Close Up (Oct 1920 - Aug 1923)

Record Details:

Title:
Close Up
Date:
Oct 1920 - Aug 1923
Volume:
Close-Up (1920-1923)
Leaf #:
000239
Language:
English
Collection:
Early Cinema, Switzerland, and Global Cinema
Format:
Periodicals
Contributor:
Media History Digital Library
Sponsor:
Media History Digital Library
Coordinator:
Media History Digital Library
Description:
As an active film magazine, CLOSE UP lasted only a short time, from 1927 to 1933. Yet the legacy of this English-language periodical, which was published in Switzerland, continues to matter. Edited by Bryher and her husband Kenneth Macpherson, CLOSE UP became THE magazine for energetic debates about the nature of cinema and manifestos imagining new forms of filmmaking and spectatorship. The magazine published articles by filmmakers, such as Sergei Eisenstein, and female literary modernists, such as H.D. and Gertrude Stein. As film scholar Anne Friedberg explains in the anthology CLOSE-UP, 1927-1933: CINEMA & MODERNISM, 'CLOSE UP became the model for a certain type of writing about film -- writing that was theoretically astute, politically incisive, critical of films that were simply 'entertainment.' For six and a half years, CLOSE UP maintained a forum for a broad variety of ideas about the cinema; it never advocated a single direction of development, but rather posed alternatives to existing modes of production, consumption, and film style.' Like Friedberg's own writing, CLOSE UP continues to be essential reading for anyone interested in the history of film and media theory. -- Eric Hoyt, 2014
Date Added:
June 20, 2024
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HERE THEY ARE — The Ten Musical Aristocrats — But Better known as “THE UPPER TEN’' Harmonists de Luxe — Earl Burnett and “Hank” Miller head this Orchestra at the ROYALE COUNTRY CLUB ALBERT E. SMITH PRESENTS THE VITAGRAPH PRODUCTION, “MY WILD IRISH ROSE,” DIRECTED BY DAVID SMITH, PHOTOGRAPHED BY STEVE SMITH, JR. TALLY’S THEATRE. REVIEWED BY EMM. ELL. Now here is a romantic Irish picture in which the entire Smith Family had something or other to do with its success, then add to these the fact that “My Wild Irish Rose” should have been classified as an All Star Cast, instead of starring any one particular person — then you will arrive at the conclusion, as I did, that you are in for a splendid evening’s entertainment. Pauline Stark and Pat O’Malley are ostensibly featured, and although I will readily admit that they are perfect performers and deserve extraordinary credit, yet the fact remains that the other members of the cast were so thoroughly suited to their various parts that it would be invidious on my part if I didn’t fairly bestow a general credit where a general credit was due. Pauline Stark looked the part to the life, but she didn’t do any more actin" than Maude Emery and Helen Howard. Personally I derived more actual enjoyment out of the two latter ladies than in Pauline’s work. This may be attributable to the fact that she doesn’t do overmuch in the story. Pat O’Malley easily takes the masculine honors as a hero; he deserved to, but I’d like to tell you of one man in this cast who accentuated his ability with a dignity of poise and bearing rarely seen on the screen. I’m referring to Henry J. Hebert, who played the English Captain Molineaux. Usually Mr. Hebert plays “bad” men, but here you find him as a man torn between honor, love and duty, and the varied shades of feeling so displayed make you realize fully that you are witnessing a finished characterization by a capable actor. James Farley as the “Heavy” never did anything quite so well. His was a thankless and hateful part, yet he played it as an artist should. Edward Cecil is a perfect type and an artist who brings out those manly qualities proverbially loved by the other sex. Bobbie Mack, as the Informer, gave a fine rendition of a loathsome human being. Father Dolan looked and acted the priest to the life. This boy Richard Daniels will bear watching by producers who are on the lookout for exceptional infantile talent. This 8 or 9 year old boy is a wonderful mimic and should be placed under a starring contract, freckles and all. Anyone interested in Irish romantic episodes — and it seems there are millions such — will thoroughly enjoy this picture to the limit. The direction shows very marked attention to details; the photography deserves a great deal of commendation. I have seen many two dollar pictures that couldn’t hold a candle to “My Wild Irish Rose.” LOEW’S STATE THEATRE REVIEW (Continued From Second Cover Page) We also noticed several well-known people doing little “bits” in and out, such as Edward Jobson and Miss Elsa Granger, who made their work stand out conspicuously. Fred Niblo is a master Director. He has given film fans a story and a cast which they should flock to see. You will find the theme well executed and carried out logically to the end. You will find thrills aplenty; you will find big scenes where pleasure abounds, and you will gain a more thorough knowledge into the life of society, after you have witnessed what we term a genuine masterpiece. All this was highly enhanced by the value of perfect photography. Don’t miss it!