A Response to Wonder Bar by Pia Santaklaus

Hi Brett,

 

I found today’s Chauvel Cinemateque movie WONDER BAR (1934) very interesting. A mish-mash of ad-hoc ideas pulled together perhaps as a vehicle to showcase the Busby Berkeley other-worldly dream sequence near the movie’s close which in itself is virtually a smaller film within the film and extremely ‘fantastical’ in scope.

 

As such, I will discuss this brash ‘bit’ which featured Al Jolson singing ‘Going to heaven on a mule’. This imaginative and boldly-realised second number by Berkely in WONDER BAR, "Going to Heaven on a Mule" renders an African-American heaven which might be seen as racial stereotyping. Al Jolson is in his blackface routine, perhaps using his black persona to cryptically and comfortably represent downtrodden Jews (as Shirley Clarke much later successfully used blacks to represent downtrodden females in her own underrated 1963 masterpiece THE COOL WORLD).

 

Al Jolson portrays a poor, dying field worker in overalls and worn work shirt, (looking like the future scarecrow in the 1939 Wizard Of Oz film). Jolson departs his old shack for the modern art deco heavenly after-world where the concentration of wealth and abundance makes him happy. Most of the singing and dancing takes place in this art deco heaven where gay angels give Jolson wings and Bill Bojangles Robinson tap-dances in tights. Al Jolson is accompanied by his beloved mule.

There’s an old religious belief that the streets of heaven are paved with gold (See Revelations 21:21 and Isaiah 54: 11-1), furthermore, in the apocryphal book of Tobit 13:16-17, “the gates of Jerusalem will be built with sapphire and emerald and all walls with precious stones. The towers of Jerusalemwill be built with gold...” It goes on to say that the streets of Jerusalem will be paved with ruby and stones of Ophir. (Ophir is believed to be an unknown location of solid gold).

 

Besides the segregated heaven that holds only African-Americans, other potential controversial references include pork chops growing on trees, gambling (rolling dice) and even the reading of a Hebrew newspaper; perhaps implying that in ‘heaven’ (The New Jerusalem?), the downtrodden of Earth will be rewarded and able to do whatever they want; Anyone can even eat pork, gamble, etc. and it wouldn’t be sinful (The Book of Revelations states that New Jerusalem will be free of sin).

 

It’s interesting that Jolson rides a mule into heaven. Mules remain a most complex animal symbol, laden with a variety of roles. The mule (or donkey) was traditionally the symbolic beast of jesters and fools; seen in other light, the mule is hero, victim, star, defender of the ignorant to the right of knowledge, or even sexual entertainer for obvious pornographic reasons. At other times, the mule is considered completely stupid ‘the dumbest beast of all’. In WONDER BAR, the mule possibly symbolizes Christ’s humility. As Christ’s ancestor Solomon had also ridden a mule into Jerusalem (See 1 Kings 1:33), Christ too rode a mule into Jerusalem to show that he was King of the future (Jerusalem symbolizing the future).

 

Jews consider Jerusalem the holiest city and Christians place great significance on Jerusalem as well, believing it to be the site of The Crucifixion and that before the return of the ‘son of man’ (second coming) a New Jerusalem will be built. The origins of New Jerusalem began with the destruction of Solomon’s Temple and the capture of the Babylonians when Nebuchadnezzar II of Babylon burnt Jerusalem in 586 BC. Ancient Jews hoped to restore Jerusalemwhen Ezekiel prophesied its restoration. In the Bible, New Jerusalem is a city of God. It is a literal, physical city that is mystically and divinely reconstructed like the original Jerusalem. Concepts of a paradise (heavenly) garden within a walled enclosure, with abundance of delight and water echo in New Jerusalem.

 

In the Book of Revelations, New Jerusalem is an earthly location where believers will live forever with God. Many Christians view New Jerusalem as a current reality and as such, a concept of heaven. New Jerusalem is “pure gold, like clear glass”, brilliant like very costly stone and the streets are paved with gold. (Gold is a symbol of eternity as it defies the effects of aging).

It is said there are 12 gates in the heavenly wall and an angel at each gate.

I suspect that the movie version of THE WIZARD OF OZ (1939) borrowed a lot from Busby Berkeley’s visual concepts in THE WONDER BAR (1934). The ‘Wonderful Wizard Of Oz’ himself lives in an art-deco jewel-city (Emerald City) where the streets are paved with gold (The yellow brick road). At the gates of the city we find a guard peeping through a little opening-closing window. In WIZARD OF OZ Dorothy predicts Oz is ‘Somewhere Over The Rainbow’ as Al Jolson predicts in WONDER BAR that he will ride to the end of the rainbow and get to heaven on a mule. Sure enough we see blackface-Jolson progressing towards heaven, riding his beloved mule across a span of bridge-in-the-sky shaped like an arch/bow.

 

Many myths and legends exist about rainbows leading to God. In Japan a rainbow is sometimes thought of as a ‘floating Bridge of Heaven’. Pet lovers believe that there is a bridge connecting Earth and Heaven called ‘The Rainbow Bridge’. When a particularly beloved pet dies, it goes there, ‘just this side of heaven”, where there is a lush, green, happy spot with food, water, sunshine and comforts always available. Once there, old, frail beasts feel young and playful again; The only sadness is that they miss their beloved human owner (on Earth) who is not there yet, although in time the pet will again see its master coming and excitedly they meet and embrace. The human and the loving, trusting pet finish crossin the Rainbow Bridge together, never to part again.

 

The interpretation potential of the whole Going to heaven on a mule’ sequence is staggering. Berkeley was an excessive wizard of odd.

Perhaps some other time, some other place, there will be opportunity for further contemplations. At this point we should avoid Rainbow Bridge as I hear it is currently teeming with ‘lions and tigers and bears’

 

Oh my!

 

Pia Santaklaus

Pre-Code Hollywood: Wonder Bar

This week at the Chauvel Cinematheque catch the outrageous Warner Brothers musical Wonder Bar starring Dick Powell, Al Jolson and Dolores Del Rio. The film was choreographed by Busby Berkeley and directed by Lloyd Bacon in 1934. The show-stopper is a black-face Jolson singing, Goin' to Heaven on a Mule.

Here's a link to an interesting article by David Boxwell on the Senses of Cinema website.

http://www.sensesofcinema.com/contents/cteq/02/22/wonder.html

And here's the trailer. Check it out.

AUTUMN 2008 PROGRAM

AUTUMN 2008 CINEMATHEQUE PROGRAM

Cinematheque screenings are open to members and their guests. Membership is available at the door.

Trial Membership (1 month/4 screenings/1 guest) $18/$15
Quarterly Membership (12 screenings/3 guests) $36/$32
Annual Membership (52 screenings/12 guests) $85/$75

Saturdays commence at 12 noon sharp.
Mondays commence at 6:30pm sharp.

Mailing list and Enquiries: brettgarten@iprimus.com.au

Website: http://www.chauvelcinema.net.au/

Sat. 22/3 & Mon. 24/3 STRANGE CARGO

Strange Cargo USA/1940/113mins/B&W/16mm/NFVLS Dir: Frank Borzage.

In the most controversial of Borzage's now unfashionable tales of spiritual redemption through love and adversity, Gable is a convict who implicates 'dance hostess' Crawford in his attempted escape from a penal colony, causing her expulsion from the settlement. Cast includes Joan Crawford, Clark Gable, Peter Lorre and Albert Dekker.
“One of Hollywood’s strangest allegory plays.” Richard Scheib, SF, Horror & Fantasy Film Review
“Unforgettable camp of the highest order.” imdb.com

Sat. 29/3 & Mon. 31/3 FEMME FATALES: LEAVE HER TO HEAVEN

Sisyphus Hungary/1975/2mins/B&W/16mm/NFVLS Dir: Marcell Jankovics.

The classical Greek myth about Sisyphus' eternal punishment is told in a short, powerful, animated film.

Leave Her to Heaven USA/1945/110mins/Colour/16mm/ NFVLS Dir: John M. Stahl.

A driven woman, linked by incestuous bonds to her now dead father, pathologically demands a love which her conventional, uncomprehending husband cannot give her. Cast includes Gene Tierney, Cornel Wilde, Jeanne Crain and Vincent Price.
“A hothouse creation of the ripest, richest kind.” Matthew Kennedy, Bright Lights Film Journal

Sat. 5/4 & Mon. 7/4 FEMME FATALES: THE LETTER

At Land USA/1944/15mins/B&W/16mm/NFVLS Dir: Maya Deren.

A 'dream' film expressing the mythological voyage of a woman through a constantly changing landscape.

The Letter USA/1940/95mins/B&W/16mm/NFVLS Dir: William Wyler.

This Hal Wallis production, set in colonial Malaya, stars Bette Davis as a murderess who pleads self-defence. She is represented in court by a tormented counsel who is destroyed by an enigmatic, duplicitous woman. Alongside other forties films like Leave Her To Heaven, The Letter has been described by Mary Ann Doane as 'the perverse underside of the love story', characterised by an extensive use of shadows and the dark image. Based on the story by W. Somerset Maugham. Cast includes Bette Davis, Herbert Marshall and James Stephenson.
“Very likely the best study of female sexual hypocrisy in film history.” Pauline Kael

Sat. 12/4 & Mon. 14/4 FEMME FATALES: AUDITION

Audition Japan/1999/115mins/Colour/35mm/SV Dir: Takeshi Miike.

From cult director extraordinaire Takeshi Miike, comes this slow-burn, psycho-thriller about a lonely TV producer and a mysterious ballerina. One of the most widely praised horror movies of recent years, this ambiguous and at times unwatchable movie has the notorious distinction of kicking off the so-called “torture porn” cycle of horror movies (Saw, Hostel, etc.).
“A lethally poised Venus flytrap of a movie.” Dennis Lim, Village Voice

Sat. 19/4 NO SCREENING

Mon. 21/4 Only RUTHLESS

Ruthless USA/1948/104mins/B&W/16mm/HP Dir: Edgar Ulmer.

A B-grade Citizen Kane, chronicling the rise and fall of an arch-heel (Zachary Scott) in high film noir style. Ulmer was a genius with the low budgets he was invariably given to work with, making the restrictions - of acting, scope, and script - into positive virtues through a perverse, minimalist style. An existential crisis is implied in every shaky camera movement. While not for all tastes, this is still some kind of a blasted masterpiece. Jonathan Rosenbaum, Chicago Reader

Sat. 26/4 & Mon. 28/4 THE PHENIX CITY STORY

Acquitted By the Sea USA/1940/10mins/B&W/16mm/ NFVLS Dir: Earl Allvine.

A 20th Century Fox 1940's short from Ripley's Believe it or Not series. A crime story follows the trials and tribulations of a man wrongly accused and imprisoned for theft.

The Phenix City Story USA/1955/87mins/B&W/16mm/ NFVLS Dir: Phil Karlson.

This expose of racism, vice and corruption in Phenix City, Alabama was filmed partly on location only months after the state militia had been called in following the murder of the state Attorney-General elect. The film's effectiveness derives not so much from its semi-documentary strategies as from taut generic dramatisation, capturing a state of generalised paranoia and foreshadowing the vigilante film of the early seventies.
“One of the most violent and realistic crime films of the 1950s.” Bruce Elder

Sat. 3/5 & Mon. 5/5 SPIRIT OF THE BEEHIVE

Guernica France/1950/13mins/B&W/16mm/NFVLS Dir: Alain Resnais.

A sombre film based on the paintings, drawings and sculptures of Pablo Picasso. With fragmented images, atonal music and blank verse commentary to represent the horrors of the German bombing of the Spanish village of Guernica.

Spirit of the Beehive (El Espiritu de la Colmena) Spain/1973/Colour/97mins/16mm/ NFVLS Dir: Victor Erice.

A hauntingly atmospheric mood piece set in rural Spain after the Civil War. In the oppressive postwar atmosphere there is an unbridgeable gulf between the parents and children of the household. The parents have retreated into private worlds - beekeeping and an obsession with a 'lost' child. After seeing James Whale's Frankenstein at a travelling film show the children conjure the monster up as a playmate. In the mind of the imaginative Ana the figure of a fugitive soldier fuses with the figure of the monster. The inspiration for Guillermo del Toro’s Pan’s Labyrinth.

Sat. 10/5 & Mon. 12/5 THE STARS TURN OUT FOR WAR

Fellow Americans USA/1942/10mins/B&W/16mm/NFVLS Dir: Garson Kanin.

This documentary depicts the impact of the deaths of four United States servicemen in their hometowns. Narrated by James Stewart.

San Pietro USA/1944/32mins/B&W/16mm/NFVLS Dir: John Huston.

This record of the battle for a small hillside village near Rome was held back from release until the end of the war. John Huston's spare, ironic narration and the hand-held camerawork remain as eloquent testimony to the price of battle and the commitment of the filmmakers.
"The first great passage of war poetry that has got on the screen." James Agee

Words for Battle UK/1942/8mins/B&W/16mm/NFVLS Dir: Humphrey Jennings.

Jennings took passages from well-known authors such as Blake and Milton together with the music of Handel in order to reinterpret the words and music in the light of the wartime situation. Narrated by Laurence Olivier.

Jungle Patrol Australia/1944/20mins/B&W/16mm/NFVLS Dir: Tom Gurr.

This notable propaganda film presents itself as the story of eight Australian soldiers in New Guinea, illustrating the dangers and difficulties of jungle warfare. Peter Finch's controlled low-key delivery contrasts with the dramatic footage.

The Biter Bit UK/1942/14mins/B&W/16mm/NFVLS

This British propaganda film includes extracts from the German film Baptism of Fire and the English film The Front Line and emphasises the brutality of the Nazi bombing of Warsaw and the force of the RAF retaliation. Produced by Alexander Korda. Narrated by Ralph Richardson.

The Town USA/1943/12mins/B&W/16mm/NFVLS Dir: Josef von Sternberg.

An intimate study of Madison in Indiana, a typical mid-western town and its residents during World War II.

Sat 17/5 Only GRINDHOUSE DOCOS: THE ANIMAL WITHIN

The Animal Within USA/1974/90mins/Colour/16mm/HP Dir: Walon Green & Mel Stuart.

This very rare and most unusual docudrama with a cast made up entirely of men in ape suits is based on the work of the impossibly pompous anthropologist/ screenwriter Robert Ardrey, who attempts to unpack the origins and evolution of the killer instinct. Ardrey’s ideas influenced Sam Peckinpah (Wild Bunch screenwriter Walon Green directs) as well as Stanley Kubrick and Arthur C. Clarke, whose prehistoric prologue to 2001: A Space Odyssey the film superficially resembles. The ape-suits were designed by John Chambers, who won an Oscar for his similar (simian) work on Planet of the Apes. Music by Lalo Schifrin.

Mon. 19/5 Only GRINDHOUSE DOCOS: SHANGRI LA

Shangri-La USA/1977/80mins/Colour/16mm/HP Dir: Kevin Duffy.

This rare film documents the early days of the hippie invasion of Goa in India, an area still renown today as a haven for Western hippies. Exploitative scenes of nude yoga and acid freak outs are interspersed with travelogue footage and topped with a narration that attempts to explain but mostly sensationalises the social and spiritual ideals of the movement.

Sat. 24/5 Only FRED ZINNEMANN

Sensitive and gifted, Fred Zinnemann, from his appearance in All Quiet On the Western Front to his last movie in the eighties, became one of Hollywood's most acclaimed filmmakers. Film historian Barrie Pattison's tribute to his work however includesmaterial made before he left his mark on popular culture with From Here to Eternity and High Noon. Using slides, short films and excerpts from his major works, Barrie will trace the career of one of the world's most important film directors.

Mon. 26/5 Only ACT OF VIOLENCE

Act of Violence USA/1949/82mins/B&W/16mm/NFVLS Dir: Fred Zinnemann.

One of Zinnemann's best films is one of his least known. Its startling premise rides against the tide of Hollywood and popular entertainment. The idea that a man who is bothordinary and decent can do appalling things is something it took Zinneman to put on film. Robert Ryan's sinister army vet ("He's not right") is one the great actor's best outings. This one comes with a superior cast and the most accomplished film noir mounting that MGM (of all places) could offer. Cast includes Robert Ryan, Van Heflin, Janet Leigh, Mary Astor, Phylis Thaxter, Taylor Holmes and Berry Kroeger.
“The moral landscape of this film is complex and difficult terrain.” Mark Freeman, Senses of Cinema

Sat. 31/5 & Mon. 2/6 THE SAGA OF ANATAHAN

La Folie du Docteur Tube France/1915/11mins/B&W/16mm/ NFVLS Dir: Abel Gance.

A mad doctor invents a powder that distorts the appearance of people and objects.

The Saga of Anatahan Japan/1953/92mins/B&W/16mm Dir: Joseph Von Sternberg.

Von Sternberg chose the subject, wrote the screenplay, supervised the construction of the studio, chose the cast (a chorus girl and Kabuki actors), photographed, directed and narrated. To many its ironic humour is inaccessible and its total absorption in style remorseless. It ostensibly recounts the story of twelve Japanese sailors during the war who, wrecked on a lonely island inhabited by another man and his mistress remain there for seven years, refusing to believe that the war has been lost.
“A more extreme degree of stylisation is impossible to imagine.” Dave Kehr

Sat. 7/6 & Mon. 9/6 A DEMONSTRATION OF THE LENARD AUDIO CINESTHESIA SOUND SYSTEM

Meet John Burnett, Australian audio reproduction guru, and head of Lenard Audio, in this special lecture/demonstration of his amazing “Cinesthesia” cinema sound system. Using slides, concert film excerpts, blockbuster trailers and CDs, John will demonstrate the future of monster sound systems. A must for audiophiles.

Sat. 14/6 & Mon. 16/6 ODESSA STOMP

The cream of Sydney’s experimental folk-rock music scene: Quaoub, The Mumps and Lappalie perform live on the Chauvel Stage during a 35mm screening of Sergei Eisestein’s 1925 silent classic, Battleship Potemkin.

Sat. 21/6 & Mon. 23/6 WONDER BAR

The Metamorphosis of Mr. Samsa Canada/1977/10mins/ Colour/16mm/NFVLS Dir: Caroline Leaf.

Innovative animated film told through the animation of beach sand on a piece of glass. Samsa awakens one morning to find himself monstrously transformed. Based on the short story by Franz Kafka.

Wonder Bar USA/1934/84mins/B&W/16mm/NFVLS Dir: Lloyd Bacon.

Al Jolson is the proprietor of a Montmartre nightclub in this fairytale musical, one of the last and most outrageous Hollywood films to be released before the Hayes censorship code came into widespread use. Choreography by Busby Berkeley.
“A sterling example of Classical Hollywood cinema's late, 'decadent,' so-called Pre-Code phase.” David Boxwell, Senses of Cinema

Sat. 28/6 & Mon. 30/6 THE OTHER ITALIAN CINEMA

The Italian film industry was once world dominant but there are entire decades where their output is unknown. Mario Bava, Franco and Ciccio, Jesus Christ, Vittorio De Sica, gladiators and spaghetti cowboys spill across the Chauvel's screen in a startling history, which reaches back into the silents and deep into the subterranean worlds of the drive-ins and flea-pits. Intrepid movie-goer Barrie Pattison returns to the Chauvel for this race through the elegance and the excesses of Europe's least documented movie history. A Fellini-free day.

Sat. 5/7 Only ASK ME IF I’M HAPPY

Ask Me If I’m Happy (Chiedimi Se Sono Felice) Italy/2000/ 100mins/Colour/35mm/PF Dir: Aldo Giacomo & Giovanni Massimo Venier.

Aspiring actors (Giovanni Storti, Giacomo Poretti) travel to Sicily after hearing their good friend (Aldo Baglio) is near death. Along the way they plan staging ‘Cyrano’ with Giovanni using his own nose and Giacomo calling on his training as a mime. The plot developments would keep Pirandello happy. A unique line in comedy that will startle those unfamiliar with The Three Men, Italy's heirs to the Marx brothers. 35mm print.
“100 minutes of good film” imdb.com

Mon. 7/7 Only MAN WITHOUT A MEMORY

Man without a Memory (L’Uomo Senza Memoria)

Italy/1974/ 92mins/Colour/35mm/ FA Dir: Duccio Tessari.

This superior example of the giallo thriller features a labyrinthine plot about an amnesiac on the run. Cast includes Senta Berger, Umberto Orsini and Anita Strindberg. Music by Gianni Ferrio.
“A great example of the genre.” imdb.com

The Chauvel Cinematheque gratefully acknowledges the assistance of the National Film and Video Lending Service, the National Film & Sound Archive, the Australian Film Commission, Siren Visual Entertainment, Palace Films, Film Alliance and Barrie Pattison in the creation of this program.

Print Sources: NFVLS – National film & Video Lending Service / HP – Hygienic Pictures / SV – Siren Visual / PF – Palace Films / FA – Film Alliance