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Berci We went to our twenty years ... Small Talk

"Jojo if prenait Voltaire pour

et Pierre pour Casanova

here étais moi et moi les plus fier

pour moi moi je me prenais moi "

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For Harry Langdon

Yeah, are full of melancholy, just as I would be happy to have read a good book. There are only two chapters and then I finish Harry Langdon: His Life and Films of William Schelly , wonderful biography of the comic actor eternal child. Even this was because the book is a translation in English, but English is a very basic easy to understand, so this time I had rarely need of the assistance of vocabulary.

Harry Langdon. How many times I've seen his movies and I thought how it was original. Muti, of course, because his sound was rather neglected period and has not yet released on DVD, except in a few stocks. I now turn to recall an image of this lovely child. In Saturday Afternoon had the harpy wife, poor soul anxious to freedom but ignorant of the ability to find it. Even a trip with a friend became a sort of tragedy for him, locked inside a tiny trunk. HIS FIRST FLAME, so as to accommodate the wishes of his uncle who wanted eternal bachelor, because, he said, women were something to escape from. REMEMBER WHEN, an underdog, a poor wretch who does watch the show the children of his own childhood orphanage, and losing his job for it. He had hidden in his jacket fifteen chickens a few hours before. A thief, a vagabond and a wanderer starving constantly frustrated by the circumstances. Langdon's figure is less marked than Charlie Chaplin, the lonely outsider par excellence, but it's the same cry. Cry because it is an alien, "The Little Elf" as they called the Americans, other than that provided for social psychology. Her face resembles that of a moon that is tired of being up there and wanted to capriciously take human form. But Langdon is not really human. He believes in what he is told. Imagine the good, true and beautiful is inside his heart is also in reality. When is disappointed, it is frightening. In him there is no desire for success, sexual desire, real and conscious view of itself. In some ways Harry Langdon did not know to exist. The tangible form of his body is not something essential in his mind. In THE SEA SQUAWK dresses as a woman because it can not be recognized by a villain who intends to harm him. His disguise is less funny than that of his contemporaries, like Chaplin, Laurel, Ben Turpin and other man-because he has never been. The strength of that sequence is it. The grace of androgynous Langdon is priceless. Smile and laugh more in the shoes of a man of success than in those of a blonde lady sought. This is unique. How unique are his films. I could write for hours about his short, medium and feature films and maybe I'll do it again. Now I remember a picture. The film is Three's A Crowd, we are still in the initial phase of the narrative. We see a puppet piece that flies, then this puppet will return at the end in a tragic (and wonderful) shot. That puppet is him. The plot and the story I'm not here to tell because they do not need words. I am convinced that if Langdon had been less inexperienced-was his first film-would have sped up the action in some places and made more correct certain fittings. And the film would be was a masterpiece because it contains unusual symbols peaks for the films of that period. Not everything is as it seems and there is no need for explanations. Even as I write I can not help but move with emotion. Harry Langdon could become a great writer of comedies, like Charlie Chaplin, Buster Keaton and Harold Lloyd, if he had had full opportunity to develop his potential and was not opposed by the dominant desire of realism that the speech would have required also its shape.
Well, so far I had seen his work, but now I am going to finish the biography Schelly. Reading it was like to really know who this man was fragile, sometimes dominated by the circumstances and deeply naive.
Sorry. My mind moves to nostalgia when I think back to when I started reading it. The death of the reading process is combined with the death of Langdon, in his order that will be told in these two chapters that remain. I'll cry again, and again, and maybe it will be an opportunity to once again review his films.
Why cinema is life and preserves life. And Langdon had kept that secret celluloid that his character did not even know you had. What makes the human being only to the aspiration of humanity untouched unconscious.

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You are right, I'm doing a little wish ... after a hard summer, I rested a bit 'and now I'm immersed in new (but old) projects.

to forgive me, since this cartoon made some months ago for Helbling Languages.

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Charlie Chaplin comedies, eternal work in progress

After a little time restored the vision of the Keystone Box which should arrive in a few days at home, I want to attention something that will not let me quiet for years: the almost chronic incompleteness and the impossibility of reaching a final copy, complete and whole, like short of Chaplin.
Perhaps many do not know, but when in the early '20s, the Clark-Cornelius Corporation republished the Chaplin Mutual, he worked various cuts on them, to speed up the action and removing the parts that seemed unnecessary. This process took authenticity IDIOT and disrespectful to those masterpieces of comedy that are still at least partially mutilated.
in 2006 for the 90 years since that series, David Shepard edited the special edition for the twelve short films, edition in the forums that I manage on Chaplin I have repeatedly praised and recommended the purchase. Despite the great job done, however, and improvements made, still missing. TO, I am reminded of a short-cut opening of the Pawnshop, which could very well be reinstated, minutes and minutes of The Immigrant, a part of BEHIND THE SCREEN and much more. Obviously recover something lost is now impossible, but I think that's going to dig through archives around the world may come to a fuller version, open to improvement but acceptable and appreciated the effort.
One thing that saddens me is the state of the Essanay. They are the most tortured. E ' known that the company did succeed in fast-paced and always the same jobs in different versions, to compete with the new jobs that Chaplin first and then the First National Mutual were turning out, until in 1919 the World Film Corporation taken copies (and no one knows if left unchanged, but everything makes me think not) for new deployments and then Victor Kremer, and then the reissues sound track of the 30's and then television. An amazing process. What makes, and on this there is a mathematical certainty, by the unequal STATE every film of that period of art and this thing is depressing. The DVD version of Image Entertainment and she, too high, the BFI are the best that we now have on Essanay.
But a few days ago I realized that I have available a little more. I do not have a film library archivist manages. Therefore, the copy of RAI IN THE PARK, Italian Charlot in the park (that aired many years ago and that I possess registered), you have understood correctly, the copy of Italian television, CONTAINS MATERIAL absent in the so-called "official "even if it is something seemingly minor, but it is really important. Before I begin to say what is lacking, which is certainly full-bodied.
Therefore, the RAI version lacks the first part and the part where Charlie spins the stick and see for the first time Edna. Then it is basically whole though: there are
-cuts, as when the thief struck Lloyd Bacon falls down and gets up again, cursing and then taking the brick and are swept away a few seconds of film, and another cut is the point where the policeman sees Edna with her purse, smiled, and then in the full version of Charlie goes into the scene near the bench. In this version jumps to the return of Charlie at the place where it stays Edna.
-missing the final part. After Charlie Jamison kicked in the lake close to the comic.
But here's the fun part. There is a very interesting version RAI. Indeed there is more than one. At the end of the short, under the word "END", the source is cited Blackhawk films. So this copy is from there. WELL IN WELL CONTAINS TWO COPIES IN FRACTIONS OF A SECOND OFFICIAL ABSENT ABOVE:
- Charlie goes to the help of the seller to sausages, but in fact grounded after the offender ends up stealing himself. When he leaves, the merchant and ERMITAGE BFI version (and that image) continues to rummage through the bucket, after rummaging in the RAI specified by the Party that has escaped the understanding that Charlie was showing him to make the theft. It 'a very short but is present only in this variant copies RAI.
-Leona Anderson goes on to explain that the policeman was taken from her purse. In version BFI and ERMITAGE the separation begins immediately with the latter intent on mimicking her purse, while in the RAI also mimics the theft thereof. Here, too, is facing a second poor (because the copy is accelerated RAI), but it's amazing how all this is present only in this version.
I checked two other versions that have this comic, and both miss the points.
What can I say? What is really disheartening. I had noticed a thing in the filmography of another comic I was looking at a few years ago, but Chaplin is frankly sad to see it. After all the work that was done.
To close, a wish. I hope that the centenary of these comic-which will in five years-is doing something important and even more analytical because they deserve it. Just as they deserve all the fans waiting for him for a lifetime. In the meantime, I taste the Keystones are almost by nature incomplete (!) And tear which would be absurd to complain, because to my knowledge has done something great, which makes some of those movies (otherwise hyper-cut and high decomposition) very clean and beautiful to watch.