioactive kick.”
“Easter Parade” eschewed the modern times and sent us back to 1911-1912, where modernity was represented in large plumed hats and ragtime, a more comfortable spot for us to be, evidently. The film was intended to be a showcase for a variety of Tin Pan Alley Irving Berlin tunes. Ironically, the song “Easter Parade” was not from this era, but was written by Berlin for the musical review “As Thousands Cheer” in 1932. It’s always been hard to film a movie about the past and not get slapped in the head by unruly anachronisms. That is because we want the past to be what we want it to be, and not what it was.
More tomorrow on these Easter films.
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