Hammer Horror?

A tale of visual trickery, rotten luck, and arguably, the bleakest of Buster Keaton’s shorts, Cops (1922) finds The Great Stone Face losing the girl (she is unwilling to even think of dating the man until he makes something of himself) – so, he heads out into the streets of Los Angeles (actually filmed on them) to do just that. Shot during the third trial of his good friend Rosco “Fatty” Arbuckle (charged with manslaughter), it is perhaps evident that the comic actor is not at his most cheerful. After making a few mistakes – Keaton’s use of the space onscreen and the items cleverly placed within it always awes and amazes, he accidentally purchases a cop’s furniture from a street scammer who has spotted that he has some dough (he also buys a horse and carriage that is not actually for sale). . . trotting away with the furniture in tow, he finds himself amidst a police officers’ parade and has the rotten luck of having an anarchist’s bomb land on the vehicle – completely unaware of what it is, he lights his cigarette with it, tossing it aside as it explodes (this idea very well could have come from fellow comedian Harold Lloyd, who, three years earlier, thought it would be funny to pose for photos as he lit a cigarette from the fuse of a bomb – it ended up being real. . . and the man lost his thumb, index finger, and a portion of his palm, it also left him partially blind for more than half a year).

A film that gives you an excellent idea of how partying has changed, and not, 1932's Hot Saturday, directed by William A. Seiter, is an American pre-Code motion picture that pushed the moral boundaries of the time, or as the tagline put it, “They called me ‘BAD’_ So I tried to live up to my name!”. Following Ruth Brock (Nancy Carroll) , she is a young bank teller, a working girl and morally-minded flirt – loving daughter of a cigar smoking ne-er-do-well (William Collier Sr.) and a taskmaster of a mother (Jane Darwell). Living in the little locale of Maryville, it is an example of gossipy, small-town America.

A Christmas movie that is truly special has that moment. . . that specific sequence magically able to transcend the medium – enlivening our spirits, touching our hearts, rejuvenating the soul. . . a bell ringing – it giving an angel its wings; a humbug of a man able to get another chance at really living life; a family, despite all odds, getting home to their young son that has been left home alone; and, in today’s film, though the ending could arguably be it, a woman brings her newly adopted (orphaned) Dutch daughter to see Santa Claus at the mall, as the little girl truly believes she will be able to speak to him – her mother, knowing that he can’t speak the language, is gobsmacked when he starts to talk to her – bringing so much joy to her cherub-like face. Of course, you’ve probably guessed it, I am referencing George Seaton’s 1947 classic Miracle on 34th Street (he both writes and directs). After a drunk Santa is removed from his post during the Macy’s Thanksgiving Day Parade thanks to the complaint of Kris Kringle (Edmund Gwenn – winning an Oscar for the role), methodical event director Doris Walker (Maureen O’Hara) asks the man to don the suit – filmed during the actual parade.

Arguably one of the most scandalous narratives to come out of the pre-code era, Alfred E. Green’s notorious 1933 romantic drama Baby Face was one of the films that was so very controversial that it ended up giving the Motion Picture Production Code (Hays Code) its bite – the reigning moral guide for the next thirty plus years. With a story from Darryl F. Zanuck (yes, the powerhouse studio head of 20th Century Fox – written under his pseudonym, Mark Canfield), the story follows Lily Powers (Barbara Stanwyck), aptly described by the bawdy tagline – “she had it and made it pay”.