Someone digs in soil on World Soil Day

Someone's hugged on Lets Hug Day (USA)

 

Nanon Zanzi (Joan Crawford) is mortally afraid of men. Of their grabbing, grasping, groping hands. This is why she only trusts her knife throwing partner Alonzo the Armless (Lon Chaney). What she doesn't know is that Alonzo and his 4'10”/1,47 m accomplice Cojo (that great staple of precode horror Tufei Filhela aka John George), use the #circus to hide from the long arm of the law, who is looking for a murderer with a deformed thumb. Who would suspect an armless man?

“Men! The beasts! God would show wisdom if he took the hands from all of them!”

– Nanon Zanzi

As mighty as Alonzo may be, the incomparable Lon Chaney owes much to armless violinist and knife thrower “Judge” Paul Desmuke. Story goes that Desmuke taught Chaney his knife act in two months. More probable is that some of the more impressive close-up scenes show the Judge's, not Chaney's, feet.

 

Like Alonzo, The Unknown has lost some flesh. Until 1968, only mangled bootlegs were available; a complete print was considered non-existent. Five years later, news broke about film reels of unknown origin labelled inconnu – [the] unknown, somewhere in the bowels of the Cinémathèque Française.

 

Some 14 minutes, outlining the Armless' background, are still missing. Do check your attic.

Pinky Rose: Wine! You got wine! Millie: Yeah. PR: Tickled Pink! M: And the other's Lemon Satin. PR: Ooo! Lemon Satin!

Someone shaves on Safety Razor Day (USA)

 

Accompanied by the sweet tunes of Bunny Berigan and Ira Gershwin's I Can't Get Started, a young man shaves his face. The Big Shave is a short commissioned film which contains many of the hallmarks of Martin Scorsese's later, more accessible work.

“I've been consulted by Franklin D., Gretta Garbo has had me to tea, Still I'm broken hearted, Cause I can't get it started, With you”

–Ira Gershwin, I Can't Get Started (1936)

There's also the obvious influence of #KennethAnger to be found, in nostalgic show tunes, the fetishisation of chrome and clean lines, followed by lustful, by ways erotic, violence. #Scorsese theme here is not homoeroticism, not on the surface at least, but the carnage laid upon so many young men sent off to the smouldering battlefields of #Vietnam. There'd be another six years of that. And meanwhile, some young men came back. And some picked up a job, driving a cab.

Christmas lights for National Christmas Lights Day (USA)

 

It took experimental filmmaker Marie Menken three years to shoot Lights. From midnight until 1 AM, she filmed New York's window displays during the holiday season, using her camera, motion, colour, and available light sources as her paintbrush.

“There is no why for my making films. I just liked the twitters of the machine, and since it was an extension of painting for me, I tried it and loved it. In painting I never liked the staid and static, always looked for what would change the source of light and stance, using glitters, glass beads, luminous paint, so the camera was a natural for me to try—but how expensive!”

– Marie Menken, c. 1966

Filming at night helped to avoid unwanted interruptions of people and cars, but turned out to be problematic for her hand-cranked #Bolex, which kept stalling in NYC's icy winter nights.

Shopping online on Cyber Monday

 

In the soul crushing future of 1999, one heroic nuclear family bravely fulfils their gender-specific duties. While Father Mike works in his computer-aided office, Son Jamie fails at computer homeschool and Mother Karen slavishly shops, cooks, and cleans as if the 70s never happened.

 

Thankfully, the future turned out to be even bleaker.

In my book, entrepreneur is just a fancy talk for conman. A famous one, the one who may've tried to sell you the Brooklyn Bridge, was George C. Parker. He'd peddle the famous landmark to any hapless rube, immigrant, or sucker who then would promptly erect a little tollbooth to make a fast buck from any hapless rube, immigrant, or sucker.

“Selling the Brooklyn Bridge again, huh?”

– Police captain Jim McCarey

Like Parker, Mae West's Peaches O'Day bamboozles it her way. And boy, does she have a bridge to sell you!

Two hopelessly lonely hearts meet each other at Coney Island, spending the most wonderful day in each other's company. Pál Fejős' joyful Lonesome was made just when motion pictures became talkies, and new and more modern novelties were expected by the audience. Fejős delivers, with sound and musical inserts, and the occasional – almost shocking – burst of colour.

– Nice day, isn't it? – Yes, isn't it! – It's swell. It's perfect.

With light touches of Murnau's groundbreaking Sunrise: A Song of Two Humans (1927) and Jean Vigo's more experimental À propos de Nice (1930), Lonesome depicts the exuberance of youth with an optimism soon to be lost to the vices of history.

It's just a little game. But then you wonder if Ouija, the Wonderful Talking Board is actually just that. Two neat little ladies playing that quirky 1891 novelty game in Roland West's The Bat Whispers summon the aforementioned bat, black-clad fiend and Batman predecessor.

– Get the Ouija board. – It's got the Bible on top of it, keeping it quiet.

Who is he? What does he want? And how can he be stopped? Do you know the answer?

YES		NO
	GOOD BYE