Director Herbert Brenon discussing a scene with Alla Nazimova on the set of War Brides (1915-16). Both are all but forgotten today although looking through Brenon's credits I realize I've seen three of his films and have his 1924 version of Peter Pan on DVD. I've even seen writer-producer-actress Nazimova in a couple of things as well, including her final appearance in a movie, Since You Went Away(1944).
I'm not sure why I like this photo so much, discovered in an online University archive, but I think it has something to do with body language, something actors spends their whole life studying, and if you'll indulge me, over-analyzing.
First, there's something about the fact that, to my mind, they are disagreeing on how the scene should work but she seems to be intently listening to his side of it and he seems to be presenting his side with a relaxed sense of confidence, signalling a willingness to work together on both sides.
Second, the camera seems to create a makeshift "fence" providing enough separation of personal space that they can both be comfortable.
Finally, they both have their hands on the camera, that wonderfully simplistic camera, in a kind of physical acknowledgement of meeting halfway.
**********
Click photo to enlarge
27 comments:
Who forgot Nazimova? Not me! Her scene-stealing (actually cutting Valentino out of her death scene) in Camille will live in infamy!
Who forgot Nazimova? Not me!
Well, yeah, but you're a cinephile. Ask your average dolt and you'll get a blank stare. Did you know she's Val Lewton's aunt. I didn't know that until I looked at her bio. She was quite accomplished on the stage and screen.
And she was Nancy Davis' godmother.
Alla Whosamiwhatzit??
What I like about the photo is that they seem very contemporary, and it's precisely the body language that you point out. So many photos of that time were posed (and it may well be that this one was, too, as I don't think cameras were so portable that a photographer could take very many people by surprise) and death-like and this one has some nice, oh... English, to put it in snooker terms.
So many photos of that time were posed (and it may well be that this one was, too, as I don't think cameras were so portable that a photographer could take very many people by surprise).
I thought about that too and I think I finally convince myself that the photographer wanted them to discuss the movie by the camera for the shot and they did in fact end up discussing the movie, allowing the photographer to get some good shots. Also, I know from shots aboard the Carpathia in 1912 after they picked up Titanic survivors that there are several candid photos of good quality, so the technology was there.
I don't know who Nazi-forces is, so I must be dolt, huh? Is THAT what you're saying?
By the way, did you know that I am Bert Convy's god-son?
And I don't know how to use indefinite article, neither.
Also, I know from shots aboard the Carpathia in 1912 after they picked up Titanic survivors that there are several candid photos of good quality, so the technology was there.
But those were taken with box cameras, right - which means in natural light. It could be that this studio was open air but if not, then it was taken with a flash/flash powder (was that still in use then - I really don't know), which would mean a bit of a setup.
Either way, I like the picture.
Well, as luck would have it I just put up a photo of a Vitagraph movie being made in 1917 a couple of posts back titled Making Movies. As you can see there, and with multiple other archival photos I have, most if not all interior shots were done outside. It wasn't until the twenties that studios began to produce soundstages as good enough lighting and camera shutter speeds finally became acceptable enough to use indoors.
Rick, you're a dolt. And say "hi" to Bert for me.
BTW, I'll comment on your excellent contribution to my meme soon as soon as I can get a little more free time tonight.
Do you think they were discussing what to get for lunch?
I'm sure the craft service provided all the mutton, rabbit, plum pudding and nesselrode pie they could eat.
I like your analysis of the photo. I would be very disappointed if all they were talking about was lunch.
I think Flickhead's lunch suggestion is a longshot at best. And as I studied the photo more it's clear from the natural lighting and lack of harsh shadows that no flash powder was used. I also confirmed that sets were open air until the twenties so I do believe this is in fact an impromptu shot.
Yeah, you're probably right. Checking out their expressions, it looks to me like he's hitting on her.
"So... uh... anyway Alla. Um... anyway... [wipes forehead]... uh... anyway I was thinking... you know, maybe sometime... you and I... you know... maybe we could get a drink or something... You know... after a shoot... I mean if you want of course... it's totally up to you... um... I gotta go, bye."
Egg-zactly!
I just put up a photo of a Vitagraph movie being made in 1917 a couple of posts back titled Making Movies. As you can see...
All I can see in that picture is the director's ass. Really, how tight are that guy's pants? Did he go to his tailor and say "C'mon, Luigi, I want these trousers to hug my ass, to kiss it!"
I rely on you for these things Arbo. That's hilarious. I didn't even notice it but Jesus! You can literally see the crack of his ass.
There was a brief (ha!) moment when I thought he actually wasn't wearing pants or at least had the seat of his pants cut out. Which maybe was a fad in the industry once, I don't know.
I assume every time he sat down it was a new adventure in nut-crunching, which I got to believe he liked or why else... you know.
OMG, not only are those pants cracking me up (sorry) but they are too short as well! Do you think he put on someone else's pants?
I think he just wants to be prepared in case of a flood. He's not the kind of guy to crack under pressure.
And my kids think Thomas is the cheeky one.
Sometimes it's hard not to make someone the butt of a joke.
Well, you can't have a pratfall without a prat.
Post a Comment