It’s been my wish to up my blogging game this past year. Instead of standard reviews, I’ve been trying to incorporate more research into my posts and actually offer something beyond “movie good, watch it.” On the whole, I think I was successful and I’m pleased with what I put onto this site over the last several months. In the new year, I plan on redoing the site contents, so if you want to see what else I have posted on here without scrolling endlessly you’ll be all set. Within the next two months, I have two blogathon posts in the making: a piece on Cocteau’s La Belle et la Bete and a look at an early John Williams’ score.
In the meantime, here are the posts from 2021 I am proudest of– they represent my best work on this website to date.
This was written for the Classic Movie Muse’s It’s a Wonderful Life blogathon. I’ve always loved Mr. Gower as a character, an alcoholic and melancholy figure in the rather idyllic setting of Bedford Falls, but I knew little of the actor who brought him to life beyond the fact that he played Jesus in the silent King of Kings. It was great to appreciate the man’s ample stage and film experience. Though forgotten today, Warner enjoyed a long career as both a star and character actor. Even if you’ve never heard of him, he’s probably been in one of your classic film favorites.
Controversy, thy name is Carol Dempster, DW Griffith’s one-time girlfriend and leading lady. While I would not consider myself a Dempster fan, I have always found her fascinating, going back to when I first read Richard Schickel’s DW Griffith biography when I was still in high school. Dempster was a teenage dancer when first discovered by Griffith, who tried to make a proper star of her in the 1920s. That never happened for a variety of reasons, but Dempster’s contemporary reputation was not the critical wash-out certain historians say. Inspired by a viewing of Isn’t Life Wonderful (in which Dempster gives a powerful performance) and fan magazine clippings which showed some movie fans did appreciate Dempster, I wanted to learn more about the woman.
For Silentology’s Silent Movie Day blogathon, I wrote about the highest-grossing movies of 1921. It was interesting to see what drew audiences to the theater in those days– in a sense, there was more variety than now, when it seems like superhero pictures and endless franchise installments dominate the end-of-year top tens. However, audiences of yesterday also enjoyed their spectacle, particularly since 1921 audiences had also experienced a major pandemic and other assorted troubles they wanted to escape.
This was easily my favorite post of 2021, an examination of the critically reviled 1998 revival of Frederick Knott’s Wait Until Dark starring Quentin Tarantino of all people. While trying to find production information about the more famous (and better received) 1967 film version, I fell into a research rabbit hole with the revival once I came across old interviews with the actors, director, and producers, conducted months before the show became something no one wanted to discuss on the record, so cataclysmic was its failure. There have been online pieces looking back at this short-lived production, but few go beyond Tarantino’s allegedly wooden performance. I wanted to know what the revival was like, why this play (considered an old chestnut by sophisticated critics) was revived on Broadway to begin with, and how the creative team attempted to modernize it. The answers were all fascinating to me, making me think about the challenges of trying to revive yesteryear’s hits and the double-edged issue of using star power to draw an audience that might not have come otherwise.