POPCORN FRIDAYS: GODFREY IS QUITE THE MAN

WHY POPCORN FRIDAYS

I believe that at times like the present, where the pandemic related pains haunt us, there may be nothing better to do on a Friday evening than making a bit of popcorn and watching an old movie.

It can be in black and white or color, although, I love black and white and mono sound movies. They bring your brain down to a level of simplicity in terms of “processing power”, that is hard to beat.

For a start, the monochrome picture is asking a lot less to decipher from your brain. A full blast color 7 channel surround movie will exacerbate your brain functions so as to deal with all that complex, multi-layered information. A B&W mono sound movie just floats in, and relaxes you, while still being entertaining. On top of that, the stories are from a reality that is not our own in this day and age, so as we watch, it will feel a lot more like one of those stories mom or dad used to read to us before we went to bed.

The end result, is utter satisfaction, relaxation, and the discovery that these stories turn out to have a lot more in common with our lives that we expected, albeit far from the technological wizardry, and imbued in certain innocence that seems so distant from of our contemporary daily lives.

So, I hope you enjoy these popcorn Fridays.

TODAY´S MOVIE

This time I am deviating from my promise of B&W. We are going to watch MY MAN GODFREY (1936), a true comedy classic, in its colorized version. For purists, this is blasphemy, but it also may give it a chance with those who do not watch movies in monochrome, to fall in love with the genre.

By Roger Ebert: “My Man Godfrey,” one of the treasures of 1930s screwball comedy, doesn’t merely use Lombard and Powell, it loves them. She plays Irene, a petulant kid who wants what she wants when she wants it. His Godfrey employs an attentive posture and a deep, precise voice that bespeaks an exact measurement of the situation he finds himself in. These two actors, who were briefly married (1931-33) before the film was made in 1936, embody personal style in a way that is (to use a cliché that I mean sincerely) effortlessly magical. Consider Powell, best known for the “Thin Man” movies. How can such reserve suggest such depths of feeling? How can understatement and a cool, dry delivery embody such passion? You can never, ever catch him trying to capture effects. They come to him. And Lombard in this film has a dreamy, ditzy breathlessness that shows her sweetly yearning after this man who fascinated her even when she thought he really was a bum.

Enjoy!

Until next time!
Ignacio

©2021 by Ignacio Alperin Bruvera

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