Close Up (Oct 1920 - Aug 1923)

Page scan 000279 from Close Up

Record Details:

Title:
Close Up
Date:
Oct 1920 - Aug 1923
Volume:
Close-Up (1920-1923)
Leaf #:
000279
Language:
English
Collection:
Switzerland, Early Cinema, 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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“THE COVERED WAGON," A PARAMOUNT PICTURE DIRECTED BY JAMES CRUZE; ADAPTED FROM EMERSON HOUGH’S SATURDAY EVENING POST STORY AND NOVEL BY JACK CUNNINGHAM; PHOTOGRAPHED BY KARL BROWN; REVIEWED ON OPENING NIGHT AT GRAUMAN’S EGYPTIAN THEATRE IN HOLLYWOOD ON TUESDAY, APRIL 10TH. BY CLOSE-UP JUNIOR To "cover” “The Covered Wagon” is rather difficult. It is so splendid and yet so uncomfortable near the end. But there is no doubt about it being a great picture, and Mr. Cruze and his associates deserve much credit. Historically, the production is perfect; romantically, it is good; dramatically, it is fine; melo-dramatically, it is splendid, yet there is something lacking. And that is near the final fade-out. I sat with ease through a carefully directed first part, and then suddenly, after the intermission, I felt as if I were being rushed through a series of situations at a rapid rate. This might be called a good ending by some — if handled a little differently — but should it make one feel a trifle hurried? I doubt it. J. Warren Kerrigan has made a good come-back as a leading man. He looked very handsome and herolike. Lois Wilson has never acted better or appeared to greater advantage. She should be on the starring lists soon. Allan Hale as the villain, out-villains some of our best Western bad-men. Charles Ogle had a difficult role, but handled it as only a real actor could. Ethel Wales has climbed another rung in the ladder of success. Little Johnny Fox will capture all former Wesley Barry fans for his very own. Tully Marshall deserves a great deal of praise, and then some. Ernest Torrence undoubtedly stole the picture from everyone. There is nothing we can say about him except that he was the whole show. Guy Oliver as Kit Carson had his part almost entirely cut out, which is rather unfair. “The Covered Wagon” is probably the greatest family picture ever produced. It will go down as one of the season’s best. We can’t say much for Mr. Grauman’s prologue except the unusual attraction of real Indians and Col. J. T. McCoy of the U. S. Cavalry, who knows his stuff when it comes to Indians. Another thing: There were too many dedica tions. The film was dedicated to Roosevelt, and then Mr. Grauman dedicated the opening performance to Adolph Zukor, Jesse Lasky and James Cruze. Was this necessary? A Popular I. Miller Shoe The “SCANDAL” — It would seem untrue that one style in particular should have the ability, in loveliness and delicacy, to out-step any or many of the little models designed and made by I. Miller. — However, the “Scandal” here sketched is a successful captain. It has an odd and artistic forepart, three graceful straps and dainty perforations. Something to be seen and thought about. Patent Leather only. At the Ville — Fifth Floor, where I. Miller Footwear is carried exclusively in Los Angeles ■VKwn ~ jvniM ^ mimcAs ca