Godspeed Jonathan Frid, Barnabas Collins on Dark Shadows

Jonathan Frid, the Canadian actor who gained lasting fame as Barnabas Collins on the Gothic horror soap opera Dark Shadows, passed on 13 February 2012 at the age of 87.

Jonathan Frid was born John Herbert Frid on 2 December 1924 in Hamilton, Ontario, Canada. During World War II he served in the Royal Canadian Navy. He attended McMaster University in Hamilton in 1948. Afterwards he attended the Royal Academy of Dramatic Art in London. In 1954 he moved to the United States, where he received a Master of Fine Arts degree in Directing at the Yale School of Drama.

Jonathan Frid established a thriving career on stage in the Fifties and Sixties. He appeared alongside Katharine Hepburn in a production of Much Ado About Nothing. He also appeared in productions of Murder in the Cathedral and Dial M for Murder. In 1964 he appeared on Broadway in the play Roar Like a Dove. In 1966 he appeared in a production of Two Gentlemen of Verona.

It was in 1967 that he would assume the role for which he was best known, that of Barnabas Collins on Dark  Shadows. Dark Shadows was originally a soap opera based on the Gothic style romance novels popular in the mid-Sixties. Debuting in 1966, the show had only been on for around six months when it took a turn towards Gothic horror in a story line involving an immortal, humanoid creature termed a phoenix. Having taken a turn towards the supernatural, it was perhaps inevitable that a vampire character would join the cast. Barnabas Collins first appeared on the 18 April 1967 episode. As portrayed by Jonathan Frid, Barnabas Collins was a vampire who deplored his immortal life and was disgusted by his blood lust. Quite simply, it was one of the earliest portrayals of a sympathetic vampire, pre-dating similar portrayals on Forever Knight and Buffy the Vampire Slayer by decades.

Barnabas Collins would transform Dark Shadows into an outright phenomenon. Unlike many soap operas at the time, there would be a good deal of Dark Shadows merchandise, from games to comic books. The show was successful enough to inspire two films while it was still on the air. In the first, House of Dark Shadows (1970), Jonathan Frid reprised his role as Barnabas Collins. Barnabas would not be the only character that Jonathan Frid played on Dark Shadows. He also played Bramwell Collins, the son of Barnabas Collins in a parallel timeline in the last few months of the show's existence.

Sadly, ratings for Dark Shadows would drop dramatically in its last two years on the air. Despite protests from the show's fans, ABC then cancelled Dark Shadows in 1971. Following its cancellation Dark Shadows would do something no other soap opera had done before or since--its reruns would see success in syndication. It would even air on the Sci-Fi Channel for years. The series would see a new, primetime version on NBC in 1991 and an attempted revival on the WB in 2004. It is currently the basis for Tim Burton's latest film, Dark Shadows, to be released in a few weeks.

Following Dark Shadows Jonathan Frid appeared in the television movie The Devils Daughter (which aired in 1974) and Oliver Stone's directorial debut Seizure (1974). He has a cameo in the upcoming feature film Dark Shadows (2012). As an outgrowth of his appearances at Dark Shadows fan conventions, in the Eighties Mr. Frid created a number of one man shows under the heading Reader's Theatre and toured the United States. In 1986 and 1987 Jonathan Frid appeared as Jonathan Brewster in a revival of Arsenic and Old Lace. The production was successful enough that after it's Broadway run, Jonathan Frid toured with it for ten months afterwards.  In 1993 he directed a production of The Lion in Winter, which starred fellow Dark Shadows cast member Marie Wallace. Later in the Nineties he formed Charity Associates, an organisation through which he could raise money for charities using his Reader's Theatre performances. In 2000 he appeared in a production of Mass Appeal in his hometown of Hamilton, Ontario.

It is quite possible that Barnabas Collins is the most famous character to ever emerge from a television soap opera. He also remains one of the most famous vampires to appear either on television or in motion pictures. While much of this is no doubt due to the decision of the production staff of Dark Shadows to make the initially monstrous Barnabas into a sympathetic, tragic protagonist. Indeed, Barnabas Collins was one of the first truly sympathetic vampires in any medium and the first to receive mass exposure five days a week. While the production staff of Dark Shadows was then largely responsible for the impact Barnabas Collins would have on pop culture in the late Sixties, it was mostly the considerable talent of Jonathan Frid that would make the vampire an outright phenomenon.

A skilled stage actor, Jonathan Frid was able to bring out the vulnerable side of Barnabas Collins and explore the tragic nature of the character's existence. He made Barnabas Collins three dimensional not only in a way few vampires on film ever had been, but three dimensional in a way few characters on soap opera ever had been. If Dark Shadows became a phenomenon with Barnabas Collins at its centre, then Jonathan Frid deserved much of the credit.

Of course, it must be kept in mind that Jonathan Frid played many more characters than Barnabas Collins. On Dark Shadows he also played the tragic, romantic hero Bramwell Collins in the parallel timeline story arc. Over the years he played characters ranging from the Duke of Milan in Two Gentlemen of Verona to Father Tim Farley in Mass Appeal. He did all of these parts well. While his fame may largely due to one character on one television show, Jonathan Frid did so much more in his career.

America's Oldest Teeanger Dick Clark Dead at 82

Dick Clark, long time host of American Bandstand and television producer, died today at the age of 82. He passed after having a heart attack following outpatient surgery at St. John's Health Centre in Santa Monica, California.

Dick Clark was born on 30 November 1929 in Mount Vernon, New York. He started his career in radio in the mailroom at WRUN in Utica, New York. The station was owned by his uncle and managed by his father. Mr. Clark was only 17 when he started reading the news and weather reports. Dick Clark attended Syracuse University, from which he graduated with a degree in business in 1951. It was in 1952 that he went to work at the radio stations Initially Bandstand aired short musical films of the sort produced by Snader Telescriptions and Official Films (essentially a primitive version of music videos). This format only lasted about a month, and it then became the dance show it would remain for the rest of its existence. Originally Bandstand was hosted by popular disc jockey Bob Horn. It was on 9 July 1956 that Bob Horn was convicted of driving while intoxicated. This resulted in Mr. Horn's dismissal from Bandstand. It was Dick Clark who was hired to take his place

That Dick Clark became the host of Bandstand was fortunate for both Mr. Clark and the programme. It was in 1957 that ABC was looking for new afternoon programming. Thinking that Bandstand could air on the network, Mr. Clark went to New York City with a kinescope of Bandstand to pitch the show to ABC executives. The show was given a seven week trial run on the network. Renamed American Bandstand, it debuted on ABC on 5 August 1957. Dick Clark would remain the host of American Bandstand until 1987. The show continued to air on weekday afternoons until 7 September 1963, when it moved to Saturday afternoon.

The success of American Bandstand would lead Dick Clark to other shows. In 1958 Mr. Clark received his own prime time show, The Dick Clark Show. The show featured musical performances, as well as interviews (not just of musicians, but also of such show business personalities as Bob Hope and Tony Randall). It lasted until 1960. From September 1959 to December 1959 he hosted Dick Clark's World of Talent, essentially a music competition programme. From 1963 to 1964 Dick Clark was the host of the short lived game show The Object Is (it was the first game show he hosted). About the same time he hosted ABC's edition of the game show Missing Links. In 1965 Dick Clark once more became the host of a weekday, music programme. Where the Action Is was a half hour programme shot at various places around California and featuring performances by the biggest music artists of the day. The show had several regulars, with Paul Revere and the Raiders more or less the show's house band in everything but name only. Where the Action Is lasted until 1967.

Starting in 1972 Dick Clark produced and hosted Dick Clark's New Year's Rockin' Eve, which would become an annual special aired every New Year's Eve on ABC. Dick Clark's New Year's Rockin' Eve consisted of live remotes at Time Square in New York City as well as musical performances (both live and recorded). Dick Clark hosted the show every year except 2004, when he was recovering from a stroke. After 2004 he co-hosted with Ryan Seacrest. In 1973 Dick Clark became the host of The $10,000 Pyramid (which, though inflation, would eventually become The $100,000 Pyramid). Dick Clark hosted the daytime version of the show in most of its incarnations until 1988. In 1978 he hosted a short lived variety show on NBC called Dick Clark's Live Wednesday. In 1980 he was the host of the short lived variety programme The Big Show on NBC. Beginning in 1984 Dick Clark co-hosted TV's Bloopers & Practical Jokes with Ed McMahon. The programme would air at times as both a regular series and as a series of specials. Mr. Clark would continue as a co-host on the programme into the Nineties.

In 1990 and 1991 Dick Clark hosted the syndicated game show The Challengers and in 1993 he  hosted the short lived game show Scattergories. From 2001 to 2003 he was the host of the daily, NBC talk show The Other Half.

Of course, Dick Clark was not merely a TV show host. He was also a very prolific producer who produced several major television shows. As might be expected, the first show he produced was American Bandstand. Over the years he would work as a producer on such shows as Where the Action Is, The Guns of Will Sonnett, It's Happening, You Are the Jury, The Weird Al Show, TV's Bloopers and Practical Jokes, Beyond Belief: Fact or Fiction, American Dreams, and Dick Clark's Rockin' New Year's Eve. In 1973 following a disagreement between ABC and the Grammy Awards, Dick Clark created the American Music Awards. From the Seventies into the 21st Century, Dick Clark produced most of the award show's broadcasts. Mr. Clark also produced feature films, including Psych-Out (1968), The Savage Seven (1968),  and The Dark (1979).

Dick Clark also appeared as an actor in some shows. In most of these instances he played himself, appearing on such shows as The Jack Benny Programme, Batman, The Partridge Family, The Odd Couple, and Murphy Brown. He also played himself in movies, including Gidget (1959) and The Phynx (1970). While Dick Clark mostly appeared as himself on TV shows and in movies, he also performed some roles in TV shows and films. He had parts in the films Because They're Young (1960), The Young Doctors (1961), Wild in the Streets (1968), and Killers Three (1969). He guest starred on such shows as Stoney Burke, Burke's Law, Ben Casey, Branded, Honey West, Lassie, Perry Mason, and Coronet Blue.

Even though he was 82, I rather suspect many of us find it hard to believe that Dick Clark is dead. Part of this is due in no part in that prior to his stroke in 2004 Mr. Clark never seemed to age. He largely looked the same in the 1990's as he had in the 1950's. It is also likely that Dick Clark's death seems unbelievable because he was the part of the childhood of at least three generations: the Silent Generation, the Baby Boomers, and Generation X. He was the host of American Bandstand for three decades and the host of various other shows for fifty years. I very seriously doubt that there are very many between the ages of 75 and  35 who have not seen at least one regularly scheduled programme hosted by Dick Clark.

Indeed, Dick Clark's impact on American pop culture is such that I doubt that the vast majority of Americans have heard of him, even those too young to remember American Bandstand. While Dick Clark would produce numerous shows and host many others, his most important position in American pop culture may well have been as host of American Bandstand. Quite simply, as the host of American Bandstand Dick Clark helped bring rock 'n' roll into the mainstream. As a clean cut, non-threatening young man Dick Clark helped allay the fear of older Americans in the Fifties about a music genre many of them regarded as dangerous. While Dick Clark helped ease the fears of older people, even into his fifties he was a figure with whom teenagers could be comfortable. He never talked down to them and always treated them with respect. This made him the perfect host for American Bandstand.

Aside from bringing rock 'n' roll into the mainstream, Dick Clark's position as host and producer of American Bandstand made him significant to American pop culture in other ways. In the Fifties many dance programmes did not include African Americans. American Bandstand did. In fact, it was one of the first integrated shows on American television. And it was largely at Dick Clark's insistence that it became such. American Bandstand itself would prove pivotal in the careers of artists ranging from Fabian to The Jackson Five. As a regularly scheduled, nationally broadcast dance show American Bandstand would also pave the way for other shows featuring rock music, from Shindig to Hulabaloo to Mr. Clark's own Where the Action Is.  Indeed, Where the Action Is may have been pivotal in the career of Paul Revere and The Raiders. Already a popular rock band, their regular exposure on the show may have been partly responsible for their string of hits from 1965 to 1968. Of course, Dick Clark also produced numerous shows as well. Dick Clark's New Year's Rockin' Eve would become an annual tradition for many.

In the end Dick Clark's career was such that it is perhaps impossible to evaluate his importance to American pop culture. From the Fifties to the Nineties he was nearly ubiquitous on American television. His position alone as host and producer of American Bandstand made him one of the most important figures in American television in the last half of the 20th Century. That he did so much more made him even more important to American pop culture.

Guest Links at Classic Movies

Those of you familiar with the blog Classic Movies know that three times a week KC compiles a group of links related to classic film. For the next two weeks KC is holding an event where links are provided by a series of guest bloggers. It was my honour to provide today's Classic Links.

I also want to take the time to encourage you to subscribe to Classic Movies or add it to your RSS reader. KC not only posts classic film related links, but also birthdays for classic movie personalities, movie related quotes, and articles!

The 100th Anniversary of the Titanic Disaster

It was on 10 April 1912 that the RMS Titanic departed on its maiden's voyage from Southampton, Hampshire, England to New York City, New York, United States. At the time it was largest ship in operation. On board the ship were some of the most richest and most famous individuals in the world: businessman and inventor Colonel John Jacob Astor IV; American millionaire and philanthropist Margaret "Molly" Brown; Scottish landowner Sir Cosmo Duff-Gordon; British fashion designer Lucy, Lady Duff-Gordon; film actress Dorothy Gibson; American businessman Benjamin Guggenheim; J. Bruce Ismay, chairman and managing director of the White Star Line; Macy's co-owner Isidor Strauss and his wife Ida; and many others. Sadly, as history shows, the Titanic would not even survive its first voyage. It was 100 years ago today, on 15 April 1912, that the RMS Titanic sank after hitting an iceberg in the North Atlantic. Out of the 2223 people on board, 1,514 died.

Needless to say, given the magnitude of the disaster, the sinking of the Titanic was the biggest news story at the time. That having been said, in an era before radio was common place and television was yet to be invented, let alone communications satellites, the news of the disaster was much slower to spread than it was today. In fact, early on 15 April American newspapers were mistakenly reporting that the Titanic was being towed into New York City by the S. S. Virginian. It was later that day that the world at large learned that not had the Titanic been lost, but the majority of its passengers had died. Interest in the disaster was so intense that crowds of people actually gathered at the offices of the White Star Line, the British shipping company that had owned the Titanic, in London, Southampton, Belfast, New York City, Montreal, and its headquarters in Liverpool. A complete listing of survivors of the disaster would not be available until 17 April 1912. For the next several weeks news of the survivors' stories would fill the pages of newspapers and magazines worldwide.

Not surprisingly given the magnitude of the disaster, the sinking of the Titanic had an immediate impact on pop culture in the English speaking world and has maintained one ever since. Over the years there have been books, plays, films, songs, and even poetry inspired by the sinking of the Titanic. In fact, I rather suspect that it is safe to say that the Titanic has probably had a bigger impact on pop culture than any other ship ever built.

Given the outpouring of grief that naturally accompanied the sinking of the Titanic and the public's fascination with the ship and its survivors, it made an impression on popular culture almost immediately. In 1912 poetry was still a popular medium, so that perhaps the disaster's most immediate impact on pop culture was an outpouring of poetry commemorating the event. Much of this poetry was largely written by unknowns and much of it has since been, perhaps deservedly, forgotten. Well established poets would and did write about the disaster. Thomas Hardy wrote an eleven stanza poem entitled "The Convergence of the Twain (Lines on the loss of the Titanic)." Harriet Monroe wrote a shorter poem entitled "Titanic Requiem." Both Mr. Hardy and Miss Monroe's poems were published in 1912, but many poems would be published years later. E. J. Pratt's "The Titanic" was published in 1935.

Aside from poems, another immediate impact that the Titanic disaster would have on popular culture would be through songs. In John Wilson Foster's book The Titanic Complex, folklorist D. K. Wilgus was quoted as saying that the Titanic provoked "...what seems to be the largest number of songs concerning any disaster, perhaps any event in American history." In the years 1912-1913 in the United States alone over 100 songs were written about the disaster. The types of songs written about the Titanic were of a large variety, ranging from songs that were mere commercial exploitation of the disaster to love songs to outright religious hymns. One of the earliest and best known songs was the folk song "The Titanic (also known as ""It Was Sad When That Great Ship Went Down"). While its author remains unknown, the song has been dated to around 1915 or 1916.

The sinking of the Titanic would inspire a surprisingly large number of blues songs. In 1927 Rabbit Brown recorded the popular "Sinking of the Titanic." In 1929 Blind Willie Johnson recorded "God Moves on the Water." In 1948 Leadbelly released "The Titanic (Fare thee, Titanic, Fare thee well)." The Titanic would also provide inspiration for performers what might be called country music, but in some cases which  may be better described as "old time music" or "hillbilly music." Ernest Stoneman recorded "The Titanic" in 1924. In 1927 Frank Hutchinson recorded "The Last Scene of the Titanic." In 1938 The Dixon Brothers recorded "Down With the Old Canoe."

While the sinking of the Titanic would have an impact on folk, blues, and old time music, it has not had as a large an impact on rock music and other later forms of popular music. Seventies Norwegian rock band Titanic took their name from the ship. The song "Little Titanic" by alternative hip hop band Why? takes its inspiration from the disaster, as does "The Titanic (Let It Burn)" by blues and folk performer Ruthie Foster.

While poems and songs based around the Titanic disaster appeared almost immediately, it would take some time before plays based on the disaster would be mounted. Ernest Raymond's The Berg: A Play (1929) is set on a thinly disguised version of the Titanic. Noel Coward's Cavalcade (1931) would include a final scene aboard the ship. Perhaps the best known play based on the Titanic disaster was the musical The Unsinkable Molly Brown (1960), which centred upon Margaret Brown, the American millionaire who worked to save many of the lives of those aboard the Titanic.

Of course, perhaps no other medium has produced better known works based on the sinking of the Titanic than film. It was only 29 days after the Titanic disaster that the first film based upon it appeared. "Saved From the Titanic" starred and was co-written by Dorothy Gibson, the silent actress who had actually been aboard the ship. The 10 minute film was loosely based on her actual rescue from the sinking vessel. While much of the account was fictionalised, Miss Gibson did wear the same clothing she had been wearing when she was saved. Sadly, the film was lost long ago in a fire in March 1914. The German film "In Nacht und Eis" was also based on the Titanic disaster and released in 1912. It too is believed lost.

Based on the play The Berg: A Play, the 1929 feature film Atlantic was also loosely based on the voyage of the Titanic. It is essentially a romance set aboard what is clearly a fictionalised version of the Titanic (the Atlantic). In 1943 Nazi Propaganda Minister Joseph Goebbels commissioned a propaganda film based on the disaster. Titanic (1943) was essentially Nazi propaganda that sought to discredit British and American businessmen while at the same time glorifying the bravery of German men. Needless to say, the film was not particularly historically accurate! This would also be true of another film entitled Titanic, released in 1953 by 20th Century Fox and starring Clifton Webb and Barbara Stanwyck. Although a well done film, its primary concern is the relationship between an estranged couple, with the Titanic serving merely as a historic backdrop.

What may be the greatest film ever made based on the sinking of the Titanic was A Night to Remember, released in 1958. The film was a result of producer William McQuitty's fascination with the Titanic--who had actually witnessed the launch of the ship when he was a lad. The movie was based on the book A Night to Remember (1955) by William Lord, a non-fiction work still regarded as one of the best sources of information on the Titanic disaster. A good deal of research went into the making the film, so that very few historical inaccuracies appear in the film (the christening of the Titanic is one--the ship was never christened). To this day A Night to Remember is still regarded by many as the greatest film about the disaster.


In 1964 there would be a film adaptation of The Unsinkable Molly Brown, starring Debbie Reynolds in the title role. Like the musical, the movie was a highly fictionalised account of Margaret Brown's life up to and including her time aboard the Titanic. Raise the Titanic from 1980 was not about the sinking of the Titanic, but took inspiration from it nonetheless. Based on a book of the same name by Clive Cussler, the movie portrays a group of Americans who seek to salvage the wreck of the ship. The 1981 film Time Bandits, which involved time travel, included a sequence set aboard the Titanic. What may be the most famous film based on the sinking of the Titanic is Titanic (1997), directed by James Cameron. Titanic is perhaps best regarded as a cross between Titanic (1953) and A Night to Remember (1958). While a wealth of historical detail is portrayed to the look and operations of the ship, the movie itself centred around a fictional romance between a young, poor artist and a wealthy young woman. Among the movie's historical inaccuracies are some of the portrayals of the historical figures who were aboard the ship. Titanic would become the highest grossing film of all time before being adjusted for inflation (after being adjusting for inflation the highest grossing film is still Gone With the Wind), a position it held before being surpassed by Avatar  in 2010.

Perhaps because of the sheer cost in mounting such productions, television has dealt less with the Titanic disaster than film. The very first episode of the television series The Time Tunnel (1966-1967) was set aboard the Titanic. The episode found the lead characters, who travel through time in each episode, aboard the Titanic and attempting to prevent the disaster (never mind this would have dramatically changed history). In 1979 the American Broadcasting Company (ABC) aired a television movie titled S.O.S. Titanic. Unlike many version of the disaster, S.O.S. Titanic was for the most part historically accurate, with only a few inaccuracies being portrayed.  Nineteen ninety six would see two television movies, both of which were rife with historical inaccuracies. Titanic aired on the American network CBS. No Greater Love (based on a Danielle Steel novel) was not about the disaster itself, but used the disaster as the catalyst for a plot about a young woman who must raised her younger siblings after their parents died in the sinking of the Titanic.

The 2007 Christmas special of the long running television programme Doctor Who took inspiration from the Titanic disaster. The episode finds The Doctor aboard an alien spaceship named for and modelled after the historic Earth vessel. Unfortunately, this space bound Titanic also meets with disaster. Given that 2012 is the 100th anniversary of the disaster, it should come as no surprise that there would be two television serials based upon it. Titanic is a four part serial from the creator of Downton Abbey, Lord Julian Fellowes. The serial debuted on ITV on 25 March 2012 in the United Kingdom, 21 March 2012 on Global in Canada, and on 14 April 2012 on ABC in the United States. Titanic: Blood and Steel is a 12 part serial that has not yet aired in the United Kingdom or the United States.

Here I must point out that this article is by no means includes every poem, song, play, movie or television programme inspired by the sinking of the Titanic. Indeed, I have not even touched upon books at all. The fact is that the Titanic disaster has had such a extensive impact on pop culture in the English speaking world that it would take an entire book to even detail  a single aspect of it. Indeed, books have been written on the poetry and songs inspired by the sinking of the Titanic alone.

Of course, the question some might ask is why the Titanic disaster still maintains such a grip upon the imagination 100 years after it took place. The most obvious reason is the sheer magnitude of the tragedy. The death toll of the sinking of the Titanic matched that of many natural disasters. While the sinking of the Titanic was not the deadliest maritime disaster even at the time (I believe that would have been the sinking of the S. S. Sultana in 1865, in which 1800 people died), it was definitely one of the deadliest. When combined with the publicity surrounding the ship's maiden voyage, it should then not be surprising that to this day people would be fascinated by the sinking of the Titanic.

That having been said, it is not simply the sheer magnitude of the Titanic disaster that attracts filmmakers, television producers, and writers to the sinking of the great ship. The disaster itself provides for a good deal of drama, with tales of heroism and tragedy, but then one must consider that even if the Titanic had not sunk there would hold possibilities for dramatic interpretation. Not only was the Titanic the largest ship of its time, but it was also one on which the various classes intermingled. Individuals from the very rich and very powerful were on board the same ship as those who were very nearly paupers. The sheer variety of individuals aboard the Titanic has probably always made it attractive to artists in every medium.

Indeed, the Titanic has been used as a springboard for exploring various themes. One of the earliest to be explored was the hubris of mankind with regards to technology. To a degree the Titanic became a symbol of man's arrogance in the superiority of technology over nature, with nature winning in the end. The Titanic disaster has also been used as a condemnation of class differences, with several different books, movies, and television programmes emphasising the divisions in the classes at the time. Even when filmmakers, writers, and television producers are exploring other themes, the element of tragedy is almost always present in portrayals of the Titanic disaster. If romance has always played a large role in portrayals of the sinking of the Titanic, it is perhaps because it brings home the sheer momentousness of the catastrophe.

Of course, much of the appeal of portrayals of the Titanic disaster for modern readers and viewers may well be the sheer heroism of many of those involved. In many ways, this could be summed up by the words of Benjamin Guggenheim, who said, "We've dressed up in our best and are prepared to go down like gentlemen." He later gave a survivor a message to give to his wife, "Tell my wife, if it should happen that my secretary and I both go down, tell her I played the game out straight to the end. No woman shall be left aboard this ship because Ben Guggenheim was a coward." Today it is hard to picture any millionaire willingly dying aboard a sinking ship--they would more likely push women and children out of the way to get to the lifeboats! Macy's co-owner Isidor Strauss also displayed similar bravery. He refused to board the lifeboats so that younger men could do so and sent his wife's maid aboard the boat. His wife Ida refused to board the lifeboat as well, stating, "I will not be separated from my husband. As we have lived, so will we die, together." Margaret "Molly" Brown helped others board the lifeboats until she was persuaded to leave the ship on Lifeboat No. 6. Even then she insisted that Lifeboat No. 6 return to search for survivors, against the judgement of Quartermaster Robert Hichens. The Titanic disaster was the setting for acts of heroism and a sense of noblesse oblige that is sometimes had to see taking place today.

Although it was not even the largest maritime disaster at the time, the sinking of the Titanic was a disaster of such greatness that it has held the public imagination ever since. As early as 1912 it had already become part of the collective unconscious of the English speaking world. The enormous loss of life in the tragedy will always evoke a sense of sorrow on the part of individuals. The many acts of heroism as the disaster unfolded will continue to inspire people. It is safe to say that the most famous shipwreck in history will continue to have a huge impact on pop culture in the English speaking world.

Luke Askew R.I.P.

Character actor Luke Askew, who appeared in Cool Hand Luke (1967) and Easy Rider (1969), passed on 29 March 2012 at the age of 80.

Luke Askew was born on 26 May 1932 in Macon, Georgia. He attended the University of Georgia.

Mr. Askew made his film debut in Hurry Sundown in 1967. In the same year he appeared in The Happening and Cool Hand Luke. He finished out the Sixties appearing in the films Will Penny (1968), The Devil's Brigade (1968), The Green Berets (1968), Easy Rider (1969), Flareup (1969), and The Night of the Serpent (1969). He guest starred on the TV shows The High Chaparral and Mission: Impossible.

In the Seventies Luke Askew guest starred on such TV series as Bonanza, Bearcats, Longstreet, Cannon, Police Story, The Rockford Files, How the West Was Won, and Hart to Hart. He appeared in the films The Culpepper Cattle Co. (1972), The Great Northfield Minnesota Raid (1972), The Magnificent Seven Ride (1972), Slipstream (1973), Rolling Thunder (1977), and Wanda Nevada (1979).

In the Eighties Mr. Skew guest starred on such television shows as Quincy, Tales of the Gold Monkey, Matt Houston, Airwolf, L. A. Law, and Simon & Simon. He appeared in such movies as The Beast Within (1982), The Warrior and the Sorceress (1984), Bulletproof (1988), and Back to Back (1989). From the Nineties into the Naughts he guest starred on such shows as Murder She Wrote, Kung Fu the Legend Continues, Everwood, and Cold Case. He had a recurring role on Big Love. He appeared in such films as Dune Warriors (1991), The Friends of Harry (1995), The Newton Boys (1998), Frailty (2001), and The Greatest Game Ever Played (2005).

In many respects Luke Askew's career can be summed up by two of the earliest films in which he appeared. In Cool Hand Luke he played the cruel prison guard Boss Paul. In Easy Rider he played a stranger who guided Wyatt and Billy to a hippie commune. The two parts were so different as to be completely opposite each other, yet Mr. Askew played each convincingly. He was a versatile actor who over the course of his career played everything from soldiers to cowboys to police officers and played all of them well.

The Importance of Silents and Pre-Code Talkies

I will not go into what precipitated it, but yesterday on Twitter a group of us discussed the importance of a knowledge of silent films and pre-Code talkies to classic film connoisseurs. While everyone will have different tastes in film and not every era of film will appear to every classic movie buff, it seems to me that to truly be a classic film connoisseur one must have a working knowledge, if not an appreciation, of silent movies and early talkies.

The plain fact is that silent films and the early sound films hold an importance in cinematic history that will never,e ever be matched, let alone surpassed. It was during the silent era that the language of film was established. It was during the Silent Era that editing and cinematography were perfected. It was very early (The Great Train Robbery dates to 1903) that filmmakers learned how to shoot and edit film so that it not only told a narrative, but that it could do so with maximum emotional impact. By the late Teens and into the Twenties, which I think could be considered the Golden Age of Silent Film, the silent movies had become an art form.  It was during this period that such masterpieces as  Nosferatu (1922), The Gold Rush (1925), The General (1926), The Crowd (1928), and Die Büchse der Pandora (1929). And while much of the language of film had already been established by the mid to late Twenties, there was a still a good deal of innovation, particularly with regards to the genres of film. The General was not only one of the first of the big budget blockbusters (the direct ancestor of Gone With the Wind, The Great Escape, and the Star Wars movies), it was also possibly the first action comedy. The Crowd could be considered a forerunner of the kitchen sink dramas of the British, the French Nouvelle Vague, and Italian neorealism. Even the Western genre would be developed during the Silent Era, with such films as The Covered Wagon (1923).

While the Silents before them would establish much of the language of film with regards to cinematography and editing, it would be the pre-Code talkies that would establish the use of sound in film. Here I must point out that this went far beyond the use of sound effects, as it also included the musical score. Perhaps no film was more influential in establishing the importance of the music score than King Kong (1933). The score Max Steiner composed for the film was like none other composed for film. Not only did music punctuate many of the key scenes in the film, but Mr. Steiner made use of leitmotifs and even gave the primary characters their own themes. Quite simply, it was the first modern film score. And while the Silent Era would see the emergence of such film genres, it would be in the days of the pre-Code talkies that such genres as the musical (impossible during the Silent Era), the horror film (it had existed all throughout the Silent Era, but was perfected in the pre-Code era), and the gangster film (like horror movies it had existed all throughout the Silent Era, but was perfected in the pre-Code era) would be developed or refined.

Indeed, in my opinion to dismiss silent films or pre-Code talkies is essentially to dismiss some of the greatest films ever made. Many films of the silent era are works of art that could probably be appreciated by modern audiences if they were only given a chance. As pointed out earlier, The General is both one of the early blockbusters (while it did poorly at the box office, it did cost a mint) and possibly the first action comedy. It is a rather sophisticated film that combines comedy with poignancy, romance, and action. The Crowd could well be as close to kitchen sink drama as the United States ever came, following a young New York City office employee as he gets married and then struggles with financial problems, marital difficulties, and tragedies. The Battleship Potemkin (1925) is best known for director Sergei Eisenstein's innovative use of montage, but it would also prove influential in the development of action films. Even today Metropolis (1927) is a technical marvel to behold, but it was also one of the first (if not the first) science fiction film about a futuristic dystopia.

I rather suspect modern audiences might actually appreciate many of the pre-Code talkies than many of the films made later in the Thirties. Free of the strictures that would come with the rigorous enforcement of the Hays Code, filmmakers were free to deal with subjects that would later be forbidden under the Code, not to mention to tell their stories in a much more realistic fashion. Indeed, it is for this reason that many  of the talkies made between 1930 and 1934 seem much more modern than films even made ten years later. During this period when film was relatively free of the Code, several classic films emerged. Indeed, it was during this period that the horror film, a genre that had been around since the 1890s, really came into its own. James Whale's classic Frankenstein (1931) would not only establish the look of Gothic horror films for decades, but it would also establish many of the tropes of the horror genre as well. Dr. Jekyll and Mr. Hyde (1931) may well be the best adaptation of Robert Louis Stevenson's classic tale ever made. Not only did the film have the benefit of Fredric March's incredible performance, but it was able to include some fairly strong sexual content (mostly in the form of Miriam Hopkins' character, Ivy Pearson) that one does not see in the 1941 film made just ten years later. Many of these early horror films are intense even by today's standards. Island of Lost Souls (1933), an adaptation of H. G.Wells' The Island of Dr. Moreau, caused a furore in the United States when first released. It remained banned in the United Kingdom until 1958, when the BBFC finally passed it with an "X" certificate.  Much like horror movies, gangster films had existed in the Silent Era, but they really came into their own in the pre-Code era. Little Caesar (1931), The Public Enemy (1931), and Scarfare (1932) all became classic and also established many of the tropes of the genre.

While the horror film had existed since the 1890s and gangster films nearly as long, it was with sound that the musical became possible. The genre swiftly came into its own. In fact, by 1933 one of the greatest musicals of all time would be made--42nd Street. This is the musical that established the cliché of a girl from the chorus emerging as a star after the lead breaks her ankle. Despite having created this and other tropes of musicals, 42nd Street feels fresher than many musical made in the past twenty years. There are classic songs by Harry Warren and Al Dubin. There is choreography by Busby Berkeley. And there is a screenplay filled with witty dialogue, one-liners, and sexual innuendo that would vanish from the screen for the next thirty years. 42nd Street was not the only classic musical to emerge during the pre-Code Era, as there was also Gold Diggers of 1933, Footlight Parade (1933), and Let's Fall in Love (1933).

In the end, many might be surprised by the number of classic films that were released in the pre-Code years. Beyond those named above, there was also Duck Soup (1933), The Front Page (1931), Baby Face (1933), I am a Fugitive from a Chain Gang (1932), Red Dust (1932), A Farewell to Arms (1932), Design for Living (1933), and many others. Both the Silent Era and the pre-Code era produced many great films that modern audience really should see.

Of course, I realise that everyone has different tastes. Silent films require the reading of title cards, something everyone may not particularly like doing. And I know everyone may not care for the lack of spoken dialogue. I also realise that not every pre-Code talkie is necessarily going to be a great film, even when it may be well known. In the early days of talkies the film industry was still learning how to deal with sound. For that reason many films seem rather static for this reason. A perfect example of this is Dracula (1931), which almost comes off like a filmed stage play. Here I have to ask people to give silents and pre-Code talkies a chance. One can learn to appreciate title cards and the lack of spoken dialogue. And I must point out that not every early talkie is Dracula.

It was during the Silent Era and the pre-Code era that film became a true art form. It was during this period that much of what we take for granted today in movies was developed. It was also during this period that many truly great films were made. If one truly wishes to be a connoisseur of classic film, then I think he or she must really seek out and see such films. I also think he or she must develop an appreciation of them. Even if he or she prefers films made a little later, he or she must appreciate the fact that it was with the silents and the pre-Code talkies that film came into its own. Without them we would not have the classics from later years.

The 50th Anniversary of Stu Sutcliffe's Death

It was on this day fifty years ago that Stu Sutcliffe died from a brain haemorrhage at the young age of 22. For those of you who have never heard of Stu Sutcliffe, he was the legendary fifth Beatle. For a brief eighteen months Mr. Sutcliffe was the band's bassist. While he may be best known for his tenure as one of The Beatles, he was also a talented painter. His art was displayed at an exhibition in the Walker Art Gallery in Liverpool and he sold at least one painting before he joined what would become the most famous rock band of all time.

Stuart Sutcliffe was born in Liverpool on 23 June 1940. He was attending the Liverpool College of Art when mutual friend Bill Harry (later the founder of Mersey Beat) introduced him to John Lennon. Messrs. Lennon and Sutcliffe soon became best friends. It was perhaps an eventuality, then, that he would join John Lennon's band. John Lennon and Paul McCartney talked Mr. Sutcliffe into buying a Höfner President 500/5 bass guitar so that the could play bass in the band. It was then in January 1960 that Stu Sutcliffe became a member of The Beatles.

As their bassist Stu Sutcliffe would join his fellow Beatles when they went to Hamburg. It was while in Hamburg that Mr. Sutcliffe met Astrid Kirchherr and the two became involved in a relationship. In November 1960 the two became engaged. Stu Sutcliffe would remain with The Beatles until June 1961, when he left the band to continue his studies in art and so he could remain with Miss Kirchherr. He enrolled at the Hamburg College of Art. He studied under pop artist and sculptor Eduardo Paolozzi. Unfortunately, Stu Sutcliffe had started having headaches and developed a sensitivity to light. Doctors were unable to make a diagnosis and even suggested to Mr. Sutcliffe that he return to England where he could check into a hospital with better facilities. Instead of returning to England, Stu Sutcliffe remained in Germany where his condition worsened. On 10 April 1962 he collapsed and was rushed to hospital. He died on the way there. The cause of death was later revealed to be an aneurysm in the right ventricle of his brain.

While others have been members of The Beatles (the most notable besides Stu Sutcliffe perhaps being former drummer Pete Best), it is quite possible than Stu Sutcliffe had more impact on the band than any member besides John, Paul, George, and Ringo. It was during an afternoon in Renshaw Hall bar that John Lennon, John's future wife Cynthia, and Stu Sutcliffe thought of names for Mr. Lennnon's band similar to Buddy Holly's "The Crickets," leading to the creation of the name "The Beatles." It would also be through Stu Sutcliffe that the other Beatles would meet Astrid Kirschherr. Miss Kirschherr would take some of the earliest photographs of The Beatles. She has also been credited with creating The Beatles' mop top. She disagrees, pointing out that many German boys had the haircut and that Stu Sutcliffe adopted it. The others then followed his lead. When Mr. Sutcliffe left The Beatles, he lent his bass to Paul McCartney with the agreement that Mr. McCartney did not change the strings on the bass around (Mr. McCartney is left handed, so he simply played the bass upside down).

It has often been common for the media to characterise Stu Sutcliffe as a bad bassist. This may well be due to the book The Man Who Gave The Beatles Away in which Allan Williams claimed that when The Beatles auditioned for Larry Parnes at The Wyvern Club in Liverpool, Mr. Parnes would have employed the band if only they got rid of Stu Sutcliffe.  Larry Parnes himself has denied this, stating that the reason he did not hire The Beatles was their lack of a regular drummer. Bill Harry, friend to both John Lennon and Stu Sutcliffe and founder of Mersey Beat, thought Mr. Sutcliffe was a competent bassist. Another friend of Stu Sutcliffe, Klaus Voormann (bassist for Manfred Mann and a session musician for many musical artists) thought that Mr. Sutcliffe was a great rock 'n' roll bass player. British saxophonist Howie Casey, who played with The Seniors in Hamburg, has said that Mr. Sutcliffe was a great live bassist. Even former drummer Pete Best has said that Stu Sutcliffe was a good bass player. It would seem that while Allan Williams characterised Stu Sutcliffe as a bad bassist, most musicians and others who heard him play thought he was at least a competent, if not a good bass player.

It is perhaps a moot point whether Stu Sutcliffe was a good bassist. The evidence of his talent for art really cannot be questioned. As stated above, even before he joined The Beatles, Stu Sutcliffe had a painting displayed at the Walker Art Gallery in Liverpool. He sold that painting for the then unheard of sum of £65. Eduardo Paolozzi regarded Mr. Sutcliffe as one of his best students and very gifted. Stu Sutcliffe's earliest artwork was in the realm of kitchen sink realism. It was not long before he would turn to abstract painting. Indeed, many of his later works resemble that of American abstract expressionists. His painting, "Hamburg Painting No. 2," would later be purchased by the Walker Art Gallery. His artwork would also later be displayed at the Victoria Gallery and Museum. While some might claim that interest in Stu Sutcliffe's art is largely due to his status as the Fifth Beatle, the fact that he had actually had artwork displayed and a painting sold before The Beatles even became famous would seem to prove otherwise.

Had John Lennon never met Stu Sutcliffe, the history of The Beatles would have been very different. In fact, for all we know they might not have even been named "The Beatles" and they might never have worn their famous mop top hairstyles. While it is difficult to say what would have happened had he lived, it also seems very likely that Stu Sutcliffe could have become a very famous artist. In fact, it seems quite possible that had he lived, Stu Sutcliffe would have been famous even if he had not joined The Beatles. He may have only been a good bassist and that may have all he ever would have been, but the was already a great painter.