Showing posts with label Howard Hawks. Show all posts
Showing posts with label Howard Hawks. Show all posts

Saturday, December 7, 2013

Louise Brooks in A Girl in Every Port, tonight in Madison, Wisconsin

As part of its mini Howard Hawks retrospective, HOWARD HAWKS: THE EARLY YEARS, the Cinematheque at the University of Wisconsin in Madison will screen A Girl in Every Port. The 1928 Louise Brooks film is set to play tonight at 8:30 pm, with live musical accompaniment provided by David Drazin. [For more on Hawks' career, be sure and check out Joseph McBride's recently reissued Hawks on Hawks, from the University Press of Kentucky.]


Howard Hawks' A Girl in Every Port is a well-crafted and entertaining "buddy film" widely considered the director's best silent. It's also a film with a special legacy.

A Girl in Every Port features a romantic triangle – a reoccurring motif in many of Hawks' later works. It tells the story of two sailors (Victor McLaglen and Robert Armstrong) and their adventures in various ports of call around the world. Louise Brooks plays Marie (Mam'selle Godiva), a high diver and sideshow siren and the love interest of both sailors. Other girls in other ports of call include Myrna Loy, Sally Rand, Leila Hyams, and Maria Casajuana (the future Maria Alba).

Released by Fox in February of 1928, A Girl in Every Port debuted at the 6,000 seat Roxy Theater in New York City. For days on end, the film played to a packed house. Ads placed by the studio in trade publications claimed it set a "New House Record – and a World Record – with Daily Receipts on February 22 of $29,463." Considering ticket prices of the time, that's a lot of money.

Popular as well as critically acclaimed, the film received good reviews in New York's daily newspapers. The New York Times described it "A rollicking comedy," while the New York Telegram called it "a hit picture." The Morning Telegraph pronounced it a "winner."

The Daily News noted, "Director Howard Hawks has injected several devilish touches in the piece, which surprisingly enough, got by the censors. His treatment of the snappy scenario is smooth and at all times interesting. Victor's great, Armstrong's certainly appreciable, and Louise Brooks is at her loveliest."



Reviewing the premiere, TIME magazine stated, "There are two rollicking sailors in this fractious and excellent comedy. . . . A Girl in Every Port is really What Price Glory? translated from arid and terrestrial irony to marine gaiety of the most salty and miscellaneous nature. Nobody could be more charming than Louise Brooks, that clinging and tender little barnacle from the docks of Marseilles. Director Howard Hawks and his entire cast, especially Robert Armstrong, deserve bouquets and kudos."

A number of critics singled out Brooks. The New York American stated, “Then comes THE woman. She is Louise Brooks, pert, fascinating young creature, who does high and fancy diving for a living. . . . Miss Brooks 'takes' our hero in somewhat the manner that Grant took Richmond. . . . Louise Brooks has a way of making a junior vamp and infantile scarlet lady seem most attractive."

A reviewer for the English Kinematograph Weekly echoed American reviews of the film, and picked up on the film's somewhat different bromance. "Louise Brooks made a charmingly heartless vamp. . . . It has the novelty of a love interest that does not materialize, which is replaced by the friendship between two men."

The film made a bigger splash in France. Writing in 1930 in his "Paris Cinema Chatter" column in the New York Times, Morris Gilbert noted ". . . there are a number of others – mostly American – which have their place as 'classics' in the opinion of the French. . . . They love A Girl in Every Port, which has the added distinction of being practically the only American film which keeps its own English title here." The film enjoyed an extended run in the French capitol, and lingered for decades in the French consciousness.

Writing in Cahiers du Cinéma in 1963, French film archivist Henri Langlois stated, "It seems that A Girl in Every Port was the revelation of the Hawks season at the Museum of Modern Art in New York. For New York audiences of 1962, Louise Brooks suddenly acquired that 'Face of the century' aura she had had, many years ago, for spectators at the Cinema des Ursulines. . . . That is why Blaise Cendrars confided a few years ago that he thought A Girl in Every Port definitely marked the first appearance of contemporary cinema. To the Paris of 1928, which was rejecting expressionism, A Girl in Every Port was a film conceived in the present, achieving an identity of its own by repudiating the past."

Brooks, under contract to Paramount, was loaned to Fox for her role in A Girl in Every Port. Anticipating the female types cast by Hawks in later works, the bobbed-hair actress stands as what might well be the first "Hawksian woman." Years later, the director stated, "I wanted a different type of girl. I hired Louise because she's very sure of herself, she's very analytical, she's very feminine, but she's damn good and sure she's going to do what she wants to do."

Film histories note that A Girl in Every Port ranks as the most significant of Hawks' silent films; additionally, historians claim, it seemingly persuaded G.W. Pabst to cast Louise Brooks in Pandora's Box. The claim was likely first made by James Card of the George Eastman House in his 1956 article, "Out of Pandora's Box: Louise Brooks on G. W. Pabst." It was repeated by others, including Brooks herself, in filmed interviews in the 1970's.

In Germany, Pabst cast Brooks as Lulu after a well publicized nationwide search which concluded months after A Girl in Every Port premiered in New York City. Not quite content with a German actress (including, legend has it, Marlene Dietrich), Pabst wrote to Paramount asking after Brooks, then an American starlet. The German director was also in search of a "different type."

Chronologically, the assumption that Pabst saw his Lulu in Hawks' Marie makes sense – Brooks plays a temptress in both films. Historical records show, however, that Blaue jungens, blonde Madchen (the German title for Hawk's film) was not shown in Germany until December, after production on Pandora's Box was finished.

Could Pabst have seen A Girl in Every Port well prior to its release in Germany? Or, might Pabst have noticed Brooks in one of her earlier American films, like Die Braut am Scheidewege (Just Another Blonde) or Ein Frack Ein Claque Ein Madel (Evening Clothes)? Each were shown in Berlin while Pabst was looking for Lulu, and each received press which highlighted Brooks.



Whatever the answer to this small mystery, A Girl in Every Port remains an entertaining film worthy of greater recognition – not only because it stars Louise Brooks, and not only because it may or may not have led Pabst to cast the actress as Lulu in Pandora's Box. It's deserving because it is an early work by great director which introduces the themes and characters Hawks would continue to explore throughout his long and distinguished career.

Sunday, December 1, 2013

Hawks on Hawks reissued

The University Press of Kentucky has just reissued Hawks on Hawks, by Joseph McBride, as part of its screen classics series.

Howard Hawks (1896-1977) is often credited as being the most versatile of all of the great American directors, having worked with equal ease in screwball comedies, westerns, gangster movies, musicals, and adventure films. He directed an impressive number of Hollywood's greatest stars -- including Louise Brooks, Humphrey Bogart, Cary Grant, John Wayne, Lauren Bacall, Rosalind Russell, and Marilyn Monroe. Some of his most celebrated films include Scarface (1932), Bringing Up Baby (1938), The Big Sleep (1946), Red River (1948), Gentlemen Prefer Blondes (1953), and Rio Bravo (1959).

Hawks on Hawks draws on interviews that author and film historian Joseph McBride conducted with the director over the course of seven years, giving rare insight into Hawks' artistic philosophy, his relationships with the stars, and his position in an industry that was then rapidly changing. In its new edition, this classic book is both an account of the film legend's life and work and a guidebook on how to make movies.

"I read Hawks on Hawks with passion. I am very happy that this book exists." -- François Truffaut.

"[D]ifferent from most film books about personalities.... The author really knew Howard Hawks, interviewed the crusty old director; the crust and insight come through in these interviews. There are going to be many biographies of Howard Hawks, but they will all lean heavily on this book; the pioneer so honestly reveals himself and the people with whom he worked." -- Los Angeles Times

More about the author: Joseph McBride is an American film historian, biographer, screenwriter, and professor in the Cinema Department at San Francisco State University. McBride has published seventeen books since 1968, including the acclaimed biographies Frank Capra: The Catastrophe of Success (1992; 2000) and Searching for John Ford (2001). McBride's other books include: Orson Welles (1972; 1996), The Book of Movie Lists: An Offbeat, Provocative Collection of the Best and Worst of Everything in Movies (1999), and What Ever Happened to Orson Welles?: A Portrait of an Independent Career (2006).

McBride's screenwriting credits include the movies Rock 'n' Roll High School and five American Film Institute Life Achievement Award specials dealing with Fred Astaire, Frank Capra, Lillian Gish, John Huston, and James Stewart. McBride plays a film critic, Mr. Pister, in the legendary unfinished Orson Welles feature The Other Side of the Wind (1970-76). McBride is also the coproducer of the documentaries Obsessed with "Vertigo": New Life for Hitchcock's Masterpiece (1997) and John Ford Goes to War (2002).

Monday, April 30, 2012

Howard Hawks' A Girl in Every Port plays at Stanford

As part of their Howard Hawks festival (through June 24th), the Stanford Theater in Palo Alto, California is set to screens Hawks' 1928 silent film, A Girl in Every Port, on Wednesday May 2th at 7:30 pm. A Girl in Every Port will be screened as part of a double bill with another seldom screened Hawks' silent, Fig Leaves (1926). Dennis James will accompany at the organ. 

A vintage film poster
not from a California theater
Apparently, this is the first time A Girl in Every Port will be screened at the historic Standford, which opened in 1925 and has served for decades as Palo Alto's premier movie house. 

According to my records, most every one of Brooks' American silent films played at the Stanford, except for Love Em and Leave Em (1926) and A Girl in Every Port. When the film did play in Palo Alto (a lively college town adjoining Stanford University), it played at the nearby Varsity theater. Why it did so is hard to say, but it may have been because of the booking practices of the day. Most all of Brooks' American silent films were made for Paramount, except for A Girl in Every Port, which was made for Fox. Then, local theaters generally only showed films from particular studios.

The film, which stars Victor McLaglen, Robert Armstrong and Louise Brooks, proved popular pretty much where ever it showed.

Here is a record of where the film played in northern California during the 1920s. I put together this record by scouring dozens of local newspapers in nearly as many libraries. Many of these these theaters still stand. My favorite theater name among them is the "Reel Joy" in King City.

Alhambra in Sacramento (Mar. 16-19, 1928); Pantages in San Francisco (Mar. 17-23, 1928); Liberty in St. Helena (Mar. 29-30, 1928); California in Petaluma (Apr. 4-5, 1928); Grand Lake in Oakland (Apr. 14-20, 1928); Oroville Theatre in Oroville (Apr. 20-21, 1928); California in San Jose (Apr. 21-23, 1928); California in Berkeley (Apr. 25-28, 1928); Royal in South San Francisco (Apr. 30, 1928); Modesto Theater in Modesto (May 6, 1928); California in Sacramento (May 12, 1928); North Sacramento Theater in Sacramento (May 13, 1928); National in Woodland (May 14-15, 1928); Majestic in Benicia (May 24, 1928); Varsity in Palo Alto (May 25-26, 1928); California in Pittsburg (May 27-28, 1928); Hippodrome in Napa (May 29-30, 1928); Lorin in Berkeley (May 30-31, 1928); Golden State in Monterey (June 3, 1928); Opal in Hollister (June 11-12, 1928); California in Richmond (June 15-16, 1928); Oaks in Berkeley (June 17-18, 1928); Princess in Sausalito (June 19, 1928); Sequoia in Sacramento (June 20-21, 1928); Casa Grande in Santa Clara (June 24, 1928); Fairfax in Oakland (July 1, 1928 with Three’s a Crowd); Lincoln in Oakland (July 1, 1928 with Spoilers of the West); Strand in Gilroy (July 1, 1928); New Fillmore in San Francisco (July 3-5, 1928); New Mission in San Francisco (July 3-5, 1928); Rivoli in Berkeley (July 8, 1928 with The Red Raiders); Alexandria in San Francisco (July 20-21, 1928); Senator in Oakland (July 21, 1928); New Balboa in San Francisco (July 29, 1928 with When the Wife’s Away); Haight in San Francisco (Aug. 2-3, 1928); Merced Theatre in Merced (Aug. 4, 1928); New Roseville Theatre in Roseville (Aug. 8-9, 1929); Hester in San Jose (Aug. 9-10, 1928); Palace in San Leandro (Aug. 12, 1928); California in Salinas (Aug. 15, 1928); Allendale Theater in Oakland (Aug. 16-17, 1928); New Lyceum in San Francisco (Aug. 21-22, 1928); Reel Joy in King City (Aug. 23-24, 1928); Excelsior in San Francisco (Aug. 31, 1928); New State in San Francisco (Aug. 31, 1928); Fern in Oakland (Sept. 10-11, 1928); State in Ukiah (Sept. 16, 1928); Appleton in Watsonville (Sept. 26, 1928); Fortuna Theater in Fortuna (Oct. 4, 1928); Hayward Theatre in Hayward (Oct. 12, 1928); New San Mateo Theater in San Mateo (Oct. 13, 1928); Roosevelt in San Francisco (Oct. 29-30, 1928); Majestic in San Francisco (Nov. 10, 1928); Washington in San Francisco (Nov. 17, 1928); Century in Oakland (Dec. 13, 1928 with The Whip Woman).

Sunday, January 22, 2012

Louise Brooks film screens in Berkeley, California

As part of its 25 film, four month Howard Hawks retrospective, the Pacific Film Archive in Berkeley, California will screen A Girl in Every Port. The 1928 Louise Brooks film, by consensus the best of Hawks' silent efforts, is set to play on Tuesday, January 24 at 7 pm.

A Girl in Every Port is a buddy film which tells the story of two sailors (Victor McLaglen and Robert Armstrong) and their encounters with various women in various ports of call. Brooks, under contract to Paramount at the time, was loaned to Fox for the film. She plays the girl from Marseille, France. Myrna Loy, Sally Rand, Leila Hyams, Natalie Kingston and Maria Casajuana (the soon to be Maria Alba) are among the other girls in other ports of call.

Brooks is cast as a vamp, a circus artiste / high-diver known as Marie (Mam’selle Godiva). McLaglen and Armstrong, each suitors, offer a towel and more. 'Mlle Godiva' handles each with Lulu-like aplomb.

When A Girl in Every Port premiered in February of 1928 at the massive Roxy Theater in New York City, it played to a packed house. At the time, advertisements placed by Fox claimed the film set a “New House Record – and a World Record – with Daily Receipts on February 22nd of $29,463.” Considering admission was likely less than a dollar, that’s a lot of movie-goers in a single day – then or now.

Popular as well as critically applauded, the film received good reviews in New York’s many daily newspapers. Mordaunt Hall, writing in the New York Times, described it as "A rollicking comedy,” while the New York Telegram called it “a hit picture” and the Morning Telegraph pronounced it a “winner.”

Irene Thirer, writing in the Daily News, noted “Director Howard Hawks has injected several devilish touches in the piece, which surprisingly enough, got by the censors. His treatment of the snappy scenario is smooth and at all times interesting. Victor’s great, Armstrong’s certainly appreciable, and Louise Brooks is at her loveliest. The rest of the gals from other ports are good to look at, too. Roxy’s got a winner this time.”

Similar sentiments would be echoed in other New York City papers including the German-language New Yorker Volkszeitung, the trade journal Women's Wear Daily, and even the socialist Daily Worker.

Reviewing the Roxy premiere, the anonymous critic for TIME magazine wrote, “There are two rollicking sailors in this fractious and excellent comedy. . . . A Girl in Every Port is really What Price Glory? translated from arid and terrestrial irony to marine gaiety of the most salty and miscellaneous nature. Nobody could be more charming than Louise Brooks, that clinging and tender little barnacle from the docks of Marseilles. Director Howard Hawks and his entire cast, especially Robert Armstrong, deserve bouquets and kudos.”

Critics singled out Brooks, and some described her as “pert.” Regina Cannon, writing in New York American, stated “Then comes THE woman. She is Louise Brooks, pert, fascinating young creature, who does high and fancy diving for a living. . . . Miss Brooks ‘takes’ our hero in somewhat the manner that Grant took Richmond. . . . Louise Brooks has a way of making a junior vamp and infantile scarlet lady seem most attractive.”

As well received as the film was in the United States, it was even more highly regarded in France, where it has been regularly revived.

Writing in Cahiers du Cinéma in January 1963, the French film archivist Henri Langlois stated “It seems that A Girl in Every Port was the revelation of the Hawks season at the Museum of Modern Art in New York. For New York audiences of 1962, Louise Brooks suddenly acquired that ‘Face of the century’ aura she had had, many years ago, for spectators at the Cinema des Ursulines. . . . That is why Blaise Cendrars confided a few years ago that he thought A Girl in Every Port definitely marked the first appearance of contemporary cinema. To the Paris of 1928, which was rejecting expressionism, A Girl in Every Port was a film conceived in the present, achieving an identity of its own by repudiating the past.”

A Girl in Every Port
is considered by many scholars to be the most important of Hawks' early works because it was his first to introduce the themes and character types he would continue to explore throughout his long and distinguished career. And, notably, Louise Brooks is the first to portray what became known as the "Hawksian woman."

More info: A Girl in Every Port screens on Tuesday, January 24 at 7 pm as part of "Howard Hawks: The Measure of Man," a retrospective  at the Pacific Film Archive in Berkeley. The film will be introduced by UC Berkeley professor Marilyn Fabe; Judith Rosenberg will accompany on piano. Details at http://bampfa.berkeley.edu/film/FN19308


Thursday, January 5, 2012

A Girl in Every Port screens in Berkeley

The Pacific Film Archive in Berkeley, California has announced that it will host a major Howard Hawks retrospective, "Howard Hawks: The Measure of Man." The series runs January 13th through April 17th. 

The series spans Hawks' entire career. Films date from Fig Leaves (1926) through El Dorado (1967). Four silent era films are on the bill, including A Girl in Every Port (1928), which stars Louise Brooks. It will screen January 24th at 7 pm. Live piano accompaniment will be provided by Judy Rosenberg. (64 mins, Silent, B&W, 35mm, From the collection of George Eastman House, permission 20th Century Fox) More info at http://www.bampfa.berkeley.edu/film/FN19308


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