King Vidor is unquestionably one of the greatest American filmmakers of all time. His run of films during the late silent era still remains unmatched today (The Big Parade (1925), La Bohème (1926), Bardelys the Magnificent (1926), The Crowd (1928), The Patsy (1928), Show People (1928)). These are movies that still remain as fresh, powerful, moving, funny and entertaining today as they were back then. They also hold their own with any great movie in the years afterwards. This does not mean his talkie work should be dismissed as it includes some real classics as well (The Champ (1931), Our Daily Bread (1934), Stella Dallas (1937), Duel in the Sun (1946), The Fountainhead (1949), Ruby Gentry (1952)). Because of this a book written by him about the filmmaking process is indispensable.
Though the intended audience for this book is aspiring filmmakers, this book holds just as indispensable to movie buffs who never plan to make their own films. Reading how one of the greatest filmmakers of all time approached filmmaking is endless fascinating for movie lovers. Not only does he discuss all of the technical aspects of filmmaking in great depth, but he offers his own insight into how these aspects should be used. He even lets us know how many classic scenes in his films were shot. He gives his own examples of films where that he feels where made very well and why the technical aspects worked in those movies. This even includes his opinions on "modern" movies (this book was written in the 1970's) and how films have changed over the years. Unlike many filmmakers from his era, he welcomed this new era of filmmaking that was occurring. He even speaks highly of the rise of various arthouse and foreign movies. There are many more highlights here including a chapter where he talks about many of the famous actors and actresses, he worked with over the years.
However, what truly makes this book special is the way it is written. As technical as this book gets, the writing style is quite casual, accessible and personal. The result is that the book feels like you are talking directly to the great filmmaker. Because of this by the end of the book, you don't only feel like you know more about filmmaking but that you know the writer himself. For fans of King Vidor, this makes this book feel incredibly worthwhile.
Hello my friends and welcome back for another service of Cowboy Church.
Today's musical selection begins with Roy Rogers and Dale Evans singing The Old Rugged Cross. The song itself dates back to 1913 and was written by evangelist, George Bennard. Actually, the first verse was written in 1912. It was written while Bennard was a part of a series of revival meetings in Albion, Michigan. He was worried about the complete disregard for the gospel around him and wrote this verse as a repose. Of writing it Bennard said, "I seemed to have a vision ... I saw the Christ and the cross inseparable." The song wouldn't be completed for several months, when he was leading meetings at a local church in Pokagan, Michigan. He played it for Rev. Leroy (the sponsoring pastor) and his wife, Ruby Bostwick, both of whom found themselves moved to tears. It was then incorporated into a service at that church on June 7, 1913. The song has the same effect today as it must have back then.
This is followed by Willie and Bobbie Nelson with When We All Get to Heaven. On this recording Willie sings the classic gospel tune while his sister Bobbie accompanies him on piano. This comes from a 2013 gospel album the two made together called Just As I Am.
Afterwards is Anne Wilson with Stars. This song will be on her upcoming album, Stars, which will come out on October 17, 2025.
Next comes Patty Loveless with Two Coats. This recoding comes from her 2001 gospel album, Mountain Soul.
Then comes The Monroe Brothers with What Would You Give in Exchange for Your Soul. They recorded this song on February 17th, 1936, in Charlotte, North Carolina.
Next comes Johnny Cash with the self-penned He'll Be a Friend. This song is a very important one for us believers, reminding us that there will never come a time when God will not be there with us every step of the way. Whenever we feel that we are alone in this world, we can remember that we never are because God is always there and as Romans 8:28 says "And we know that in all things God works for the good of those who love him, who have been called according to his purpose." Despite Johnny writing this song himself, many of the message is one Johnny would have to remind himself of in his darker moments. However, as anyone who knows Johnny Cash's story knows, it is a story of how God will never abandon us and no matter how dark the roads are, he is always there to lead us back to where we need to be. Johnny had done so much wrong, yet God not only redeemed him, but used his story and music to bring many others to Christ. If Johnny can be used by God and truthfully call himself a Christian, then we can too. This song comes from Johnny's 1959 album, Hymns by Johnny Cash. Johnny had wanted to be a gospel singer before he ever made music his career. Yet when he came to Sun Records, he was told gospel wouldn't sell like rock and roll or country music, so at Sun Johnny mostly recorded country and rock songs. However, when he moved to Columbia, he was free to record as much gospel as he wanted. His first album for Columbia (The Fabulous Johnny Cash) would feature a good share of gospel music and his second would be this full gospel album.
Then comes Jean Shepard with Sunday Christian. This is the closing song on her 1969 gospel album, I'll Fly Away.
Today's musical selection concludes with The Sons of the Pioneers with their 1947 recording of The Sea Walker. This song was written by Tim Spencer, one of the group's founding members. Music was a major part of Tim's life from very early on. In fact when he was only 3 years old he was already singing at the church he grew up in. His love of things cowboy and western related also began very early as he had grown in awe of western movies and screen cowboys like Tom Mix, Hoot Gibson, William S. Hart and others were his boyhood heroes. With this it is no surprise that in 1931, he went to California to see how his talents could be used in Hollywood. Yet music always remained a major passion for him. As he worked in a warehouse, he would spend his weekends and time after working going around to all the country music radio shows, getting to know all the people he could. This is how he met fellow founding members of the Sons of the Pioneers, Bob Nolan and Leonard Slye (later Roy Rogers). The Sea Walker as well as being written by Tim also features him as the lead singer. The great Bass vocals in this song are courtesy of Hugh Farr.
Now for the seventh chapter of the Buck Jones movie serial, The Red Rider (1934).
Now for a message from S.M. Lockridge.
Put on then, as God's chosen ones, holy and beloved, compassionate hearts, kindness, humility, meekness, and patience. Colossians 3:12
She opens her mouth with wisdom, and the teaching of kindness is on her tongue. Proverbs 31:26
Whoever is generous to the poor lends to the Lord, and he will repay him for his deed. Proverbs 19:17
But grow in the grace and knowledge of our Lord and Savior Jesus Christ. To him be glory both now and forever! Amen. 2 Peter 3:18
I want to know Christ—yes, to know the power of his resurrection and participation in his sufferings, becoming like him in his death. Philippians 3:10
I have said these things to you, that in me you may have peace. In the world you will have tribulation. But take heart; I have overcome the world. John 16:33
Finally, brothers and sisters, rejoice! Strive for full restoration, encourage one another, be of one mind, live in peace. And the God of love and peace will be with you. 2 Corinthians 13:11
Thanks for joining me. Come back next week for another service of Cowboy Church. Happy trails to you until we meet again.
Hello my friends and happy Saturday morning. Once again it is time for some classic cartoons.
Today's cartoon selection begins with Sylvester and Tweety in Trick or Tweet (1959). This short film features Sylvester competing with Sam the cat for Tweety. This is not the first time the two had fought over Tweety. The two fought over Tweety before in two cartoons, Putty Tat Trouble (1951) and Tweet and Sour (1956). The two would later fight over a mouse in Mouse and Garden (1960). Sam's last appearance in a theatrical short film would be Merlin the Magic Mouse (1967), where he would meet up with one of the last Looney Tunes characters created for the theatrical shorts.
Now for our good friend Dimwit in Daddy's Little Darling (1957). Dimwit started life as a supporting player in other characters' cartoons, especially those of Heckle and Jeckle. Because of the popularity of Disney's hilarious Goofy cartoons of the 1950's, it was decided to put Dimwit in similar roles and similar films. These could have easily been Goofy cartoons with no story changes at all. This idea would only last for three films. The other two were How to Keep Cool (1953) and How to Relax (1954).
Now for the Fox and the Crow in Kuku Nuts (1945).
Next, we join Oswald the Lucky Rabbit in The Hare Mail (1931). Though some of you probably know Oswald best as a Disney character that predated Mickey Mouse, the animated rabbit's career stretched beyond just when Walt Disney discovered he didn't have the rights to the career. Many of the post-Disney Oswald cartoons were produced by another Walt, Walter Lantz, best known for being the producer of the Woody Woodpecker, Chilly Willy and Andy Panda shorts. I have long had a fondness for the Walter Lantz Oswald shorts, for just how odd and surreal they are. In this cartoon, Oswald is voiced by none other than Mickey Rooney.
Now it is time for a commercial break.
Next comes the Disney cartoon, The Social Lion (1954). This short was directed by one of my favorite cartoon directors, Jack Kinney and features much of the great satire and clever humor that marked the director's best films. This type of satire of 1950's urban America can also be seen in many of the director's Goofy cartoons. With the influence of UPA, at this time, many cartoons were showing a much more stylized and moderna art inspired look. This look can be seen through much of this film, though the main character is more traditionally animated. While the two artistic styles may somewhat clash with each other, I think that this works well for this film. It heightens the contrast between the lion and urban society making the satire even more effective.
As many of my fellow film buffs know, the Betty Boop cartoons of the early 1930's are truly something special. They were pure cartoons from beginning to end and there is hardly a missed opportunity for any wild and crazy gags. I Heard (1933) is a perfect example of this. There is hardly a second of this movie that is not filled with some wild and crazy gag. The pacing and pure energy of the gag structure in this film is something to behold. So many of these gags are delightfully creative with some of the good old fashioned surreal-ness associated with the Fleischer studios at this time. The music is also excellent. Quite a few of the Fleischer cartoons at this time used great jazz musicians on their soundtracks. This movie features music by Don Redman and His Orchestra. I was not familiar with them before watching this cartoon, but oh my gosh, they are fantastic. Their music is just as energetic and carefree as the rest of the film. The following is an exhibitor's review from The Motion Picture Herald, "I Heard: Betty Boop - A wonderful cartoon. Absolutely one of the best ever made. Plenty of music furnished by Don Redman and His Orchestra and the acting of Betty Boop, Bimbo and Koko all go to make excellent entertainment. Let's have more. Running Time, Eight Minutes. - J.J. Medford, Orpheum Theatre, Oxford, N.C. General Patronage."
Now for the silent Aesop's Fables cartoon, The Thoroughbred (1923).
Today's cartoon selection ends with The Simpsons in Gone Fishin' (1988). This was a short made for The Tracey Ullman Show before the animated family got their own TV series.
Thanks for joining me. Come back next week for more animated treasures. Until then may your tunes be looney and your melodies merry.
Resources Used
I Tawt I Taw a Puddy Tat: Fifty Years of Sylvester and Tweety by Jerry Beck
Of Mice and Magic: A History of American Animated Cartoons by Leonard Maltin
This is the first segment of the fourteenth episode of The All-New Super Friends Hour, unlike most other Super Friends formats, this one had hour long episodes that were made up of various shorter cartoons. The first segment would be an adventure staring two members (or three in some cases as Batman and Robin would often team with another Super Friend) of the Super Friends. The second would be a morality play staring the Wonder Twins. The third would be a typical half hour Super Friends adventure. The fourth and last segment would feature one of the main Super Friends (or two in the case of Batman and Robin) teaming up with a special DC Comics guest.
In this cartoon Superman and Aquaman team up to stop the evil Sculpin, when he freezes all the world's oceans.
This is a fun cartoon. Sculpin has a wonderful design and voice that makes him a fun and memorable villain. With his freeze way and other technology, he truly does feel like a real threat to our heroes. This leads to some very fun action scenes, especially one involving a whale helping Aquaman. The cartoon also very much benefits from great background art, which gives it a great sense of atmosphere and fun. The story itself is simplistic and breezy, which creates just the kind of corny superhero fun I love.
The only real complaint I have is the obvious didactic dialogue at the end but that was par for the course for a TV cartoon at this time.
It hasn't been until fairly recently that Marion Davies has been truly appreciated for how great of an actress she actually is. She has been too often dismissed as simply someone who succeeded because she was William Randolph Hearst's mistress and some have compared her to Susan Alexander in Citizen Kane (1941), an assumption that Orson Welles himself dismissed. Yet a look at her filmography one can see that she was incredibly talented and brought a warmth and charm to all her roles. For anyone who is not yet convinced of this I recommend that you read Lara Gabrielle's biography of her.
This is one of the best movie star biographies of recent years. It is written from a place of love and there is no doubt that Gabrielle is completely enamored with her subject. While she does not paint Marion as perfect, its portrait of her is loving and deeply sympathetic. After reading this book, it is hard not to care about Marion as a person. This book perfectly shows us Marion's big heart, her loyalty, generosity, love of life and love of animals (including becoming very involved in pushing towards animal rights). We see a warm and loving person that we would all love to have as a friend. This book also illustrates how Marion truly loved Hearst and that he meant much more to her than his money and power. While Hearst was an extremely flawed human being (many of the flaws being glaringly obvious as you read the book), it is also obvious that he loved her back and was not just simply cavorting around with a younger woman.
As well as giving us great insight into the person, this book also gives us a great look at her movies. Garbrielle truly did her research her and even massive film buffs might learn a thing or two about her movies here. The book goes into great depth about each of her major films. While there is little critical insight into many of the movies as a whole, the author does a great job of examining Marion's performances in the film and what made these performances special. The book also gives much information about Marion's work with some truly talented directors (including the great King Vidor) and how she adapted to the change from silents to talkies (not always easy as she had a stuttering problem).
This is a must read for any fan of Marion Davies, classic Hollywood or well-written books in general. Once I started reading it, I hated whenever I had to put it down.
