The Story of Pierre Fromage (and the Woman He Loved)
Today was uneventful and I mean that literally. It's a nice relief to have some days like that and today was no exception. The most exciting part of my day was I went to the library and checked out some books on the Renaissance and one book on Charlie Chaplin, continuing my recent obsession with silent films.
I watched three Buster Keaton silent shorts last night on TCM. Before last night, my only exposure to silent film comedy was really only Charlie Chaplin. Chaplin is considered arguably the most popular silent film comedian, so I figured he was a good person to start with, but now I've seen most of his great works, including many of his shorts and many of his best feature-length films, including "The Gold Rush," "The Circus," "City Lights," "Modern Times," "The Great Dictator," and "Limelight." AFI is absolutely right in listing "City Lights" in its top 100 films of all time. The ending REALLY does make it. The perfect blend of music and film to create a mood. Nearly cried. Now, up until last night, my only exposure to Buster Keaton was the very brief cameo he has in "It's a Mad Mad Mad Mad World" and his performance with Chaplin at the end of "Limelight," which was filmed near the end of both of their acting careers.
The shorts last night were great. "Cops" was great. Great bits with a horse and buggie. Hundreds of policemen, literally, chasing little ol' Buster. A great punchline to the story. "The Blacksmith" and "The Balloonatic" were excellent as well. I think the great humor with Keaton is his face. He hardly changes his facial expressions and he's a funny lookin' guy with his straight face anyway. When he "talks," you can just hear him delivering his lines dead-pan. Some similarities with Chaplin (use of a hat, tramp-esque fella amorous for a lady) but many differences in their performances as well. I can't wait to more, as well as trying to get some Harold Lloyd and Fatty Arbuckle shorts.
I'm really convinced that this is a film genre that could and should be revived. Think about it: placing these character types and styles into a modern setting. The same clothing from the '20s and still chasing after the same 1920s gal (or not?) but dealing with all these modern issues (technology, weird groups, etc.) Maybe he sees this girl on Match.com or something and tries to find a way to travel to meet her. I'd love to film something like this. I just might actually. I realized last night that I think my friend Brianna is the perfect 1920s silent film gal. I have Monsieur Y as a film character, but Phil is in Jersey and I'd never think of giving the character to someone else. I could come up with a new character. He could still be French. I was thinking of the name Pierre Fromage. It has a good rhythm to it. And Chaplin wrote, directed and starred in his own films. Why can't I?
I'm thinking of starting a website based on the legend of William Nilly, making an entire history of the character from birth to death and failed attempt at becoming undead. Heh. Just another project!
I'm spent. Tomorrow is the first day of blocking rehearsal for me for EARNEST. Exciting! Until then...
Takin' care,
Neil
I watched three Buster Keaton silent shorts last night on TCM. Before last night, my only exposure to silent film comedy was really only Charlie Chaplin. Chaplin is considered arguably the most popular silent film comedian, so I figured he was a good person to start with, but now I've seen most of his great works, including many of his shorts and many of his best feature-length films, including "The Gold Rush," "The Circus," "City Lights," "Modern Times," "The Great Dictator," and "Limelight." AFI is absolutely right in listing "City Lights" in its top 100 films of all time. The ending REALLY does make it. The perfect blend of music and film to create a mood. Nearly cried. Now, up until last night, my only exposure to Buster Keaton was the very brief cameo he has in "It's a Mad Mad Mad Mad World" and his performance with Chaplin at the end of "Limelight," which was filmed near the end of both of their acting careers.
The shorts last night were great. "Cops" was great. Great bits with a horse and buggie. Hundreds of policemen, literally, chasing little ol' Buster. A great punchline to the story. "The Blacksmith" and "The Balloonatic" were excellent as well. I think the great humor with Keaton is his face. He hardly changes his facial expressions and he's a funny lookin' guy with his straight face anyway. When he "talks," you can just hear him delivering his lines dead-pan. Some similarities with Chaplin (use of a hat, tramp-esque fella amorous for a lady) but many differences in their performances as well. I can't wait to more, as well as trying to get some Harold Lloyd and Fatty Arbuckle shorts.
I'm really convinced that this is a film genre that could and should be revived. Think about it: placing these character types and styles into a modern setting. The same clothing from the '20s and still chasing after the same 1920s gal (or not?) but dealing with all these modern issues (technology, weird groups, etc.) Maybe he sees this girl on Match.com or something and tries to find a way to travel to meet her. I'd love to film something like this. I just might actually. I realized last night that I think my friend Brianna is the perfect 1920s silent film gal. I have Monsieur Y as a film character, but Phil is in Jersey and I'd never think of giving the character to someone else. I could come up with a new character. He could still be French. I was thinking of the name Pierre Fromage. It has a good rhythm to it. And Chaplin wrote, directed and starred in his own films. Why can't I?
I'm thinking of starting a website based on the legend of William Nilly, making an entire history of the character from birth to death and failed attempt at becoming undead. Heh. Just another project!
I'm spent. Tomorrow is the first day of blocking rehearsal for me for EARNEST. Exciting! Until then...
Takin' care,
Neil