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Hello, I'm Bill Grisham, the man in the celluloid armchair. Funny title for a show. The only

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show in greater Chicago devoted exclusively to films, one half hour weekly on WLTD-AM,

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The Voice of Nostalgia. I was trained as an actor-director at the University of Washington

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where I received my master's degree. I've been in a great many plays on the West Coast

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and I've directed, written, and produced about 75 films mostly for industry and a number of

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documentaries. My PhD training has been in film history. I received a Rockefeller grant to continue

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those studies in Europe at the British Film Institute and I've also been the recipient of

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grants from the Illinois Arts Council and the American Film Institute. I produced, directed,

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and written the hour-long film The Beautiful Lady, which is narrated by Beverly Bane, one of the

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film stars. She was a star in 1911 and through the early 20s. This film reconstructs a time when

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Chicago was a major film capital from 1904 to 1920. There were three major studios in Chicago,

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SNA, Selig, and the American Film Manufacturing Company. In my collection of old film stills

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and scripts are 350 SNA scripts, the largest collection of such scripts in the world. But my

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the man in the celluloid armchair attempts to do is bring the old and the new together. Every week

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we go back in time to the turn of the century. To the 20s perhaps are the films of the 30s and

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we never forget the present. The listener hears capsule reviews of the current offerings in Greater

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Chicago and I interview someone in the film business, a director perhaps, a film cutter,

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musician, an actor. On this sample tape of my shows in 1973 and 1974, you'll hear notes on two

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film versions of A Star is Born. The real David Wark Griffith, father of American films, comes to

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life. A discussion of filmed pornography also on this tape. An interview with Jim Bridges,

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director of The Paper Chase, one of the better films of 1973. You'll hear about the old studios

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in Chicago, interviews with a good many of my friends who are in the business of making films.

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It's a lively show and occasionally it starts out with a simulated cracked Edison recording

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of an old-timey director, a Mr. Baker, who directed films at S&A in Chicago the first

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decades of the century, who is talking to Beverly Bain, Francis X. Bushman, and Wallace Berry. These

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were stars of the old S&A studio. So make sure your popcorn has enough butter on it and enjoy

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these excerpts from my show, The Man in the Celluloid Armchair.

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Grendel, will you show Miss Bain the gun? Now remember, play within the white lines on the

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floor, otherwise the major won't get you into the picture, into his camera. This is scene 34. Roll

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your camera, Major. Have you a bag of butter popcorn handy? Then sit back as The Man in the

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Celluloid Armchair.

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One-to-one stroke, Esther Blodgett becomes Vicki Lester and Mrs. Norman Maine. She cannot arrest

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her husband's swift descent, nor can she keep him when he steps gallantly from the scene. Little

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Esther has her success, but she pays for it. The script certainly does have moments. The actors

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are quite good. Oliver Niles, the producer, is played to the hilt by Adolf Manjou. In another

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he had originally wanted George Cukor to direct his A Star is Born, but that Cukor balked. In fact,

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the director irritated Selznick on other occasions, but Cukor changed his mind later in 1954 and

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another A Star is Born was delivered. Cukor directed. Mosshart wrote the screenplay, this time based on

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the Dorothy Parker, Alan Campbell, Robert Carson, William Wellman, David O. Selznick screenplay. We

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are treated this time to music and lyrics by Harold Arlen, Ira Gershwin, and Leonard Gershia,

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produced by Sidney Luft and Warner Brothers, and it opened to rave reviews at the Paramount and

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Victoria Theaters. Esther Blodgett this time is played by Judy Garland and Norman Maine by James

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Mason. Wouldn't it be great to, you know, revive both of these films on a double bill? I think it

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would be a very long double bill because the second version lasts almost three hours. Crowds

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of enthusiastic people milled about the Paramount and Victoria Theaters to attend the gala activities

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surrounding the premiere of the second version. Judy Garland made an appearance at the Victoria

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and then rushed over to the Paramount. The event was covered by television cameras and radio

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reporters, armed forces, overseas radio, press and newsreel photographers, and the sidewalks

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in front of the two theaters were carpeted in the traditional red velvet and searchlights sliced

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into the night sky. Some of you may have seen at one time or another the Birth of the Nation,

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directed by the father of American films, David Wark Griffith. D.W. Griffith was the producer of

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all of the great biograph successes, the man who really revolutionized the motion picture drama.

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He was founder of the modern technique of motion pictures, I think you could say. It has been said

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quite incorrectly that D.W. Griffith invented the close-up, the fade-out, the tracking shot,

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and so on. No, not at all. The fade-out had been part of the language of the magic lantern. So was

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the dissolve. So was the close-up for that matter. So was color. And there were panorama visuals prior,

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many years prior to Griffith. What Griffith did is really utilize these visuals less as effects

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and more as a way of telling a story. Griffith put these devices to creative use. The Birth of

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the Nation was a milestone. It was the first feature to be made in the same fluid way as motion

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pictures are made today. Today we can see a dim print of this film replete with a small score and

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several reels cut out. But the originals, the early prints, made film history. Lillian Gish

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writes in her book, the movies Mr. Griffith and Me, she says,

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in going through Mr. Griffith's papers recently, I came across some so-called facts about the

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Birth of the Nation. And they read, like most press releases of that day, Robert Edgar Long.

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His name is Gordon Willis, and I suppose most people would know his work from The Godfather.

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He shot The Godfather, Clute, Up the Sandbox, Loving, End of the Road. He's just done a new

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film for Alan Bacula called Parallax View. And Gordon is more than just a cameraman. He really

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is a director of photography, and we worked very closely together, the whole film. There is no

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hard light in the film at all. It's all reflected light, which is very...

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It's all reflected light.

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All reflected.

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Well, you have the feeling, especially when the students meet in these study sessions,

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that it's almost a Rembrandt you have.

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Well, the hope was in those study sessions, the look was that we wanted to do young men

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in portraits, you know, portraits of old judges. And the hope was that we would have the kind of

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our gang comedy grown up in these portraits of old judges. So it was a kind of, you know,

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in-joke a little bit.

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I mean, it's also sort of sepia-toned, isn't it? I feel that there are very warm colors.

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Always, very warm colors. The idea was that, you know, the New York Times magazine section

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of the Sunday Times, the look was we wanted to achieve that kind of Eastern warm autumn look.

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And you did. It was magnificent. I understand you have several projects in the wings, a new play,

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and you're working with Christopher Isherwood right now, preparing a screenplay based on

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Isherwood's novel, A Meeting by the River. Is this something that you're going to complete,

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Charlie?

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Yeah. Christopher Isherwood and Don Bacardi wrote a theatrical adaptation, a play of the novel,

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A Meeting by the River, which I directed in Los Angeles at the Mark Taper Forum a year ago

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with Sam Waterston and Larry Luckinbill. And I just yesterday morning finished working with

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Chris and Don on the first step out.

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But you'll remember him for his role as the pitifully crippled young war veteran in Dalton

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Trumbo's anti-war Johnny Got His Gun. Timothy's also played the young man stuck in a dying Texas

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town in The Last Picture Show. He co-starred with the British actress Maggie Smith in Love, Pain,

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The Whole Damned Thing, directed by Alan Pakula. He has also starred as Eugene Gant in the television

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version of Thomas Wolfe's Look Homeward Angel. And prior to all that and from the age of 13 on,

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he played in semi-professional productions in Santa Barbara, 50 productions in all,

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including The Happy Time and West Side Story, although only 21 he has put in his time and

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knows his acting craft. John Houseman as the bloodless Professor Kingsfield is one of the

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most remarkable men in the acting, writing, directing professions. The first installment

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of his autobiography, Run Through, was a best seller last year. And since 1968, he has been

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the head of the Drama Division of the Juilliard School of Lincoln Center. Born in Romania in 1902,

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Houseman was educated at Cambridge. In 1931, he wrote and directed for the theater. His first

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success in New York was in 1934 when he directed the famous Gertrude Stein Virgil Thompson opera,

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Four Saints in Three Acts. During the Depression, he headed two projects for the Federal Theatre

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of the WPA, the Negro Theatre in Harlem, where he and Arson Wells worked on Macbeth and Mark

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Wittstein's The Cradle Will Rock. In 1937, Houseman and Wells co-founded the Mercury Theatre. During

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a stint in Hollywood, Houseman collaborated with Herman Mankiewicz on the script of Citizen Kane.

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You animate something one frame at a time, an object that's in front of you, why, and they,

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clay has all sorts of advantages that say like the puppet animation of the European studios,

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doesn't it? Oh yes, Joop Gezenk of Holland does this kind of animation, don't they? They do beautiful

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work, but it's... Well, I even understand that you put President Nixon in clay animation.

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Now you're talking back a couple of years. Sure, we started the company to produce,

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we were trying to take the concept of political cartooning as it exists in newspapers and

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translate it to some media that could be used on television so that your announcer could come on

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and say, and now for our evening political commentary on the news. Well, what happened

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to the political commentary? Well, the networks all told me that I was seven years to,

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three to seven years ahead of my time. Of course, now it's three years later. Now you should be

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right on target. You can be as vicious as you want to be. Well, I'm afraid that when you're

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talking about the public airwaves, they just don't have the freedom that say like the newspapers have.

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They don't have that governmental authority hanging over them. Right, it's a little more

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classic, I would imagine. I think perhaps rightfully so because it's not quite as

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selective really. You have, when you're listening, you... Well, just try to imagine a Herb Block cartoon

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being put into some form of animation for the airwaves. You get four irate letters and you go

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off the air. Exactly. Ted, what is your background? I understand many of you also may have read

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the Citizen Kane book by Pauline Kale, which details the talented team that raised Kane,

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or I should say put that remarkable film together. Also, Howard Cooke's Casablanca script and legend,

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and that comes from the Overlook Press. And Joseph Mankiewicz writes about his film All About Eve in

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More about All About Eve. And don't fail to put the Fred Astaire and Ginger Rogers book by Arlene

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Croce on your Christmas shopping list, published by Dutton. In that last book, the author describes

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an Astaire solo in Roberta as, and let me quote, full of stark-legged steps on toe,

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wheeling pirouettes in which he seems to be winding one leg around the other, and those

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ratcheting tap clusters that fall like loose change from his pockets. She writes revealingly

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about the Astaire 30s category of films, and she says, In the class-conscious 30s, it was possible

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to imagine characters who spent their lives in evening dress, to imagine them as faintly

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preposterous holdovers from the 20s, slipping from their satin beds at twilight, dancing the night away,

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and then stumbling. By that time, S&A had turned out scores of films. Beverly Bane and Francis X

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Bushman were among the stars, one of the first romantic screen couples. Fans could wait outside,

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would wait outside the studio and mob the great profile Bushman. The studio never let anyone know

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that he was married and had several children. Luella Parsons was in charge of the script department.

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Rod LaRock was a lesser-known star at S&A. Richard Travers, H.B. Walthold, Edward Arnold,

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Bryant Washburn, Ruth Stonehouse, Harry Norton, Charles Stone, Ben Turpin, Edna Mayo, Sydney

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Ainsworth. These were just a few of the many film stars at S&A. It was a hugely successful studio.

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The young Wallace Berry was also hired and was featured in the Swedish series, S.W.E.E.D.I.E.

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He played a Swedish maid, wore a big red wig, a gaudy dress, and large floppy shoes.

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Wally had been a circus or carnival man and had appeared in New York in bit parts,

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and he was a good-natured guy, good-natured enough to clown through many, many S&A films.

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When he punched the time clock at the end of the day at S&A, he turned into a speed demon. The pride

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of his life was a big yellow Mercer with a cutout. He and Gloria Swanson, who was an extra girl at

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S&A, would speed up and down Sheridan Road. A few shocked homeowners wrote to the studio demanding

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that Berry take his Mercer elsewhere, a cliff perhaps. The bright days of S&A.

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Do you have anything to say to the young filmmakers who are coming up, graduating from film schools,

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and who want to stay in Chicago and make a name for themselves?

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Yes, they're going to have to apply themselves. They're going to have to forget this eagle trip.

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They just haven't...

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What do you mean by an eagle trip?

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Well, they haven't learned their lessons. They haven't had the opportunity. For example,

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we have a rule of thumb on the West Coast so far as editing is concerned. There are three

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stages of editing. First stage is when you edit, you edit for mechanical matches to see that the

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close-ups cut well with the long shots. When you've mastered that, then you move on to

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the second phase, which is you edit for performance. You get the best out of your

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people, the best out of your film that was shot. And the third stage is when you edit for story.

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When you edit for story and you've mastered the performance stage and the mechanical stage,

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then you have learned your lessons. And that's what the young filmmakers of Chicago have to learn.

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Well, I hope that they can work with you, Don. Thanks so much for being on the program.

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I'm going to ask you... Bill and Adele Morrie. They're stage and screen names, if I may start

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from right to left. Bill Morrie, without any changes, and Adele Malice, without any malice

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of forethought. Adele is sitting right across from me as wet as she can be. This has been

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pre-recorded and there's a driving thunderstorm out there and Bill looks a little wet himself.

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Welcome to the program. I'm wet too.

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I'm wet too.

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Today I'm going to ask Adele and Bill about a film that has meant very much to them, the film

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Prime Cut, which many of you saw some months ago, and a film with judicious cuts which may appear

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on television. Bill, you and Adele were married on the set, so to speak. Can you tell me about

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that up there in Canada? Well, we were married on top of a mountain, a mountain orcay, which was a

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great deal easier to find than this. It was 7,500 feet high. You can't hardly miss it. You can't

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miss that. To get to the wedding, we were married up there and we had a lot of people from the film

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in Canada. Sounds like a lazy dog barking. Very difficult. Two F's and a P and all those other

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things. No, but it's B-A-N, which makes it hard to pronounce. I see. But to get there, you had to go

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up on a ski lift, which was rather interesting, and a couple of the people. Matter of fact,

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there were some young guys who were shooting a documentary film about the making of a film,

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one of them had agoraphobia. He had to blindfold himself to go up on that ski lift. And get

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terribly drunk. That's right, he did get drunk. And then they threw him up the ski lift.

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He was really frightened. Anyway, it was a marvelous wedding. It was well attended,

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though, anyway. Oh, yeah. Everyone came and God was there. Oh, omnipotent. I mean, it was really.

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Everybody was there. When you're there, that far up. Everybody was there, but Lee Marvin.

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Lee Marvin, who is one of the stars in the film, along with Bill Murray and who else?

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Gene Hackman. Oh, Gene Hackman happened to be in it. And Howard Platt from Chicago.

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Les Lammon and Clint Edison, all from Chicago. Very good. Well, both of you are stage actors

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primarily, although you've been in many, many, many films and a number of multimedia presentations

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for clients as varied as Rath Ham and Brunswick bowling balls. So, Bill, how did you get the call

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for this major Hollywood production? A local agent. They contacted her. Shirley Hamilton. Oh,

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she's a great agent. Yeah, and they contacted her to line up some actors, you know. And they wanted,

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they were going to have Chicago Irish actors. In deference to New York Italian actors. All the

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What's the story in this film? It's the apotheosis of the antihero film, isn't it? Since

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there are only good bad guys in it and bad bad guys. That's right. Who did you play? We were good bad

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guys. Bill was the best good bad guy of the whole thing. I remember seeing him. Super good, super

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good bad guy. I really felt sorry for him. I really shouldn't have because he had a terrible record,

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didn't he? No, bad guy. Bad guy, but good guy. Now, we were enforcers. We were enforcers. We had

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nothing to do with the public. We never bothered them. We never hurt them. We were hired to get

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to Kansas City and collect a half a million dollars from Gene Hackman, who was the bad guy,

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who was named in the movie was Mary Ann. Make of that what you will. Well, I think the director

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made of it what he would. And we went down to collect from him. But in the course of this,

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we discovered as we arrived there on the scene at this big barn, that along with the cattle that

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was auctioning off, he was also auctioning off young girls.

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Well, this is Bill Grisham, the man in the celluloid armchair. I hope you enjoyed today's

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program. Next week, more films, more reviews, more of the old and the new. In the meantime,

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see a movie and make certain you settle down with some well buttered popcorn. Have a great day.