662 Safety Last!

[lady wakasa]

As to the first point....it is a bad idea to make snap judgments from one frame. You've gotta see it in motion on a monitor that is properly calibrated. I have. Just yesterday in fact I saw a special screening of the new Criterion master, complete with their logo on the front. And it looked astounding. I can't say what the source material is, but I'd wager it's a fine grain master positive, which is one generation from the camera neg. In other words, pretty damned good. The makeup has always been there, and I've always been able to spot it in Keaton or Chaplin's films. It's not meant to be a realist makeup per-se, but stems partly from silent cinema's theatrical and vaudeville roots (just look at the makeup of the two thieves in "The Kid" and you'll see what I mean), and partly from the limitations of the camera stocks and its ability to "capture"color in gray scale.

I've actually been through the Lloyd box set (not to mention a few hundred other silents). I know a little bit about how the makeup and lighting was done, and better (and worse) examples of it. My question was more because I didn't remember it being *that* noticeable in Safety Last! before.

I did go back after posting and look at the picture again. The issue may be more that the picture at DVD Beaver is enlarged compared to what it would be watching the actual DVD (it blows up pretty nicely). And my DVD box is packed away right now, so I'm not going to dig it up to check.

Which is why I asked. I was curious whether it was something with the screenshot, or the Blu-Ray was showing limitations in the original cameras / film (and I don't know specifics around Blu-Ray technology).

As for the second point, as far as I know, the license with New Line expired, and Janus/Criterion picked up the rights. Why is it so strange to you that Criterion would be the one to distribute? They're pretty much the best in the biz, so who else would you have distribute Lloyd's work?

It's not a question of who I'd have distribute Lloyd's films. Suzanne Lloyd has always been very strict about what was done with her grandfather's work; she in fact turned down several fairly prominent offers before the earlier box came out. The last I'd heard (which was some years back now) was that she had crafted a deal to further promote the box and perhaps do some extra things, none of which seems to have panned out (and I haven't been keeping up since). It was more a question of what had happened in the intervening years to end up with Criterion, not a complaint that she had.

[manicsounds]

It's not just her, but Harold Lloyd himself had strict control of his own films while he was alive, by not letting copyrights expire, not licensing the movies for cheap for television, and preserving the negatives and prints for his work very carefully. Just runs in the family.

Considering that New Line/Studio Canal didn't continue releasing more Lloyd material after only 1 boxset might be some reason that the Lloyd family wanted someone else to release their stuff with more enthusiasm and care.

[Roger Ryan]

...I was curious whether it was something with the screenshot, or the Blu-Ray was showing limitations in the original cameras / film (and I don't know specifics around Blu-Ray technology)...

While I can't speak directly to the SAFETY LAST! Blu-ray, today's 2K, 4K and 8K scanning technology can arguably reveal image details found on the camera negative, or a fine grain master positive (as may be the case here per the eye of "Brianruns10"), that would not have been readily apparent even on brand-new theatrical prints viewed when the film was first released. A few years back, Warner Brothers made a point of noting that their HD scan of THE WIZARD OF OZ showed the wires used for the flying monkey effects, etc. more prominently than in previous releases, which instigated the controversial decision to digitally remove them. While greater clarity can sometimes lessen the realism of a special effect or reveal flaws in costuming and make-up, I'd rather have a more detailed image than not.

[zedz]

Which is why I asked. I was curious whether it was something with the screenshot, or the Blu-Ray was showing limitations in the original cameras / film (and I don't know specifics around Blu-Ray technology).

If you're complaining of seeing 'too much' of what the camera was actually pointing at way back when, it seems weird to be talking about the 'limitations' of the original technology. Also, when we're talking about nitrate film, apart from that wee detail about big explosions, the limitations lie more with subsequent technologies. First-run audiences watching these films under good conditions would have been seeing a better quality image than somebody today turning up for the latest DCP.

[Oggilby]

I was lucky to see one of the 35mm prints off the UCLA restoration a few years ago when Sony Pictures Classics was handling theatrical distribution. The image quality was pretty much on par with this new restoration. I was surprised by how detailed it looked considering the best element was Lloyd's 35mm nitrate print.

[Minkin]

Bluray.com

It really will take all of my will power to wait an extra few weeks for the BN sale to buy this!

[warren oates]

Last week TCM ran an entire block of Lloyd features and shorts, and I was surprised when watching an early Lonesome Luke short entitled THE MESSENGER that the forced perspective conceit of the Hill Street location in downtown Los Angeles was actually revealed in one of the shots as the Luke character falls from the electrical pole (in a rather clumsy way that broke the continuity of the sequence). Of course, Lloyd would return to this location for the climatic scene in SAFETY LAST where he clings to the outside of the building. Keaton also used this location for THE THREE AGES as did Laurel & Hardy in their short LIBERTY. For those who always wondered how these daredevil stunts were done, a building facade would be constructed on on top of the Hill St. Tunnel; the facade would only need to be built ten to fifteen feet off the ground but, because of the tunnel's elevation in relation to the rest of Hill St., the performers would appear to be fifteen stories or more above street level.

Well, you're almost right. The excellent new "Locations and Effects," featurette does have extensive footage of the Hill Street location, where Lloyd, Keaton and other silent filmmakers staged a number of these forced perspective sequences. But for Safety Last! it seems this technique was adapted to at least three other buildings. The sets were built on top of existing structures of various heights in order to simulate the perspective we'd see at various points in the climb. Hence the fact that the background actually changes several times if you pay attention to the sequence.

Btw, anybody try out the Gaylord Carter score yet?

[twicebilled]

Btw, anybody try out the Gaylord Carter score yet?

I must confess it was my first time actually sitting through Safety Last! or anything from Harold Lloyd for that matter. I chose to watch it with the Gaylord Carter score though because of either an essay or post from here highlighted Lloyd's appreciation of the organ and was unsure what was the standard for the film. I found the score very energetic and it made the film feel very lively. To be honest a lot of humor in silent films is lost on me especially on solo viewings, but the soundtrack definitely had me laughing along with the humor. I look forward to going back and watching it with Carl Davis score.

[knives]

I think I've said this before, but the problem (that you sound to be engaging with) with Lloyd is that so much of his humour anticipates sound that it draws back most of his silent movies. With a few exceptions I've found his sound films to function more effectively.

[Joe Buck]

Picked this up at B&N and it was worth the wait. Fantastic! I hope Criterion continues to roll out more Lloyd in the future with this kind of loving treatment ('The Freshman' would be nice!).

[bainbridgezu]

I hope Criterion continues to roll out more Lloyd in the future with this kind of loving treatment ('The Freshman' would be nice!).

Richard Correll recently confirmed that The Freshman will indeed be the next Lloyd release from Criterion.

[Joe Buck]

I hope Criterion continues to roll out more Lloyd in the future with this kind of loving treatment ('The Freshman' would be nice!).

Richard Correll recently confirmed that The Freshman will indeed be the next Lloyd release from Criterion.

Hot damn!

[manicsounds]

And we've speculated that the "Harold Diddlebock" film would probably be a bonus film with that release.

[Moe Dickstein]

Both versions I hope too - The Sin of Harold Diddlebock and Mad Wednesday

[movielocke]

started on the special features last night. It's a bit unfair to call the Susan Lloyd feature an introduction, unless you were to call it an introduction to Harold Lloyd. She doesn't so much introduce Safety Last as introduce her Grandfather, providing a 15-20 minute overview of his life story and career and his legacy. The brief bit about their basement film vault and his hands on approach with the asset management, preservation and restoration made me want to hear an entire feature just on Lloyds unique and laudable dedication to preserving his own work.

The feature on the Los Angeles locations of the film and how they shot the climb was also excellent, the only thing I felt it was missing was a 'then and now' segment, which isn't really what the feature is about (but I miss it from the Buster Keaten shorts collection), so I'm not really complaining as much as I'm wishing there was more.

[aox]

I watched this for the first time tonight, and I can say with no hyperbole, the final sequence is one of the most terrifying scenes I have ever seen in all of cinema. I'm terrified of heights and barely got through it. The film was fantastic though.

This was my first Lloyd. Where do I go from here?

[domino harvey]

Next month's Speedy, no question

[HerrSchreck]

I watched this for the first time tonight, and I can say with no hyperbole, the final sequence is one of the most terrifying scenes I have ever seen in all of cinema. I'm terrified of heights and barely got through it. The film was fantastic though.

This was my first Lloyd. Where do I go from here?

I'd actually say to stick with this earlier stuff if you want to remain in that gutbusting vein... Never Weaken, Haunted Spooks, Why Worry, High and Dizzy, An Eastern Westerner et al from the first half of the 20's from the glorious Hal Roach era have more surreal, almost Pythonish freako visual humor... whereas later higher gloos productions like Speedy have a much slower tempo and more pathos.. a genuine "movie movie" whereas the earlier stuff was just plain slide whistle wacko bananas and brilliant.

That said I love Speedy for no other reason than it's locations NYC shooting. Precious stuff. But this and The Freshman comedically, alright I'll watch it. But it's not the same for me as the Roach prods.

[knives]

I rather adore the sound films which fit Lloyd's vocal style quite well, but if those aren't an option I'll second HerrSchrek's suggestions.

[aox]

Thanks.

Hulu+ has at least three others up, so I have some things to watch this week (among many other things).

[Shrew]

Girl Shy is fantastic. A good example of Lloyd's skill with romantic comedy as well as his stunt work (and featuring one of the all-time great chases). But Ask Father is comedic escalation perfected in 13 minutes.

[Michael Kerpan]

Girl Shy is fantastic. A good example of Lloyd's skill with romantic comedy as well as his stunt work (and featuring one of the all-time great chases). But Ask Father is comedic escalation perfected in 13 minutes.

Two of my favorites as well.

[Tuco]

For me, THE KID BROTHER, a little bit of pathos, a lot of beautifully built gags. Love that monkey...

[manicsounds]

I watched this for the first time tonight, and I can say with no hyperbole, the final sequence is one of the most terrifying scenes I have ever seen in all of cinema. I'm terrified of heights and barely got through it. The film was fantastic though.

This was my first Lloyd. Where do I go from here?

Then "Feet First" will also give you terrifying chills...

[The Elegant Dandy Fop]

I hadn't seen this film since I was a teenager and finally picked up this Blu-Ray after thinking about it for months. I previously brought up in another thread my problems with silent film scores and this Safety Last! set covers the best and worst of it.

Not to sound like a full-blown cynic (too late), I'll start by saying that the Gaylord Carter soundtrack is excellent. Searching his name up online, it seems like he did plenty of soundtracks to silent films on laserdisc and was Harold Lloyd's personal favorite organist. His soundtrack from 1969 is wonderful and full of character and charm and his actual experience as a silent film organist avoids this from ever getting sloppy or unadventurous. It doesn't feel like a cringe inducing freakshow of bad 1920s "jazz age" throwbacks, but seems to actually capture the modalities and melodies of that era. Most importantly, it never detracts from the experience of the film. I've now been eying a few laserdiscs and DVDs that feature his scores just because I found this to be exceptional.

I can't say the same for Carl Davis. I must of saw this film initially with his score years ago, but can't recall. And I had previously heard his scores on prints of Harold Lloyd films the UCLA Film and Television Archive restored, including The Kid Brother and The Freshman. His soundtrack on this release continues his tradition of being hokey beyond belief by being over-orchestrated to the point of pure schmaltz. This man has no idea of texture or subtlety and never goes beyond loud, stupid, and trite. Between the banjo riffs, loud whistles and restless brass, I was ready to rip my ears out. I've yet to see the special feature where he's interviewed about the score, but I'm not prepared to have my thoughts changed on this.

But the absolute worst offender are the scores attached to the shorts. It's low-budget, bad, bad, bad pseudo-jazz recorded mostly off a keyboard and electric bass. Plus there's cornball sound effects stolen right out of an old effects library CD added in for good measure. Halfway through His Royal Slyness, the soundtrack even goes as far as incorporating hip-hop beats in the clumsiest, laziest, most painful way possible. It sucked me out of the film completely and for the first time since Que Viva Mexico!, I had to watch a silent film in absolute silence. This is Z-grade trash on the highest level that you'd normally hear on bad truTV show.