Cowboy Church #258

 Hello my friends and welcome back for another service of Cowboy Church. 

Today's musical selection begins with Roy Rogers and Dale Evans with Jesus Loves the Little Children.  Jesus would state, “Truly I tell you, unless you change and become like little children, you will never enter the kingdom of heaven. Therefore, whoever takes the lowly position of this child is the greatest in the kingdom of heaven. And whoever welcomes one such child in my name welcomes me." There is no doubt that Jesus did love the little children and he loves us big children too. If we will humble ourselves and become like little children, the blessings he has for us are immeasurable. 

This is followed by Ricky Scaggs and The Whites with Blessed Assurance. This hymn came about when songwriter Fanny Crosby visited composer Phoebe Palmer Knapp. Knapp played a tune for Crosby and asked what came to her mind with that tune. Crosby said, "Blessed assurance, Jesus is mine!" She then immediately followed it with more lyrics that would be in the finished song. The song was published in 1873 and first appeared in a monthly magazine for which the editors were Joseph Fairchild Knapp and Phoebe Palmer Knapp (who were husband and wife). When it later appeared in 1887's Gospel Songs, No. 5 by Ira Sankey, this we lead it to greater fame as it would be commonly sung in the revivals of Dwight L. Moody and Sankey. By 1889, the hymn commonly appeared in Methodist hymnals. 

Afterwards is The Carter Family's classic 1927 recording of Can the Circle Be Unbroken. This song was based off of the 1907 Christian hymn (written by Charles H. Gabriel and Ada R. Habershon), Will the Circle Be Unbroken. Uncle A.P. Carter reworked this song changing the lyrics to be about the death of a mother. Though this version would be covered by an incredible number of artists, many of them would change the title back to Will the Circle Be Unbroken as well as changing that one word in the chorus. However, these cover versions would use A.P.'s lyrics for the rest of the song. This is one of my all-time favorite songs, because it is a sad song, but one which also finds hope within its darkness. This is a song about trusting in God in times when it is very difficult to, which is something many gospel songs don't cover but which many Christians struggle with. 

Then comes Susan Raye with Farther Along. This comes from her 1973 gospel album, Hymns by Susan Raye. 

Next comes the Sons of the Pioneers with their 1937 recording of The Touch of God's Hand. This song was written by Bob Nolan, one of the group's founding members and one of my favorite songwriters. Nolan also takes lead vocals on this song. Lloyd Perryman plays rhythm guitar. Karl Farr is on guitar. Sam Koki is playing Steel Guitar. Pat Bradey (later Roy Rogers' TV sidekick) plays bass. Hugh Farr is on the fiddle. 

Then comes Rex Allen with his 1953 recording of I Thank The Lord. 

Today's musical selection ends with Johnny Cash and Billy Graham with Preacher Said, Jesus Said. Johnny and Billy were great friends and John often appeared at the Billy Graham crusades and played a major role in leading many people to Christ. This song has Johnny singing with inserts of Billy Graham quoting Jesus. The message of this song was not only timely then as well as timely now. It will always be timely. When things are darkest and we don't know who to believe or trust, we know that we can always count on the words of Jesus Christ to be as true as they ever were. This recording comes from John's 1971 album, The Man in Black. 

Now for a sermon from S.M. Lockridge.

Now for the second episode of the Lone Ranger TV series. 

Psalm 57

For the director of music. To the tune of “Do Not Destroy.” Of David. A miktam. When he had fled from Saul into the cave.

1 Have mercy on me, my God, have mercy on me,

    for in you I take refuge.

I will take refuge in the shadow of your wings

    until the disaster has passed.

2 I cry out to God Most High,

    to God, who vindicates me.

3 He sends from heaven and saves me,

    rebuking those who hotly pursue me—

    God sends forth his love and his faithfulness.

4 I am in the midst of lions;

    I am forced to dwell among ravenous beasts—

men whose teeth are spears and arrows,

    whose tongues are sharp swords.

5 Be exalted, O God, above the heavens;

    let your glory be over all the earth.

6 They spread a net for my feet—

    I was bowed down in distress.

They dug a pit in my path—

    but they have fallen into it themselves.

7 My heart, O God, is steadfast,

    my heart is steadfast;

    I will sing and make music.

8 Awake, my soul!

    Awake, harp and lyre!

    I will awaken the dawn.

9 I will praise you, Lord, among the nations;

    I will sing of you among the peoples.

10 For great is your love, reaching to the heavens;

    your faithfulness reaches to the skies.

11 Be exalted, O God, above the heavens;

    let your glory be over all the earth.

Thanks for joining me. Come back next week for another service of Cowboy Church. Happy trails to you until we meet again. 

Silent Film of the Month: White Fawn's Devotion (1910)

 

Run Time: 11 minutes. Studio: Pathé Frères. Director: James Young Deer. Writers: James Young Deer.  Main Cast: Lucille Young

Despite being little remembered today, White Fawn's Devotion has a significant historical importance as the first known film directed and written by a Native American and starring a mostly Native American cast.   

This short borrows much of its story elements from the 1905 stage melodrama, The Squaw Man (which would be adapted for the screen multiple times by Cecil B. DeMille). In this film a young girl is the child of a white man and a Native American Woman. When her father inherits a fortune out East, the mother believes that he is going to leave her. She then attempts suicide. The daughter walks in and thinks that her father has killed her mother. She tells the tribe about this, and they come after the father to kill him. 

This is more than a simply historic curio. It is a solid melodrama that still holds up pretty well today. Though it may not have the advanced technical filmmaking you might see in a D.W. Griffith Biograph short, it manages to tell a concise and easy to follow story in only 10 minutes with very few intertitles. A lot happens in this short little movie, but it never once loses its audience. More than this the story is quite engaging and the action scenes (while simple and straightforward) are pretty exciting.   

  Pathé had made a series of westerns in Europe, however they were often criticized for their European, especially in the clothing. The response to this was to create something more authentic by hiring a Native American director and shooting in the U.S. (though it was still filmed in the East). The director and writer would be James Young Deer. Born in Nebraska of Winnebago ancestry, Deer had quite a career. He started had toured with Wild West shows and circuses. He would eventually land a career appearing in movie westerns, sometimes alongside his wife Lillian St. Cyr (who sometimes used the stage name Princess Redwing). As well as starring in films, Deer would also write for them. Despite how little known he is even among cinephiles, he is believed to have directed approximately 120 films between 1910 and 1913. Sadly, he was never credited for any of these films. 

   The interracial marriage was quite daring for its time. What is more incredible is the ending. I usually wouldn't discuss spoilers on this blog but since the last few feet of film are missing, I feel that it is important to do here. Still if any of you haven't seen the film, I recommend watching it before reading further. The girl's mother has attempted suicide but only wounded herself. Luckily it is found out that she is actually alive just before the tribe can kill the father. This is where the film now ends. Luckily Pathé publicity tells us what happens after this. "The Combs take their departure and return to their home, for he feels he will be happier with his family on than if he goes out East to claim his legacy." This type of happily ever after ending for an interracial couple was unheard of in fiction at this time, making this quite remarkable. 

When in a later film (which is unfortunately lost today) called Red Deer's Devotion (1911), Deer switched the sexes of the interracial couple, this was met with much criticism. Moving Picture World wrote, "Another feature of this film would not please a good many. It represents a white girl and an Indian falling in love with each other. While such a thing is possible, and undoubtedly has been done many times, there is still a feeling of disgust which cannot be overcome when this sort of thing is depicted as plainly as it is here." 

James Young Deer was not the only American filmmaker making films about Native Americans. In fact, from 1908 to 1912 there were a slew of pictures about Native Americans. Unfortunately, by 1913 Moving Picture World stated, "Indian dramas ... are played out." They were not alone in this sentiment. Film Companies were now hanging signs stating, "No Indians Wanted." Sadly, this meant that James Young Deer's movie career was coming to an end.    

For anyone interested in watching this film, you can do so below. 

Resources Used

Liner notes for the DVD box set, Treasures from American Film Archives by Scott Simmon

   

Some Cartoons for Saturday Morning #270

 Hello my friends and happy Saturday morning. Once again it is time for some classic cartoons. 

Today's cartoon selection begins with a true classic starring Porky and Slyvester, Claws for Alarm (1954). This was the second of two cartoons (both directed by Chuck Jones) featuring Sylvester as the cowardly cat that must protect his owner Porky for murderous mice (the first being Scaredy Cat (1948)). Unlike other appearances of Sylvester, here the cat is treated more like a real cat and has no ability to speak. Chuck Jones would use this basic formula again for Jumpin' Jupiter (1955). That film would again feature Sylvester as a cowardly cat that must protect Porky. However, in that cartoon he would protect his master from a space alien rather than mice.  Claws For Alarm would later be used in the feature length compilation movie, Daffy Duck's Quackbusters (1988).

Next is the New 3 Stooges cartoon, Tee for Three (1965). These cartoons feature the voices of the real Stooges who also appear in the opening and closing live action segments. About the live action segments Curly Joe Derita would state, “There were 156 cartoons and we made only 40 live-action segments. So, after they ran the whole 40, they’d just start over by using these same introductions on new cartoons. This turned out to be misleading because viewers would say, ‘Oh, I’ve seen this one before.’ and they’d turn off the television. They didn’t know it was a new cartoon."  In the cartoon here the Stooges play a game of golf. They had previously played golf in the classic live action short film, Three Little Beers (1935). However, no gags are borrowed from that previous short, and the story is completely different. 

Now for the Talkartoons short, Silly Scandals (1931). This film marks the first cartoon in which Betty Boop has her first name. 

It is now time for an early Silly Symphonies cartoon, The Merry Dwarfs (1929). For Disney buffs one of the most appealing things about the Disney films of the 1920's is that many of them were directed by Walt Disney himself. While these cartoons may not be a polished or sophisticated as the Disney films of the mid to late 1930's and 40's, they give us a peek into the creative mind of one of the most important names in film history. Though there are no animation credits on this cartoon J.B. Kaufman and Russell Merritt's indispensable book about the Silly Symphonies states that Ub Iwerks, Les Clark, Johnny Cannon and Wilfred Jackson worked on this film. The background art is by Carlos Manriquez, who worked on many of the Silly Symphonies of the late 1920's and early 1930's. This film opened in New York, December 11-17, 1929, with the feature film, The Sky Hawk (1929) at the Gaiety theatre. It played at Hollywood's Grauman's Chinese Theatre running from January 17- April 11, 1930, with the feature film The Rouge Song (1930), which features one of the earliest feature film appearances of Laurel and Hardy. The short made its TV debut on an episode of The Mickey Mouse Club that aired on February 3, 1956.

Now it is time for a commercial break. 

Now we join our friend Mighty Mouse in Gypsy Life (1945). This marked the only Mighty Mouse cartoon to be nominated for an Academy Award. The other cartoons nominated that year included Donald's Crime (Disney, 1945), Jasper and the Beanstalk (George Pal, 1945), Life With Feathers (Warner Brothers, 1945, the first appearance of Slyvester), Poet and Peasant (Walter Lantz, 1945), Quiet Please (MGM, 1945) and Rippling Romance (Columbia, 1945). The winner was Quiet Please marking the third time a Tom and Jerry cartoon won the Oscar. 

Up next is the Walter Lantz produced cartoon, The Big Cat and the Little Mousie (1938). I personally have a fondness for these black and white Walter Lantz cartoons. This is a really charming and fun film. It may not be exactly hilarious, but it does have a real charm to it. The whole sequence with the drunk mouse is similar to a famous sequence in the Disney cartoon, The Country Cousin (1936) and was perhaps inspired by it. While the character animation here may not be as impressive as that of the Disney film, it is still quite well done. A review in The Film Daily stated, "Kids and grownups alike will find this yarn amusing." A review in the Motion Picture Herald calls this film "unnecessary" and states, "The background commentary with its 'teeny weeny little mousie,' has a burlesque ring in light of the theme of this Oswald Rabbit subject." 

Now Mickey and friends in Potato Land (2013).

Now to close with a song. 

Thanks for joining me. Come back next week for more animated treasures. Until then may all your tunes be looney and your melodies merry.

Resources Used

Of Mice and Magic: A History of the American Animated Cartoon by Leonard Maltin

Walt Disney's Silly Symphonies: A Companion to the Classic Cartoon Series by Russell Merritt and J.B. Kaufman.

The Three Stooges Scrapbook by Jeff Lenburg, Joan Howard Maurer and Greg Lanburg

https://mediahistoryproject.org/

Movie Review: K-Pops

 

Michael's Movie Grade: B

A very charming but familiar feel-good movie. 

In this film, a down on his luck American drummer takes a job in Korea playing for a TV show about finding the next K-Pop star. Unexpectedly this results in him meeting the son, who is one of the constants, he never knew he had. 

The storyline of this movie doesn't do anything we haven't seen before, and you always know exactly what is going to happen next. However, despite this the movie is simply very charming. Much of this comes from the father son relationship. This relationship is just incredibly sweet and heartwarming. You can see both of them growing as a person, the more time they spend together. The father becomes more mature and less selfish, the more time they are together. Meanwhile the son becomes more confident and willing to put himself out there. All of this feels very real and natural. The chemistry between Anderson .Paak (who also directed and co-wrote the movie (as well as written some of the songs)) and Soul Rasheed is simply phenomenal making you never doubt that you are really looking at a father and son. I found the moments in which they shared the screen simply warmed my heart. 

Add to this some good music (Earth, Wind and Fire even appear in the film), funny moments and a good supporting cast and you simply have a charming movie. 

Yes, this may be incredibly predictable and familiar, but it is also a real charmer. 

Movie Review: Midwinter Break

 

Michael's Movie Grade: B+

A quite moving film. 

This movie tells the story of an older couple who travel to Amsterdam. On their trip they find just how much they have drifted apart and must deal with their failing marriage. For a movie like this, one of the most important aspects is who is cast as the couple. Luckily these characters are played by Lesley Manville and Ciarán Hinds. Both of them are truly fantastic here fully bringing out the humanity and vulnerability behind these characters. Their performances constantly glue us to the screen, even with the slow pace. Another expected but important aspect for a film like this is the visual look. This movie very much captures the visual beauty of Amsterdam and after watching this film you will want to go there. Yet what really makes this movie work so well is the complexity of the main couple's relationship. I won't give much away, but what I loved about this movie is that there is not a right side or a wrong side in this relationship. Instead, these are simply two people, who view the world in completely different ways. There is no point where a character cheats on the other nor do they set out to intentionally hurt one another. Rather it is simply their extreme differences in worldviews that causes them to wonder if they are actually compatible. This makes the film all that much more moving, thought provoking and heartbreaking. 

This is a rare modern movie in which I think it should have been longer. 90 minutes is simply not enough time to tackle all the complex social matter that this movie wants to and because of this some of the most interesting ideas are not explored to the depth they should be. While the ending is supposed to be ambiguous, it instead comes off as rushed and abrupt.   

Despite any flaws though, this is an excellent movie.     

Movie Trailer: That Time I Got Reincarnated as a Slime the Movie: Tears of the Azure Sea

 

Movie Trailer: Mortal Combat II