A confluence of recent events provoked me to acquire and watch a copy of the Fox Film Noir DVD of Laura (1944). Included on the disc are some commentary from David Raksin (who scored the film), from film professor Jeanine Basinger, and from historian Rudy Behlmer. Some of these comments add real value, but I was unhappy about things that the commentaries missed, and am thus provoked to write this entry.

Most useful discussion of this film entails some spoilers, and will further presume familiarity with the film. Behlmer strongly urges his listeners to have watched the film with its ordinary soundtrack before listening to his comments. Similarly, I suggest that, if you haven't watched Laura, you stop reading this entry right after I give you just one piece of advice.

That advice is that, while you watch Laura, you dismiss if you can the lyrics that Johnny Mercer later wrote for the theme melody, which impose a new significance to the melody that it wouldn't have had when the film was first made and shown. The melody actually figures within the story (at least in a minor way), and within the story is not about Laura. (By all means, recall and enjoy the Mercer lyrics after watching.)

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(Here Be Spoilers!)

I'm rather a fan of the Scarlet Pimpernel (1934), and the reasons are largely to be found within about 8 ½ of its 97 minutes. I offer those 8 ½ minutes here in a clip. The excerpt can be understood without being set-up; all the essentials can be inferred as one watches. So you may want to skip ahead to watch the video. But, for those of you more comfortable with more context, I'll provide some:

La Révolution française is cutting-off heads by scores daily. (There is some confusion in the movie over the year in which la Terreur began.)

Percy Blakeney had married Marguerite St. Just about a year earlier. Some time after the marriage, he learned that Marguerite had been instrumental in bringing-about the execution of a French aristocrat and his family. Not knowing that she had been tricked into providing the information that had led to that execution, Percy asked her about it. Marguerite, given to impetuosity, did not explain, but angrily admitted that she had. Percy began paying for the fact that he loved — that he still loved — Marguerite, by adopting the identity of the Scarlet Pimpernel (the red pimpernel being a wildflower) and forming a team, the League of the Scarlet Pimpernel, who enter France in disguise, to steal political prisoners from la guillotine. The identity of the Scarlet Pimpernel is unknown to all but members of the League. Blakeney further secures his secret — and pushes away his wife — by adopting the persona of a fop.

Marguerite's brother, Armand, part of the League, has been taken prisoner in France. Chauvelin, an agent of the French, has offered to surrender a key piece of evidence against Armand if she will reveal to Chauvelin the true identity of the Pimpernel. Unaware that the Scarlet Pimpernel is Percy, she has done what she could. Last night, she learned and reported to Chauvelin that the Scarlet Pimpernel would at mid-night be in the library of an estate where a party was being held.

When Chauvelin went to the library, Percy was there, pretending to sleep on a love-seat. Chauvelin eyed him suspiciously, but then adopted a derisive expression. Shortly after mid-night, Chauvelin himself briefly fell asleep, then awoke to find a mocking note from the Pimpernel, with Percy still apparently asleep. Chauvelin glanced at Percy as if dismissively, and then left. Percy arose, and wondered how Chauvelin had come to be there and whether his dismissal were sincere.

As the clip begins, Lord and Lady Blakeney are returning home.

There's all kinds of things right with the scenes in this clip.

When Marguerite comes to speak with Percy, we see that his affectation of effeminacy is, as much as anything, a very bitter way of rejecting her. Harry Stack Sullivan once wrote Hate is love turned angry, and when Marguerite says You … hate me. she's not far from the truth. However, Percy's question in reply isn't merely rhetorical; he truly wants to know why she denounced the Marquis de St. Cyr. At the least Percy wants to see what sort of person she really is, but what he really wants is some vindication for her actions, so that his love for her will not have been — will not be — wrong.

After he hears her explanation of what really happened with respect to the Marquis and his family, there remains the issue of Marguerite's trade with Chauvelin. Note the desperation in Percy's voice. He doesn't just need the information qua Scarlet Pimpernel; he wants to know whether, after all, she's still done something dreadful. He want to feel free to love her. When he learns what she gave to Chauvelin (a report that the Pimpernel would be in the library at mid-night), Percy is almost ready to laugh aloud from relief. And watch Leslie Howard's left hand, as he raises it up, partly into frame, almost to his heart, his fingers flexing; his character wants to reach out and take hold of Marguerite.

When Marguerite says that the Pimpernel might be going to his death, and Percy says Well, that's all the fellow lives for, he's really now talking of how he has been living. That demmed, elusive Pimpernel has not been in Heaven. But now he's climbing out of Hell.

The subsequent meaning of Percy's body language is obvious to the audience. The rest of their interaction is, of course, two people speaking of their love one for another, with one of them almost oblivious to what is being said, as she doesn't recognize the relationship amongst referents. Almost oblivious, but as Percy leaves the room, Marguerite knows that there's something that she isn't seeing clearly.

The principal reason that the story-telling in this clip stays with me is because it has a moment where pieces all click together in the mind of one of the characters, revealing something important.

For this sort of moment to work, it's important that the character not have been positioned for the reälization before hand. Rather than having some twit finally see something that he or she should have seen all along, the story needs to put that character in possession of a new datum (preferably no more than one) and then have the character's mind move with fair intelligence towards the reälization.

I love the way that Merle Oberon presents Marguerite's reäctions, all within a matter of seconds. She questions her reasoning. As she looks again at the painting, her mouth is asymmetrical as she moves towards laughter at the deception Percy has effected. But the joke is displaced in her mind and her expression moves towards a different, symmetric sort of smile as she starts to think that her Percy is a better man than she had come to think him, and indeed a better man than she had thought him when they married. She doesn't get very far with that thought, as it hits her that Percy has sailed off not only into danger but into danger that she has caused to be greatly increased.

Really, it's a shame that Starman never made an appearance on The Superman/Aquaman Hour of Adventure, on Aquaman, on The Batman/Superman Hour, or on Super Friends.

Craig Yoe's book, Secret Identity, revealed that Joe Shuster, the original artist and co-creätor of Superman, had during a low point in his life provided illustrations for a sado-masochistic series, Nights of Horror, and for three one-shot sado-masochistic fantasies, Rod Rule, Hollywood Detective, and Continental. I am therefore surprised that no one seems to have reported on the artist for House of Tears, by Harold Kane.

I found those illustrations on the WWWeb this morning. In some cases, they were creditted to Harold Kane; in others they were not creditted at all. A search of Google for pages containing both Harold Kane or House of Tears and Shuster or Schuster produced only false positives.

I don't know whether House of Tears had further illustrations. But, in any event, it seems that Shuster's underground oeuvre is larger than previously recognized.

A stereotype ex libris book-plate that I got to-day: This image is by Andre Louis Armand Rassenfosse (1862 – 1934). I've had an eye out for one of this particular design for quite a while.

To-day, 20 May, is Everybody Draw Mohammed Day. I'm quite disappointed that its founder has retreated; I could not have withdrawn in good conscience, even though my contribution demonstrates that I am pretty poor at working in charcoal:

Some people have chosen to draw caricatures, but my objective was simply to violate a grossly illegitimate prohibition. As such, I sought to draw Mohammed. If the death threats become more narrowly focussed on those who creäte caricatures, then I will creäte a caricature.

Frank Frazetta
9 February 1928 – 10 May 2010
Requiescat in pace.

20 May is Everybody Draw Mohammed Day! It's a special opportunity to reject claims against our words, against our art, and against our minds!

By way of Thad Komorowski's 'blog, I learn that Barnes & Noble is selling copies of The Completely MAD Don Martin for $22.48 (list $150) and that it falls under a buy-two-get-one-free offer on bargain books. One gets free shipping on orders of $25 or more.

Up-Date (2010:04/20): I am informed by the Woman of Interest that the sale is at an end.

This stereotype ex libris book-plate would probably not be of much interest to me except that it was designed by Karel Šimůnek (1869 – 1942), the very same artist who did this lithographic book-plate a copy of which I acquired on 16 July.

I prefer the lithograph, in part because what the woman in the stereotype appears to be doing cannot be good for the book. And, while raised bands on the spine of a book might have peculiar užitečnost to a nemrava, they were an artefact of better-quality book-binding (though sometimes false bands are used to counterfeit such book-binding), and hence of what may be expected to be a more valuable volume.