Category Archives: Alfred Eaker’s Fringe Cinema

Alfred Eaker's Fringe Cinema

ALFRED EAKER: INTERVIEW WITH MYSELF

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ALFRED EAKER (INTERVIEWER): Alfred, what inspired you to interview yourself? Some might say a self-interview smacks of self indulgence, narcissism.

ALFRED EAKER:  Perhaps.  I am sure to many it is and God knows those tiresome labels are attached to artists all the time, as if it is totally unacceptable.  Yet, to use a stereotypical but dead-on example: a business person cutting throats and screwing their way to a top level is commendable and rarely pointed out as being narcissistic.  Still, all artists are, to a degree, narcissistic and you have to be to continue doing the art.  I do not believe in fair weather artists.  Like Bill Ross recently said when I interviewed him, “The world is not set up for artists and one has to be stubborn to continue doing it.”  So perhaps it is not so self-indulgent.  Actually, a badly misquoted but good-intentioned interview in a local paper from a couple of months back inspired this, proving that most interviewers, God love ’em, are hacks and since I know I am not  a hack and can trust myself… Also, real simply, Glen Gould.  Gould, one of the genuine freaks in music, interviewed himself, quite well I might add.

A.E. (I):  Gould was the Canadian pianist who….

A.E. … Did a total whack job on Bach’s Goldberg Variations in 1955, yes.  That was the first of his many transgressions, for which he will be long loved.  The same goes for Stokowski’s Bach transcriptions. Someone once described his transcriptions as high cholesterol Bach and I do have high cholesterol.

A.E. (I): You have quite the love of music?

A.E.: From Mahler onto Cab Calloway, Julie London, David Bowie, Velvet Underground and the Statler Brothers.

A.E (I): I do not wish to get sidetracked in a lengthy music discourse. You tend to talk longer and more enthusiastically about music than you do either painting or film.

A.E.: That’s because I am not a musician at all, so yes I suppose I do.

A.E (I): Let’s talk about film. You are an indie filmmaker and you came to it rather late.

Alfred Eaker in "Jesus and Her Gospel of Yes"
Alfred Eaker in "Jesus and Her Gospel of Yes"

A.E.: I would rather talk painting first, but alright.  Yes, I started my first film, Jesus and her Gospel of Yes in 2002 . I have been painting since the 1980’s.

A.E. (I): The films sprang from performance art.

A.E.: From my BlueMahler character in several performance pieces that began in the 80’s.  Blue is an odd hybrid of identifications I have made in my life.

A.E. (I): You mean influences, not identifications.

A.E.: No, I mean identifications.  Over the years I have realized there are other voices, artists Continue reading ALFRED EAKER: INTERVIEW WITH MYSELF →

Alfred Eaker's Fringe Cinema

LONG PANTS (1927)

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Long Pants is the film in which that annoying breed known as “slapstick lovers” start their bitching crusade against the “weird” Harry Langdon. Long Pants is also the film that the collaboration between Langdon and Frank Capra came to a crashing halt, due to aesthetic differences which involved the development of Langdon’s character. Langdon and writer Arthur Ripley wanted to take the character into darker territory. Capra vehemently objected and was fired by Langdon, with Langdon anonymously finishing up directorial duties.

Slapstick, as an art form, dates badly and frequently induces more groans than laughs today. Chaplin‘s more ambitious efforts, with (balanced) pathos and dramatic story, telling are of far more interest than his earlier straight-up slapstick efforts for Sennett. Keaton‘s inventiveness and occasional forays into surrealism hold up as his best work and can, up to a point, prove fuel for those arguing for his superiority. Seen today, Langdon was right in his endeavor to make his on-screen characterization darker, more idiosyncratic, more unique, even if naive critics whine that Langdon simply “ceased to be funny” and just “got weird.” It is Langdon’s weirdness that set him apart from the beginning and, while I would probably not, overall, place him in the ranks of a Chaplin or Keaton, I would argue that Langdon etched an influential persona that secures his position as one of the great silent clowns and defies the “forgotten” label often attached to him.

Contemporary audiences, unable to relate to 1927 mores and customs, will certainly find the initial premise of Long Pants unintentionally bizarre in itself. Harry’s father (Alan Roscoe) feels it is time for his boy to grow up and buys him his first pair of long pants, initiating Harry into manhood. Harry’s mother (Gladys Brockwell) is very weepy eyed over the prospect, feeling her little Harry is far too young for long pants and wearing them will only bring trouble. She is correct, as Harry is, psychologically, still a boy. Once Harry loses his short pants (and stockings—an amusingly ‘creepy’ image) and then dons his long pants, he spies a beautiful, exotic woman in a broken down car outside. Mother’s predicted “big trouble” begins its course.

Actually, this is a bad boy habit already formed in Harry, even before his initiation into long Continue reading LONG PANTS (1927) →

Alfred Eaker's Fringe Cinema

THE MIRACLE RIDER (1935)

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The Miracle Rider was the last film of Tom Mix and his horse Tony, Jr. (Tony Sr. had departed this earthly realm). It is a sound serial from Mascot with twice the normal Mascot budget. Mix was 55 when he made this and showing it. Although his voice was deep and suitable for sound, and he was still in good shape, Mix looked his age and was now using a stunt double for complicated stunts. Mix had made several sound films for Universal, but they fared only moderately well. Mix had officially retired and was promoting his Tom Mix circus when he was talked back to the silver screen for one last go round. It is fortunate he did. The Miracle Rider was an astounding success, making both Mix and Mascot over ten times its investment. The serial is one of the better serials of the period, too, and so Mix went out on top, dying five years later in an automobile accident. Even though Mix had been out of the public eye for five years following Miracle Rider, his death caused a large outpouring of grief. Mix’s enigmatic life, career and tragic demise are the stuff of legend.

The Miracle Rider begins with the history of native Americans and how they were treated by white men. Daniel Boone (who looks nothing like Fess Parker) warns white men to leave the Indians alone, to no avail. Later, Davey Crocket (who looks nothing like Fess Parker) warns white men to leave the Indians alone, to no avail. Buffalo Bill does the same, again to no avail. Tom’s on-screen father, a Texas Ranger. is killed by white men as he tries to protect Indian land.  Many years later, the adult Tom Mix, as “Tom,” steps into his father boots as a Texas Ranger himself.

Tom is made an honorary chief of a tribe and is called “the Miracle Rider.” The evil oil baron with the very serial-sounding name of Zaroff (played by Charles Middleton, so memorable a villain in films like Mystery Ranch and Flash Gordon) is not pleased. Zaroff wants the Indians off the land so he can mine something called X-94, which is an explosive that can make kings and queens grovel at his feet. The Ravenhead reservation is rich in X-94 deposits and now, but with Texas Ranger Tom being made an honorary chief, this complicates things.
Still from The Miracle Rider (1935)
The Miracle Rider is another B western that mixes sci fi elements and modern automobiles within the old west. Zaroff receives transmissions from a radio control apparatus, which bleeps a lot. The transmission informs Zaroff that Europe is wanting more orders of X-94. What is an evil madman to do? Well, in addition to henchman Jason Robards (Sr.) Zaroff hooks up with a Judas of an Indian named Longboat, who is a half-breed aspiring to be chief. With Longboat’s help, Zaroff makes the tribe believe they are cursed by the great firebird, courtesy of some x-94 effects. Zoroff’s has an evil scientist assistant, hiding in a secret lab, who makes X-94 bullets and a robot glider, meant to scare the Indians off the land.

Chief Black Wing (Bob Frazer) will not be frightened by the robot glider, so he is dispensed with. Tom goes after Black Wing’s murderers, jumping from Tony, Jr. onto a speeding truck carrying a shipment of X-94.

Black Wing’s daughter Ruth, played by Joan Gale, has the arrow that killed her father and she knows that this is no arrow made by a Ravenhead. But, the arrow is stolen and, in pursuit of the thief, Tom finds himself trapped inside a flying robot glider!

There’s plenty of intrigue and derring-do atop oil rigs, in automobiles driving off cliffs, amidst explosions, and inside secret caves. There seems to always be a hidden telephone inside a rock for henchmen to call Zaroff. Tony, Jr. sees plenty of action too, and the whole serial has the feel of a wild and wacky 20th century wild west show being filtered through primitive sci fi sensibilities.

Zaroff tells Tom, “If it wasn’t for your meddling…”, sounding just like a Scooby Doo villain. Of course, Tom saves the day and lives to ride off into one more sunset.

Surprisingly, Tom is not given a love interest at all. Perhaps a white man hooking up with an Indian girl would have been too much for 1935 audiences, even if she is being played by a white girl. There are no actual Indians in Miracle and, par for Hollywood’s course, the greatest Indian is a white man, ala Dances With Wolves; but unlike the mawkish, overblown Kevin Costner film, this Miracle is fun.

Alfred Eaker's Fringe Cinema

DISCOVERING CHARLEY BOWERS

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In the documentary Looking for Charlie Bowers, film archaeologist Raymond Borde recollects buying a box of silent film reels marked “Bricolo” from a gypsy.  Borde was unable to identify the films or the filmmaker, but found the films quite unique.  The character in the Bricolo shorts was clearly patterned off of Keaton, but the gags were highly surreal, mixing animation with live action.  The search for the identity of Bricolo took Borde to the Belgium Royal Film Library and the Annecy Animated Film Festival.  Still, no one could identify the films.  Borde searched the exhaustive reviews of “Midi Minuet Fantastique,” which lead to a dead end.  Finally, Borde discovered a 1928 reference to Charley Bowers as Bricolo in a “Meric Cinematographers” ad in Mareilles.  From there Borden contacted Louise Beaudet of the Montreal Film Library.  Beaudet knew Bowers as the animator of the “Mutt and Jeff” series.  Together, Borde and Beudet contacted the Library of Congress and struck gold.  With much material, including press releases and hundreds of photographs, they were able to positively identify Bowers as the Bricolo of the reels.

Bowers life story proves as fascinating as his films and the discovery of his films.  Charley Bowers joined the circus as a tightrope walker at the age of five.  From there he worked as a jockey, cowboy, horse trainer, theatrical performer and caricaturist for newspapers.  In 1916 Bowers took on the role of producer, opened his own studio, and began producing a series of animated shorts with a small, ragtag team of animators.  In 1924, Bowers began producing shorts which mixed live action with animation, casting himself as the lead.  Bowers character was called Bricolo by French critics of the time.  Bizarre animated objects and puppets were part of the animated sequences.

Borden discovered a late 1930s reference to Bowers by Surrealist Andre Breton.  Breton had only seen Bowers’ short “It’s a Bird” as an introduction to a feature film.  Breton was surprised by the film and listed it as an important surrealist film in “The Surrealist Almanac.”  Borden discovered that Breton’s admiration for Bowers was shared by the avant-garde poet Rafael Alberti.

Still from Charley Bowers' "Now You Tell One"Bowers died, destitute and obscure, at the age of 57 in 1946, following a long illness.  Although he made hundreds of animated short films, along with the live action shorts, only fifteen of his films survive.  These were restored and distributed by Lobster Films in France.  This indispensable collection of Bowers films is on the two-disc set Charley Bowers, The Rediscovery of an American Comic Genius.

Like all great surrealism, Bowers film are imaginatively and aesthetically provocative.  Recurring obsessive themes permeate Bowers shorts.  “Egged On” (1926) and “Say Ah-h!” (1928) both feature unbreakable eggs.  In “Egged On” Charley is an inventor and Continue reading DISCOVERING CHARLEY BOWERS →

Alfred Eaker's Fringe Cinema

THE LAST TRAIL (1927)

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Another slam bang, one-hour, packed oater collaboration from star Tom Mix, director Lewis Seiler and, of course, Tony the Horse.  The story for The Last Trail varies only slightly from the previous year’s Great K & A Train Robbery (both available from Grapevine Video, God love ’em).  Hollywood did not argue with success, even in the 1920s.
TOM MIX THE LAST TRAIL
Tom Mix is introduced as, yup, Tom, who has the fastest gun, the fastest horse, and the fastest smile in the west.  Tom has just saved Joe Pacal’s wife from marauding Indians.  A grateful Joe (Lee Shumway) tells Tom (as he hugs his wife), “We’ll name the first one after you, Tom!”

Ten years later Tom receives a letter from Joe and learns that Joe’s wife has recently passed away.  Plus, Joe is now sheriff and is having a heck of a time with a series of stagecoach robberies.  “Can you come and help, Tom? Besides, little Tommy wants to meet ya!”

True to his code, Tom comes, but not in the nick of time.  Tom finds Joe driving a stagecoach as he flees from bandits after gold.  One of the bad guys shoots Joe.  Nita Carrol (Carmelita Geraghty) is a neighbor who has been helping raise little Tommy since Joe’s wife died, and Nita has might purty legs, so we just know she’s set up to be Tom’s love interest.  Nita is on the coach with Joe in hot flight when Tom drives off the robbers.  Tom safely escorts them into town, telling the townspeople, “I saved your gold, but they got my old pal.”

Joe dies in Tom’s arms, but not before he hands him his badge, charge of little Tommy, and a black book, which gives the names of suspected bad guys.  Joe tells Tom, “Looks like the last trail for me” and expires.

With Tom as the new Sheriff, the bad guys are concerned: “Hold-ups ain’t safe with that gun totin’ cyclone on horseback actin’ as Sheriff.”  Time for them to come up with dastardly plots to rid themselves of our hero.

Meanwhile, the owners of the stagecoach line are sick and tired of the robberies, so they decide to hold a stagecoach race, with the winner getting their contract as the prize.

Tom is having a time adjusting to fatherhood.  Little Tommy hates baths and cough syrup.  Tom flings his lasso to catch his fleeing charge, but reels in Nita instead.  Tom and Nita engage in an eye batting contest.  Then, Tom finds out about the stagecoach race from Kurt Morley (Willam B. Davidson), who is the man behind the robberies and, naturally, also has a thing for Nita.  Morley accuses Tom of not living up to his promise to clean up the town.  Tom tells the rude Morley, “If there wasn’t a lady present I’d clean up this town’s mangiest coyote right now.”

Morley orders Tom’s death and his gang blow up Tom’s house, so they are surprised to see Tom show up for the stagecoach race the next day, alive and healthy.

The stagecoach race gives Ramon Novarro and Francis X. Bushman a run for their money, with, again, Tom doing all of his own fantastic stunts and no CGI in sight.  Tom saves the day, gets the girl, wins the race, and nabs the villains . One should expect no less from the likes of Tom Mix.

To top off a perfect evening, Grapevine Video adds a silent Felix the Cat cartoon, “Sure-Locked Holmes,” which was delightfully surreal enough to make me cave in with the chocolate raisins.