Showing posts with label Redskin. Show all posts
Showing posts with label Redskin. Show all posts

Friday, December 6, 2019

Louise Brooks and Redskin part two

On Saturday, December 7, the San Francisco Silent Film Festival will screen the 1929 Paramount film, Redskin. This second blog explores the little known connection Louise Brooks had with the film. More about the 2019 SFSFF "Day of Silents" may be found HERE.


Shot partly in early Technicolor, Redskin tells the story of a Navajo man named Wing Foot who was taken as a child to a government boarding school, where he is forced to assimilate. The film explores the damage done by prejudice as it explores issues of racial identity and cultural insensitivity in telling Wing Foot’s story. This June 1928 newspaper article suggests the film's topicality, while noting Louise Brooks' role in the production.


The film, directed by Victor Schertzinger and described by critics as one of the most visually beautiful films of the late 1920’s, was produced and released by Paramount Famous Lasky Corp. Following her widely acclaimed role in the gritty Beggars of Life, Brooks was next assigned to The Canary Murder Case, a widely celebrated murder mystery. It was a plum role for which Brooks was well suited. However, before work began on The Canary Murder Case, Brooks was suddenly reassigned to Redskin, another important Paramount film also set to go into production. In her nationally syndicated column, Louella Parson wrote in August, 1928:


Brooks’ role went beyond merely being cast as a a Pueblo Indian named Corn Blossom. Paramount records show the actress was paid for three weeks' work on Redskin. According to press reports from the time, Brooks reported to Gallup, New Mexico at the end of August, 1928, where the cast and crew gathered before heading out to camps near the location shoot.



In early September of 1928, Brooks was called back to Hollywood, where she replaced Ruth Taylor in The Canary Murder Case. No one knows why for sure. Some reports had it that Taylor fell ill, while others claim Brooks was temperamental and unsuited to a film like Redskin. But there is certainly "more to the story".... *


When Louise Brooks left the cast of Redskin, she was replaced by Gladys Belmont, an otherwise unknown actress whose first and only starring role would be in the Native American drama.


* That "more to the story" likely includes studio politics, Brooks' resentment in having been denied a role in Gentleman Prefer Blondes, which starred Ruth Taylor, Brooks' dissatisfaction over her contract with Paramount, and a power play by Paramount in replacing her in a prestige production opposite a major star with an unknown actress.



Wednesday, December 4, 2019

Louise Brooks and Redskin part one

On Saturday, December 7, the San Francisco Silent Film Festival will screen the 1929 Paramount film, Redskin. This blog explores the little known connection Louise Brooks had with the film. More about the 2019 SFSFF "Day of Silents" may be found HERE.

Redskin tells the story of a Navajo man named Wing Foot who was taken as a child to a US government boarding school and forced to assimilate. The film explores the damage done by prejudice as it explores issues of racial identity and cultural insensitivity in telling Wing Foot’s story, the story of  a Native American navigating between his western education and the traditions passed down by the tribal elders. Today, the film’s title is considered a racial slur; in the 1920s when Redskin was made, it was used against the film's protagonist to illustrate intolerance, not endorse it.


The film, directed by Victor Schertzinger, was produced and released by Paramount Famous Lasky Corp. The story and screenplay is by Elizabeth Pickett. Julian Johnson, who penned the titles for Redskin, had also written the titles for a couple of Louise Brooks' films, including Beggars of Life (1928). Shot in two-color Technicolor at locations in New Mexico and Arizona (including Acoma Pueblo and Canyon de Chelly) — the film changes from color to black-and-white (sepia-toned in the original projection prints) when it leaves Navajo and Pueblo lands. And like Beggars of Life (1928), the film was originally released with a synchronized score and sound effects.

Louise Brooks' connection to Redskin goes beyond these few coincidences. After completing work on Beggars of Life, Brooks was next assigned to The Canary Murder Case. However, according to numerous press reports, before work would begin on the celebrated detective story, Brooks was suddenly reassigned to Redskin, another important Paramount film also set to go into production. Eventually, Brooks was withdrawn from Redskin and reassigned once again to The Canary Murder Case.


Harkening back to the studio’s earlier big-budget films set in the West, Redskin was an ambitious film focusing on Native Americans. The film was directed by Victor Schertzinger, a noted film-score composer who later helmed the Oscar-winning Grace Moore vehicle, One Night of Love (1934). Shot on location and largely in Technicolor, Redskin has been described by critics as one of the most visually beautiful films of the late 1920’s.

Typical for the time, the leads in Redskin are played by non-Native Americans, with Navajo and Pueblo acting only as bit players and extras. In what would have been one of the more unusual roles of her career, Brooks was set to play a Pueblo named Corn Blossom, a Native American character described in the Los Angeles Times as an “Indian flapper.” One Hollywood columnist thought the role Brooks’ “greatest opportunity to date.” Another reported Brooks’ screen test revealed a “striking resemblance to our conception of Romantic Indian heroines.”

This spectacularly photographed film — shot in the American southwest on historic tribal lands — centers on Wing Foot, Corn Blossom’s love interest and a Navajo caught between two tribes and two cultures. Wing Foot is played by Richard Dix, a major star of the time. Pueblo Jim, the rival suitor for Corn Blossom, is played by Noble Johnson, the pioneering African American film producer and longtime character actor.

Brooks’ role went beyond merely being cast. Paramount records show the actress was paid for three weeks' work on Redskin. She was photographed in costume, though without the make-up used on her successor (Gladys Belmont) to affect a Native American appearance. According to press reports from the time, Brooks reported to Gallup, New Mexico at the end of August, 1928, where the cast and crew gathered before heading out to camps near the location shoot.

Gladys Belmont (left, in the arms of Richard Dix) replaced Louise Brooks
in Redskin. The film was Belmont’s first and only starring role.




In early September of 1928, Brooks was called back to Hollywood, where she replaced Ruth Taylor in The Canary Murder Case. The reason given for the switch was that Taylor was ill. Reportage of the time stated, "No one knows why Louise Brooks, a perfect Indian type, was taken out of the picture after working for two weeks, but the rumor is it was another case of temperament — a dangerous experiment for stars these days when so many potential rivals are hanging around in the extra ranks! All the studio gave 'gave out' was that Miss Brooks' thorough knowledge of Broadway and its life suited her so perfectly for the role of Canary in The Canary Murder Case, that she had been selected. Ruth Taylor, formerly cast, fell ill."

However, despite rumors of temperament, studio executives may well have felt Brooks was miscast in the Native American drama. Brooks had been a well known NYC showgirl, and her “thorough knowledge of Broadway and its life” indeed “suited her perfectly to the role” of the feathered showgirl in The Canary Murder Case.


The original score for Redskin was composed by J.S. Zamecnik. The December 7th presentation of the film at the San Francisco Silent Film Festival will feature live musical accompaniment by the Mont Alto Motion Picture Orchestra (longtime interpreters and champions of Zamecnik's scores).

More on Louise Brooks and Redskin follows in the next post.

Monday, October 14, 2019

Upcoming silent films at the San Francisco Silent Film Festival December event


The San Francisco Silent Film Festival has announced the schedule of films for it's upcoming December event, which is set to take place on Saturday, December 7th. Among the films is one which every Louise Brooks will want to see. It is a film that Louise Brooks quite nearly appeared in. In fact, she went on location, was fit for a costume, and started work on the film, only to be pulled from the production in order to star in another film in which she wears feathers. Can you guess which film it is?

Here are all the details for our annual holiday show—A DAY OF SILENTS—at the beautiful Castro Theatre on Saturday, December 7. Five programs with musical accompaniment by the great Mont Alto Motion Picture Orchestra, Donald Sosin, and Berklee Silent Film Orchestra! TICKETS are now on sale. Don’t miss a thing and save money with the all-day PASS. More information HERE.
 
Roscoe “Fatty” Arbuckle discovered Buster Keaton and these three sparkling shorts demonstrate the striking chemistry between the two geniuses. The program includes THE COOK (1918), GOOD NIGHT, NURSE (1918), and THE GARAGE (1919).
Navajo Wing Foot navigates between his western education and the traditions passed down by tribal elders. Shot in breathtaking two-color Technicolor at locations in New Mexico and Arizona (including Acoma Pueblo and Canyon de Chelly).
French filmmaker Alice Guy-Blaché got into the movie business at the very beginning—in 1894! One of the very first directors to make narrative films, her work is marked by innovation—she experimented with color-tinting, and special effects. The program includes six of her shorts.
Ernst Lubitsch works narrative magic with knowing looks and subtle gestures in this superb comedy centering around two couples—the sublimely-in-love Monte Blue and Florence Vidor, and the less-so Adolphe Menjou and Marie Prevost. 
The very first film version of Phantom stars Lon Chaney—the Man of a Thousand Faces—in his most celebrated role, the disfigured, cloaked “phantom” who haunts the Paris Opera House and will do anything for his beloved Christine. With original Technicolor and hand coloring!

Friday, January 8, 2010

Louise Brooks and Redskin

Rugged silent screen star Richard Dix - who appeared in a number of Paramount films in the 1920's (including one almost with Louise Brooks) - will be celebrated at the Niles Essanay Silent Film Museum in Fremont, California on Saturday, January 9th.

Tomorrow's events including an author appearance & booksigning with the actor's son, Robert Dix, and a screening of Richard Dix's best known silent film, The Vanishing American (1926). More on the day's activities and the Hollywood careers' of "Dix & Son" can be found at my column on examiner.com.



Throughout his long career, Richard Dix appeared in a number of Westerns. And in some of those, like The Vanishing American, he played a Native American. That's true as well for his 1929 Paramount film, Redskin.

What's little known is that Louise Brooks almost appeared in Redskin. The film was in production in 1928. And Brooks was cast in the film as "Corn Blossom," a Native American girl. Pictures of the actress, in costume wearing Indian type dress, were taken.

However, it was not to be. Brooks was withdrawn from the film and was instead placed in the role of "The Canary" in the early sound film, The Canary Murder Case (1929). Gladys Belmont ended up playing the role of Corn Blossom.

How Paramount executives could have imagined Brooks - an actress known for her roles as a pert and sassy flapper - in a Western I just don't know! Nevertheless, they did.

Brooks, of course, finished her career in two Westerns with contemporary settings - Empty Saddles with Buck Jones in 1936, and Overland Stage Raiders with John Wayne in 1938. More about Redskin can be found at http://www.richarddix.org/redskin.htm
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