Adventures in American Filmmaking #73

Today's Adventure: Francis Ford Coppola articulates his vision for Apocalypse Now
An Ongoing Series of Cultural and Personal Observations;
by Tom Sutpen, Stephen Cooke, Richard Gibson, Kimberly Lindbergs and Greg Ferrara

Today's Adventure: Francis Ford Coppola articulates his vision for Apocalypse Now

"My master heard me with great appearances of uneasiness in his countenance; because doubting, or not believing, are so little known in this country, that the inhabitants cannot tell how to behave themselves under such circumstances. And I remember, in frequent discourses with my master concerning the nature of manhood in other parts of the world, having occasion to talk of lying and false representation, it was with much difficulty that he comprehended what I meant, although he had otherwise a most acute judgment. For he argued thus: 'that the use of speech was to make us understand one another, and to receive information of facts; now, if any one said the thing which was not, these ends were defeated, because I cannot properly be said to understand him; and I am so far from receiving information, that he leaves me worse than in ignorance; for I am led to believe a thing black, when it is white, and short, when it is long.' And these were all the notions he had concerning that faculty of lying, so perfectly well understood, and so universally practised, among human creatures."
-- Jonathan Swift
This was posted by Richard Gibson
for the series:
Through the Lens of Cyril Arapoff
This was posted by Richard Gibson
for the series:
From the Sketch Book of Lawson Wood

Elvis Presley, Tennessee Williams, Col. Tom Parker, Laurence Harvey and Hal Wallis

Dapper Dan from Dear Old Dixieland
Music: Albert von Tilzer
Lyrics: Lew Brown
(Broadway Music Corp; 1921)

Koroshi no rakuin
(Branded to Kill)
(Seijun Suzuki; 1967)
(a big and enthusiastic thanks to Nate Bundy of Real Political Face Talk for this image)

Geronimo -- Apache (1905)
This was posted by Tom Sutpen
for the series:
The Native-Americana of Edward S. Curtis

For those among us who despair at the dwlindling number of writers who can truly wield a sentence, some extremely sad news crosses the wires this evening: David Halberstam was killed earlier today in an automobile accident in Menlo Park, CA.
He was, as the obituaries would say, 73.
Of course, he was more than just another New Journalist (though he was among the finest of that species), and more than just a best-selling author with a Pulitzer all his own. Covering the earliest stages of the United States' invasion of South Vietnam for The New York Times, Halberstam's dispatches were so blunt in their portrait of the rapidly deteriorating Diem regime, and so at variance with Washington's own version of events, that then-President John F. Kennedy had the Times' publisher, Arthur Ochs 'Punch' Sulzberger, reassign his ass to the Paris desk (and that's where he went). But he went on. With 1965's The Making of a Quagmire and the majestic The Best and the Brightest (1972), Halberstam established himself as the only journalist in America who could grasp the full spectrum of that blood-soaked folly in Southeast Asia; seeing it as no less than the demonic spawn of third-rate academics fashioning themselves into an intellectual/managerial elite.
True, he wasn't the only journalist in Vietnam to openly challenge the official line in his reporting (in fact, the above photo, from 1963, shows Halberstam, on the left, with two of the others: Malcolm Browne of the Associated Press and fellow Times maverick Neil Sheehan), and you could never call him a radical with a straight face. But he always devoted himself, even when his work reached a nadir of relevance (his books on Baseball are . . . problematic), to getting the story in all its protean detail.
I think you would agree that the contrast to our present-day reportorial class . . . those J-school grads who content themselves with the magic tricks of CentCom handouts and Pentagon briefings . . . is incalculable.

Claudette Colbert
(No. 12 in a series of 50 from Player's Navy Cut Cigarettes)
Claudette Colbert was born in Paris on September 13th, 1905, and christened Claudette Cauchoin. In 1913 she moved with her family to America, and finished off her education in New York by attending an art school, where a chance meeting with a playwright resulted in a small part in a new production. This was in 1924 and she quickly won fame on Broadway. Her first film, a silent, was made between stage productions in New York, and after two talkies she was given a Hollywood contract. Among her latest successes are It Happened One Night, Cleopatra and Imitation of Life.

Charlton Heston, Sidney Poitier, James Baldwin, Marlon Brando
and Harry Belafonte

Robert Harron in True Heart Susie
(D.W. Griffith; 1919)
(I never bought the 'accidental' shooting story. I'm amazed anyone ever did)

Kitty Carlisle Hart and Harpo Marx get cosy in A Night at the Opera.
(Sam Wood; 1935)
Ms. Hart's New York Times obituary can be found here.
This was posted by swac
for the series:
Obits,
Seminal Images,
They Were Collaborators

The Duellists
(Ridley Scott; 1977)
(stupendous thanks to Nate Bundy for this here image)

"I get drunk, I get mad, I get thrown from horses, I get all sorts of things.
But I don't get edited. I'd rather see my wife get fucked by the stableboy."
-- William Faulkner
This was posted by Richard Gibson
for the series:
Through the Lens of Cyril Arapoff
This was posted by Richard Gibson
for the series:
From the Sketch Book of Lawson Wood

Sono otoko, kyôbô ni tsuki
(Violent Cop)
(Takeshi Kitano; 1990)
(immense thanks to Nate Bundy of Real Political Face Talk for this image!)

Federico Fellini and Giulietta Masina
(vast and empowering thanks to Jeff Duncanson for this image)

Mae Clarke
No. 11 in a series of 50 from Players Navy Cut cigarettes.
Born on August 18th, 1910 in Philadelphia, Mae Clarke wished for a stage career even during her schooldays. She studied dancing as a child and later made use of her training by applying for a dancer's job in the chorus. After making a hit in vaudeville and night clubs she went on the legitimate stage, and in 1929 began her screen career. She was soon in demand, and in her recent films she has shown that she is a clever dramatic actress. These include Flaming Gold, Lady of the Boulevards and Straight is the Way.

Utopia 14 by Kurt Vonnegut Jr.
(1954 Bantam Books paperback version of Player Piano)

Topaz
(Alfred Hitchcock; 1969)
Roscoe Lee Browne's obituary can be found here.

Donald O'Connor and Buster Keaton
(muchas, muchas gracias to the great Jeff Duncanson for this image!)
This was posted by Richard Gibson
for the series:
Through the Lens of Cyril Arapoff
This was posted by Richard Gibson
for the series:
From the Sketch Book of Lawson Wood

Sho o suteyo machi e deyou
(Throw Away Your Books, Rally in the Streets)
(Shuji Terayama; 1971)

The Phlorescent Leech and Eddie
(aka Flo and Eddie)
(aka Mark Volman and Howard Kaylan)
Nerone
(Nero; or The Fall of Rome)
(Luigi Maggi; 1909)
Produced by Turin's pioneering Film Ambrosio, Luigi Maggi's Nerone may not be as formally elaborate as the epics of Mario Caserini and Giovanni Pastrone . . . what is, in fact, extraordinary about Italian filmmaking in that period is how its scale vaulted in such a short amount of time; less than a decade . . . but it is a nascent example of the Italian film industry's preoccupation with Imperial Rome (in this case the Nero-Poppea saga), a model it would return to, far less artfully, several decades later with the endless Hercules/Ursus/Maciste/Atlas cycle.

Deranged
(Alan Ormsby, Bob Clark; 1974)
Most people know the work of Bob Clark, who was killed in a car crash on Wednesday morning, from either the junvenile (and for a Canadian film, hugely successful) sex comedy Porky's, or from his true career apex, his adaptation of Jean Shepherd's A Christmas Story. But I have a soft spot for Deranged, his low budget fictionalized version of the case of Plainfield, Wisc. killer and cannibal Ed Gein, one of a number of horror titles Clark cut his teeth on, including Death Dream and the breakthrough slasher Black Christmas. Roberts Blossom's eerie performance and a soundtrack that includes Canuck country legend Stompin' Tom Connors make for singularly grimy experience, one that led Clark to have his name removed from the official credits.
It's enough to make you forget Loose Cannons and Baby Geniuses.
This was posted by Richard Gibson
for the series:
Through the Lens of Cyril Arapoff
This was posted by Richard Gibson
for the series:
From the Sketch Book of Lawson Wood

You Tell Her I S-T-U-T-T-E-R
Music: Cliff Friend
Lyrics: Billy Rose
(Irving Berlin, Inc; 1921)

An Internal Revenue agent officially closes an illegal drinking establishment (1925)

Edna St. Vincent Millay

"Blindman's Bluff - How Long Will This Case Last?"
(Tammany officials go on trial)
(Harper's Weekly; 1871)

"Stuck his hands in his skirt-pocket and swaggered round the corner."
(from Martin Chuzzlewit)
(Fred Barnard; 1843)