A 6:13 stop-action animation made in 1913 by the Lithuanian film-maker Wladyslaw Starewicz.

Starewicz web-site.

7:30 Pathé Frères silent film Moscow Clad in Snow shot in the winter of 1908. The power of the state is conspicuously on display in the first portion.

Sony is upset over the leak of a rejected trailer for its upcoming release Spiderman 3.

Defamer has a link.

Jack Palance as Jack Wilson in Shane (1953)

Jack Palance was the son of an immigrant Ukrainian miner, born Volodymyr Palanyuk (Ðu2019олодимиÑu20ac Ðu0178аланÑu017dк) in the coal patch of Lattimer Mines (the site of the famous Lattimer Massacre of 1897).

He began his career as a professional heavyweight boxer, fighting as “Jack Brazzo.” He won 15 fights, 12 by knockout before losing a 4th round decision to Joe Baksi on Dec. 17, 1940.

Upon the outbreak of WWII, he enlisted in the Army Air Force. He sustained serious burns, and required facial reconstruction, after the B-24 bomber he was piloting crashed off the coast of California. Some of his distinctive leathery appearance was attributed to the surgery.

He graduated from Stanford University in 1947 with an AB in Drama. He survived as an aspiring actor via the usual sorts of short-term jobs as photographer’s model, lifeguard, and short-order cook.

He got his big break in 1947, when he was hired as Marlon Brando’s understudy for the Broadway production of A Streetcar Named Desire. The NNBD article reports that

Brando invited Palance to work out with him in the theater’s basement. The actors were pounding a punching bag when Palance missed the bag and splattered Brando’s nose. Brando was taken to a hospital for medical attention, while Palance took the stage in the lead, and his performance drew a contract offer from 20th Century Fox. Palance always maintained that making his own “big break” was an accident.

He appeared in more than 100 films. He received an Emmy award in 1957 for Playhouse 90’s production of Requiem for a Heavyweight. He won an Academy Award for Best Supporting Actor and the Golden Globe in 1992 for City Slickers. Upon receiving his Oscar, at the age of 72, he performed a number of one-handed pushups to demonstrate his fitness.

He is most commonly remembered for his role as the villainous gunfighter Jack Wilson in Shane, but sophisticated critics are more likely to mention his performance as film producer Jeremy Prokosch in Jean-Luc Godard’s Le Mépris (Contempt – 1963).

Variety reports his death at age 87.

Wikipedia

Film Tribute site.

IMdb

Palance and Bardot in Godard’s Contempt

Marshall College makes an awfully good case for the negative decision.

link

Pfc Ira H. Hayes, Pfc Franklin R. Sousley (killed in action), Sgt Michael Strank (barely visible on Sousley’s left – killed in action), Phm2c John Bradley, Pfc Rene Gagnon, Cpl Harlon H. Block (killed in action)
(Joe Rosenthal photograph

2. BACKGROUND: THE SECOND FLAG

The significance of the Iwo Jima operation, the first US ground assault on Japanese soil, was widely recognized in advance. Secretary of the Navy James Forrestal had travelled to the Pacific from Washington to watch the unfolding of the largest operation in United States Naval history.

On the morning of February 23rd, Forrestal was accompanying V Amphibious Corps Commander Lieutenant General Holland M. “Howlin’ Mad” Smith to the beachead. Their landing craft had just touched shore, when the first flag went up atop the volcano. As the Marines around them cheered, Forrestal turned to General Smith, and observed: “Holland, the raising of that flag on Suribachi means a Marine Corps for the next five hundred years.”

Recognizing the historical significance of the colors waving in the distance, Forrestal also asked General Smith to see to it that the flag then flying atop Mount Suribachi be replaced, and the original brought back to him for preservation in the nation’s capital.

The Navy Secretary’s orders were duly transmitted down the chain of command to Col. Chandler Johnson at 2/28 headquarters. Johnson ordered Lieutenant Ted Tuttle, his Operations Assistant Officer, to find a replacement flag. “And make it a bigger one,” Colonel Johnson added.

At the same time, 2/28 HQ was beginning to be having difficulty communicating with the patrol on the mountain’s summit. Lt. Schrier’s field telephone’s battery was giving out. Johnson decided the time had come to run a wired connection up the mountain. A fire team detail from Easy Company’s 2nd platoon, made up of Sgt Michael Strank, Cpl Harlon H. Block, Pfc Ira H. Hayes, and Pfc Franklin R. Sousley was given the assignment. They wound up being accompanied by Pfc Rene Gagnon, Easy Company’s runner, who was deliverying a fresh supply of batteries from the Easy Company command post to Lt. Schrier.

Before the five Marines headed up the mountain, Lt. Tuttle arrived with a 96″ x 56″ (2.44 x 1.42 meter) flag. The new flag came from a salvage yard at Pearl Harbor. It had been rescued from one of the American ships sunk on December 7, 1941. Tuttle gave the new flag to Gagnon, and instructed him to retrieve the original. And the fire team set off on its mission.

The Marines were followed up the mountain by the press. AP wire service photographer Joe Rosenthal had heard of a flag raising, and set off up the mountain to photograph it, accompanied by Marine still photographer Bob Campbell and Marine film photographer Bill Genaust. (Rosenthal had persuaded the armed Marine journalists into coming with him.)

When Sgt Mike Strank arrived at the top, he reported to Lt. Shrier, showed him the replacement flag carried by Gagnon, and explained: “Colonel Johnson wants this big flag raised up high, so that every son of a bitch on this whole cruddy island can see it!”

Rosenthal arrived in the nick of time, a little after noon. The Marines affixed the new flag to a formidable length of Japanese drainage pipe, and Lt. Shrier coordinated the two groups of Marines, so that the new flag would be raised simultaneously with the old flag being lowered.

The photographers had a little time to pick their positions. Rosenthal (who was very short) made himself a pile of stones to stand on. The whole procedure took only a few seconds, but the second pole was very heavy (weighing more than 100 lbs. – 45.36 kg.), and it took the combined efforts of the second group of five Marines, assisted by Phm2c John Bradley, to raise it to the vertical and secure it. So quickly was one flag raised, and the other lowered, that Rosenthal never had a chance to look in his viewfinder, he could only point his camera and trip the shutter.

But in the midst of the Marines’ effort to erect that second flag, destiny intervened. The breeze suddenly caught the flag, whipping it forward, and Rosenthal’s shutter clicked at the perfect moment freezing the six men in a pose of breathtaking monumentality. It was this photograph, this single image, which best conveyed the entire American idea of WWII, the idea of American Marines, of American fighting men, working together welded into a purposeful single entity, to assert the ideals of America, to plant the flag, despite anything the enemy could throw against them.

Astonishingly, the entire scene was actually also captured on color movie film by Marine photographer Sgt Bill Genaust, who was standing literally shoulder-to-shoulder with Rosenthal. Some of the Genaust footage can be seen here. It was also incorporated in the 1949 Alan Dwan film Sands of Iwo Jima, starring John Wayne.

The original Iwo Jima flag was brought back to Colonel Johnson, who placed in in the battalion safe. The new flag lasted for only three weeks. It was quickly torn to pieces by the wind.

5th USMC Division

PART ONE

Lt. Harold Shrier (sitting behind Jacobs), Pfc Raymond Jacobs, Sgt. Henry Hansen (cloth cap), Unknown (lower hand on pole), Sgt Ernest Thomas (back to camera), Phm2c John Bradley (helmet above Thomas), Pfc James Michels (with carbine), Cpl Charles Lindberg (above Michels).
(Louis Lowery photograph)

1. BACKGROUND: THE FIRST FLAG

On the morning of February 23, 1945, D-Day + 4 of the Battle of Iwo Jima, on Mount Suribachi, after three days heavy bombing, naval artillery bombardment, and infantry attack, Japanese resistance seemed to have waned.

Lt. Col. Chandler Johnson, commander 2nd Battlalion, 28th Regiment, 5th Marine Division, sent two four-man patrols to explore routes up the mountain’s northern face. They successfully reached the volcano’s summit, and returned. So Chandler hastily assembled a 40 man platoon from surviving elements of the 3rd Platoon, Easy Company, augmented by 12 men from his Mortar Platoon and some members of the 60mm mortar section. Command was given to First Lieutenant Harold Schrier, along with orders to ascend the mountain, blowing up caves, and extinguishing any surviving Japanese resistance encountered on the way, and attempt to secure the top.

As an afterthought, Johnson took an American flag from his map case, handed it to Schrier, and told him, “If you get to the top, put it up.”

Staff Sergeant Louis Lowery, a photographer for the Marine Corps’ Leatherneck Magazine, asked for, and received, permission to accompany and record the ascent.

The platoon proceeded upward for forty minutes, blasting caves they passed with hand grenades, but without being attacked. Reaching the summit around ten A.M., they salvaged a length of Japanese water pipe to use for flagpole, and as Marines below cheered and Navy vessels blew signal horns in triumph, erected the first United States flag to fly on Japanese soil.

No sooner was the flag erected, then the Marine platoon found itself engaged in a firefight with a handful of Japanese survivors. It was later discovered that hundreds of Japanese, who could easily have annihilated the platoon, had killed themselves in Suribachi’s caves, many by clutching a hand grenade to their bodies.

Raymond Jacobs account

V Marine Amphibious Corps

PART TWO

Pamela, of Atlas Shrugged, rejects Feminism’s and Liberalism’s ideals of the evolution of the male of the species into something closer to the feminine. She does not care for todays metrosexual males. She likes the sort of man played by Robert Mitchum in those old film noirs.

Hat tip to PJM.

HBO is currently broadcasting a documentary movie, titled Mr. Conservative: Goldwater on Goldwater. The film is a nostalgic tribute to the late Senator Barry Goldwater, produced by his granddaughter, CC Goldwater, who was five years old when he ran for president in 1964.

I recorded it a week ago, and finally managed to sit down and watch it last night. I was a high school sophomore and a passionate Goldwater supporter back then, and the memories of Barry’s triumphant nomination by the Republican Convention, and of our defeat in the election after a vile and scurrilous campaign are still vivid for me. Barry Goldwater was a standard-bearer to be proud of, and merely looking upon his features again and hearing his voice makes me smile.

One finds, viewing his granddaughter’s film, that even some of Barry’s old-time enemies, with the perspective of time, have come to respect and appreciate him better. There were a number of interesting observations, and I made a point of writing several of them down.

Al Franken:

There were people who said: if you vote for Goldwater, the Vietnam War will escalate, and we’ll have 450,000 American troops over there. And a friend of mine voted for Goldwater, and that’s exactly what happened.

Robert MacNeil:

I did not think, at the time, privately, that Goldwater would make a good president. But, in a year or two afterwards, as the Lyndon Johnson White House became paralysed by self-deception over Vietnam, I wondered whether we, and the country, had undervalued Goldwater’s integrity, and whether it might not have served the country better.

John McCain:

I’d love to be remembered as a Goldwater Republican. But I don’t pretend in any way to live up to the legacy of the man who literally changed the face of politics in America.

George Will aptly summed it all up.

People say Goldwater lost in 1964. Some of us think Goldwater won. It just took sixteen years to count the votes. In 1980, we finally got the results, and Conservatism had won.

Watch for it on your local schedule.

Ron Rosenbaum is lamenting that no one has ever succeeded in making “a movie from what may be one of the THE great American novels Dashiell Hammett’s 1929 Red Harvest.”

Mr. Rosenbaum is mistaken. Red Harvest has been adapted as a movie by Akira Kurosawa (1961), remade by Sergio Leone (1964), and again by Walter Hill (1996).

Hat tip to PJM.

State Street, Chicago 1949

The great director Stanley Kubrick (1928-1999) actually started his career as a freelance photographer.

The Chicago Tribune serves up 8 Kubrick photos taken in Chicago in the summer of 1949, which demonstrate that Kubrick could handle lighting and compose a shot. Interesting stuff for the cinéaste.

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Hat tip to Frank Dobbs.

The federal government killed the Anthracite Coal industry of Northeastern Pennsylvania in the aftermath of WWII by environmental regulations, which prevented pumping water from the mines into the already thoroughy polluted regional watercourses. Minewater would continue to flow from abandoned collieries, the Shenandoah and Mahanoy Creeks and the Big Catawissa would still flow orange, but the collieries on which the region’s economy depended could no longer work below the water table, and thus could no longer profitably mine coal. Maple Hill, my hometown’s last colliery, closed down in 1954.

A few irredentists including one uncle of mine, having no other options, continued to mine coal in bootleg operations.

Bootleg mining started during the depression. Anthracite coal was so ubiquitous, and so near the surface in some places, that in those days a man could go just up on the mountain with a pick and shovel and dig coal. The land and mineral rights belonged to the Girard Estate or the Reading Coal Company, which had little ability to do anything about it, and these informal and illegal operations were called “coalholes” or “bootleg mines.”

In the modern era, bootleg miners commonly paid a small fee to the Company or Estate, and had permission to dig coal. Typically, they were “robbing the pillars,” i.e. taking coal left to support the roof of mines long ago mined out and abandoned. If they were careless, too greedy, or merely unlucky, as in the case of three bootleg coal miners near Shepton in the early 1970s, they could wind up buried by a cave-in.

These days, hard coal is back in fashion, being widely used for electrical generaton, and the small number of surviving bootleg miners are making a few bucks, but the government is closing them down, enforcing more new regulations with an iron hand.

Marc Brodzic, a native of New Jersey (probably having roots in the Region), has made a documentary titled: Hard Coal: Last of the Bootleg Miners about the near-pending extinction of the last dozen surviving bootleg mining operations.

The film was exhibited at the Philadelphia Film Festival and at the Waterfront Film Festival in Saugatuck, Michigan.