For the Love of Film III: Rear Window (1954)

by Tony Dayoub

This post is a considerable reworking of a piece I posted on 3/20/09. It's also a contribution to For the Love of Film: The Film Preservation Blogathon III being led by Marilyn Ferdinand of Ferdy on Films, the Self-Styled Siren, Farran Smith Nehme, and Roderick Heath of This Island Rod.

For movie-watchers with an analytical bent, Alfred Hitchcock provides a wealth of material to dissect. Rear Window is a great example. Much of the analysis focusing on Rear Window highlights the most immediately apparent of the film's metaphors, that of L.B. Jefferies (James Stewart) as audience surrogate while the different dramas playing out in each window of his apartment's courtyard serve as his personal movie theater. Laid up with a broken leg, the convalescing photo-journalist—bored with routine visits by his socialite girlfriend Lisa Fremont (Grace Kelly) and home care aide Stella (Thelma Ritter)—turns to his window for entertainment. But the movie's titular rear window isn't just a proscenium allowing Jefferies to play peeping tom. Each of the courtyard's individual apartments are a physical manifestation of Jefferies' fears of seriously committing to Fremont.

For the Love of Film: 3rd Annual Film Preservation Blogathon Returns Next Month

by Tony Dayoub

My dear friend, Farran Smith Nehme (a.k.a. the Self-Styled Siren), is again co-hosting the For the Love of Film blogathon, from May 13-18. This year, the blogathon's focus is on Alfred Hitchcock. In her words:

...one of the recurring motifs here at Self-Styled Siren is access--the continuing quest to see movies that remain frustratingly out of our reach. Our friends at the [National Film Preservation Foundation] know how we feel, truly they do. They have streamed a number of the rescued films on their website, at no charge. It's part of their commitment not only to film history, but to bringing that history to as wide an audience as possible.

For the Love of Film: The Film Preservation Blogathon - Sherlock Holmes (1922)

by Tony Dayoub

This is a contribution to For the Love of Film: The Film Preservation Blogathon being led by Marilyn Ferdinand of Ferdy on Films and Farran Smith Nehme, aka The Siren, at The Self-Styled Siren.

With all the hype surrounding the release of yet another iteration of Sherlock Holmes this past Christmas, many might have overlooked a rare cinephilic treat related to its attendant publicity. Turner Classic Movies celebrated the character—one of (if not) the most often depicted in cinema—with a day-long marathon of his films. From Basil Rathbone to Peter Cushing, most of the actors that have played the eccentric detective were represented. The most interesting film was reserved for TCM's regular Silent Sunday showcase, the 1922 Sherlock Holmes starring the renowned John Barrymore as the eponymous sleuth. This was the television debut of the previously lost silent, restored by the George Eastman House with the help of the National Film Preservation Foundation in 2001.

Sherlock Holmes is representative of why the NFPF's work (as well as that of countless other cinematic archives too numerous to mention) is so important in preserving our cinematic heritage. According to their website, "fewer than 20% of U.S. feature films from the 1920s survive in complete form in American archives; of the American features produced before 1950, only half still exist." As it stands, this 85-minute cut of Holmes, the most complete version yet, still has sections that are pretty clearly missing (sometimes even in the middle of a scene) and perhaps lost forever. The George Eastman House's work on this film give movie enthusiasts of all stripes another portal into the past, and it was made possible with a grant from the NFPF.

If you are a fan of Sir Arthur Conan Doyle's literary creation, you will learn that this silent is one of the least faithful interpretations of the character. The film begins with Holmes as a young college student, making the acquaintance of a classmate by the name of Watson. He still hasn't found a line of work suitable for his unique deductive talents. But a mystery crops up, one which he won't be able to solve for years despite knowing that a Professor Moriarty (played by a frightening Gustav von Seyffertitz) is somehow behind it. And in working the case he'll meet the love of his life, Alice Faulkner (Carol Dempster). Yes, you heard right. Holmes falls in love. Who knew that a film made while Holmes' author Doyle was still alive could somehow depict the character less accurately than Guy Ritchie does with Robert Downey, Jr. in the role?

Well, disappointed Holmes aficionados aside, movie buffs can find plenty to appreciate in the film. The American movie is one of the few silents to have done extensive location work in London. And though the setting isn't period accurate to Doyle's stories, it is historically fascinating to see early automobiles and telephones in use by the characters and in the background. Also of note is Barrymore's performance. The contemplative, stoic detective elicits a subdued portrayal from the usually theatrical Barrymore (Grand Hotel), one more palatable to today's audiences than the ones typically found in his other films. 1922 was the year that Barrymore would give his best regarded stage performance as Hamlet. The female lead, Dempster, makes a rare appearance in a film outside of her collaborations with mentor and lover, D.W. Griffith (Intolerance). Future Hollywood gossip columnist Hedda Hopper has a small but pivotal appearance in the film as a woman working for Moriarty. But most interesting is the fact that Sherlock Holmes features the debuts of two actors who would go on to greater acclaim in the future.

Roland Young, who plays Dr. Watson, would go on to some measure of fame for his Oscar-nominated role as the titular Topper(1937). And in the part of the confidential informant, Foreman Wells, is an actor who went on to portray a famous detective in his own right, William Powell.

The greatest crime is to ignore the fact that even flawed films such as Sherlock Holmes provide immeasurable value in the amount of opportunities one is offered to learn about the cultural, social, and historical details so unique to our continuing cinematic legacy.

Please donate any amount you can to support the efforts of the National Film Preservation Foundation.

The National Film Preservation Foundation is the independent, nonprofit organization created by the U.S. Congress to help save America’s film heritage. They work directly with archives to rescue endangered films that will not survive without public support.

The NFPF will give away 4 DVD sets as thank-you gifts to blogathon donors chosen in a random drawing: Treasures III: Social Issues in American Film, 1900-1934 and Treasures IV: American Avant Garde Film, 1947-1986.

The Film Preservation Blogathon

For those who haven't heard, Marilyn Ferdinand of Ferdy on Films and Farran Smith Nehme, aka The Siren, at The Self-Styled Siren are hosting a blogathon, from February 14 - 21, about a subject that is very near and dear to my heart. Marilyn and Farran explain it better at their respective blogs, here and here.


Greg Ferrara of Cinema Styles has set up a blog where banners and the commercial (above) for the blogathon can be found entitled For the Love of Film. As he explains on his own site:

The blogathon will be run in conjunction with the National Film Preservation Foundation. In their own words:

The National Film Preservation Foundation is the independent, nonprofit organization created by the U.S. Congress to help save America’s film heritage. Growing from a national planning effort led by the Library of Congress, the NFPF began operations in 1997. We work directly with archives to rescue endangered films that will not survive without public support.

So please help out, advertise, contribute a post or whatever else you can think to do. [Above] is the first official commercial I put together for the blogathon that you can embed onto your own homepage. The music was written and recorded by yours truly, everything else is public domain. The movie still of the two men at the table is from Ernst Lubitsch's The Patriot, a 1929 film now sadly lost forever. The Greta Garbo film is A Woman of Affairs, a film restored years ago but still not available on DVD. It can be viewed here in its entirety however.

Couldn't have said it better myself, Greg.