Ha ha! Let me guess....
Well, yes, you're right about that but I posted it because you like those shots of people riding way off in the distance and it's already on my image hosting site so I was able to post it while I'm, er, not at home. ;) :)
Ha ha! Let me guess....
feaito wrote:During the weekend I had a Tarzan marathon….
...Were the action sequences of many films made during the thirties filmed without sound like a Silent movie and then played on a regular Sound camera thus looking as if “fast-forwarded”? This happens quite a lot here.
“Tarzan Escapes” (1936) From what I read this entry could have well been the most violent and gruesome of all Tarzans, but due to censorship it was considerably toned down, although some hints of brutality remain in some portions. I read that if it hadn’t been censored, this could have been the best Tarzan of the series.
Easter and Tarzan--two great institutions that go great together!
For years I've been wondering about those little spells of speeded-up action in early thirties films. You see it here and there for fights and flights. I've heard it called "under-cranking," where you record the action with slower hand cranking (or change the speed of the electric motor), so when the action is played back at normal speed, it happens faster. I always figured that this was a deliberate special effect that was discarded as time went on.
[My kids have seen examples of this when they've watched an old film with me and asked, "Why did everybody speed up just then?" Obviously this generation isn't buying it.]
Did you read the interviews with Kevin Brownlow over on Ann Harding's site? I love the part where he is talking about the different projection speeds of all the films he's handled. I wonder if, when a film cobbles together "new" sound-synched 30's footage with older silent stock footage, you get these different playback speeds [inadvertently].
Oh, the other point is, I've been wanting to see Tarzan Escapes for some time. It's mentioned in a William A. Wellman documentary. (As he tells it) He jumped in to help with the project when the production went off the rails, and had such a great time working on it, he went to Mayer and begged him to let him do the next one. Mayer refused, saying it would be beneath him as an artist.
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