“You know Mum, I don't have to write to Santa anymore. There's an easier way, through Minitel.”3615 code Père Noël [Deadly Games / Dial Code Santa Claus] (René Manzor, 1989)
Dec
4
Santa's List Day
A man in a grey overcoat and yellow scarf at a public Minitel terminal. On the display the code 3615 and an 8-bit illustration of Santa Claus carrying his bag with presents. The sack holds a smaller Minitel device with the text PERE NOEL. DP: Michel Gaffier.
A letter to Santa on Santa's List Day (USA)
Aah France… Land of old wine, old cheese, old art, and Internet access in the early 80s. Prestige project of Président Giscard, France was determined to take a technological leap. Any French man, woman and child could borrow a Minitel – a PC-like videotex device – from the national telecommunications services. For those without landline there were numerous public terminals throughout the land. The machine gave the people access to a phonebook (convenient!), the news (smart!), same-day delivery shopping(!) and sexting (ooh la la!). All these services were accessible via a code starting with 3615 followed by a string of letters. Dial 3615 ULLA to text with a sexy lady – some telecom employee pretending to be one – and 3615 PERE NOEL for Santa Claus. The real one, of course.
9 year old whizkid Thomas (Alain Lalanne aka Alain Musy) is dead set on proving that Santa is real and not some weirdo looking for a gullible kid to play with. A trap is set, and the boy waits.
– Thomas
3615 code Père Noël is definitely not your cutesy little Christmas romp. The violence is not cartoonish, the bandit is more Manson than moist. The boy's disillusionment in the adults around him is a perfect mirror of “Santa's” lonely attempts to communicate and be accepted. However, Thomas' mom didn't lie about one thing; that seeing Santa on Christmas Eve turns you into an ogre. Or an adult, as the grownups call it.
HomeInvasion
“Nice guys.” Canon City (Crane Wilbur, 1948)
Aug
1
Colorado Day
Counting the inmates. DP: John Alton.
They've been planning this for months, Canon City's Colorado Territorial Correctional Facility's toughest inmates. It's going to happen on December 30, and all men are ready to go.
Fascinating about Canon City is the usage of some of the actual locations, ánd people, involved in the 1947 #prison break.
Also striking, unfortunately, is the unevenness of the affair. John Alton's cinematography, while wonderful, wanders between noir and stuck camera shutter. And that voice-over… well, lets not mention that at all.
Canon City (Crane Wilbur, 1948)
Jul
31
grub
A close-up of two prisoners' hands. One is handling grub with a spoon from a stainless steel soup bowl. DP: John Alton.
– He's got a calendar in there.
– What day is it?
– It's a broad in a cowboy hat.
– Scooby doo bi doo ba ba.Private Property (Leslie Stevens, 1959/1960)
Jul
21
Duke (Corey Allen) and Boots (Warren Oates) “watching TV”. Ann Carlyle (Kate Manx) stripping for her husband is on. DP: Ted D. McCord.
Date watched, not the date in the movie. The quote was too good to leave it off this blog.
“I'm looking for the Hitchcock residence.”Private Property (Leslie Stevens, 1960)
Jul
20
lemonade
A blonde lady (Kate Manx) holds a wicker ray with a pitcher of lemonade and several glasses. Her anxious look contrast with the carefree promise of summer sky and cool drinks. DP: Ted D. McCord.
– Duke
– Aw, mom. You always talk about civilization. – Don't knock it, son. Jeopardy (John Sturges, 1953)
Jun
25
National Camp Counts Day
Behind the scenes. Barbara Stanwyck as unhappy camper Helen Stilwin having her lipstick reapplied by makeup man Pat McNalley. DP: Victor Milner.
A nuclear family of three goes out on a #camping-slash-fishing-trip on a remote Mexican beach. On arrival, son Bobby (Lee Aaker) causes trouble by climbing a rickety old jetty, which then collapses after dad Doug (Barry Sullivan) frees the boy's stuck foot. Now with Doug stuck and the tide rolling in, Helen (Barbara Stanwyck) is on her own and needs to find a rope. And help…
John Sturges' Jeopardy is a thrilling reverse home invasion based on Maurice Zimm's radioplay A Question of Time. Without falling into the trap of an illustrated radio broadcast, the haunting photography by Victor Milner, small, intense cast, short runtime and claustrophobic sets make for a very modern, economic thriller.
And Barbara Stanwyck the type of heroine we wouldn't see much of until decades later.
Suspense (1913)
Triangular split-screen in Suspense (1913). While the Wife (Lois Weber) is on the phone with her Husband (Val Paul), unbeknownst to them the Tramp (Sam Kaufman) cuts the telephone wire.
June 11: say Hi! on #SayHiDay
Suspense (Phillips Smalley & LoisWeber, 1913)
Now he's in the…
Suspense is not only the title of this short silent thriller, but also the state of mind the viewer is put into as soon as the film opens. Using POV (point-of-view) shots and breaking the fourth wall, the imminent threat – a vagrant trespassing and creeping up to a lone woman and her newborn child – creeps up on us. We know we're safe, on the other side of the screen, but the Tramp (a particularly haunting Sam Kaufman) looks us right in the eye. He passes us on the stairs, but he's going around us so he must be, hopefully, aware of our presence.
Meanwhile, we also see something that only cinema and books can give: multiple happenings at once. The Wife (Lois Weber) calls her Husband (Val Paul) on the phone. Suddenly the screen splits into three: in the middle, the Husband on call, listening to his Wife on the right who's begging him to hurry home. On the left, the Tramp. Unlike us, he cannot see the conversation promising a happy end. But instead that bringing some relief to the viewer, he cuts the phone cable. While we see that happen, we have no way to tell the Husband to make haste, or the Wife that the Tramp's getting closer.
What's striking too is the omnipresence of modernity: the couple's home and Husband's office have telephones and therefore electricity, and the Husband speeds off in an automobile. The cinematography for the telephone and car chase scenes are filmed and edited with great knowledge of the technical possibilities of the medium; split-screen (only gathering popularity much later, see Pillow Talk (1959), and the usage of the Entfesselte Kamera [unchained camera], the latter a mid 1920s German invention.
A similar, triangular split-screen scene from Michael Gordon's Pillow Talk (1959) with (LtR) Eileen (Valerie Allen), Jan Morrow (Doris Day), and Brad Allen (Rock Hudson) on the party line. With Ms Day's character centred, we know that she's the one to identify with in this particular scene. DP: Arthur E. Arling.
With that, Suspense not only preceded Italian futurist cinema, but also the usage of suspense as a cinematic technique. Now go and watch, and remember
it's only a movie it's only a movie it's only a movie
#Bales2023FilmChallenge #PhillipsSmalley #LoisWeber #SamKaufman #USA #ShortFilm #SilentFilm #drama #suspense #crime #thriller #HomeInvasion #1910s ★★★★☆
