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A Post-Screening Conversation on “Call Northside 777”

James Stewart in “Call Northside 777” (1948)

For New York film fans, CUNY TV’s long-running City Cinematheque is a much-loved treasure-house of world cinema, screening everything from Buster Keaton comedies to Kurosawa’s Rashomon and Orson Welles in The Third Man.

In October, I’ll join City Cinematheque host Jerry Carlson for a discussion of Call Northside 777, a gritty 1948 “docu-noir” starring James Stewart and Lee J. Cobb.

Adapted from a real-life chain of events, Call Northside 777 is the story of a wrongful murder conviction, a mother determined to free her son, and a skeptical but intrepid reporter who chases the story through Chicago’s working-class Polish neighborhoods.

One of several postwar movies to be shot largely on location, Call Northside 777 took advantage of the faster film stocks, lighter cameras, and portable sound equipment developed for filming in World War II.

Previewing the film, I was surprised at how resonant it remains, and how beautifully it captures the late 1940s. At that point, the inclusive vision of America that was so crucial for winning the war—and so evident in Soundies—was still in play, but the McCarthy Era was quickly approaching.

The film and conversation will air during the first two weekends in October on CUNY TV in NYC, as part of a 4-film series on “Post-War Anxiety in American Film (1945-1950).”

After the premiere, the post-screening conversation will be uploaded to the CUNY City Cinematheque YouTube channel (and, for a week, to the City Cinematheque home page).

For your screening pleasure, a good print of Call Northside 777 is also available on YouTube.

Here are the air dates on CUNY TV:

PREMIERE: Friday, October 4 at 9:30 p.m.

Saturday, October 5 at 9:30 p.m.

Sunday, October 6 at 9:30 p.m.

Friday, October 11 at 12 midnight

Saturday, October 12 at 12 midnight

Sunday, October 13 at 12 midnight

CUNY TV is broadcast in NYC on channel 25.3 and available via cable on Spectrum and Optimum, channel 75; RCN, channel 77; and Verizon FiOS, channel 30.

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No Dimes Needed! This Sunday, the Panoram Is Rolling at MoMI–And I’ll Be There for the Q & A

Last month I wrote about the Museum of the Moving Image, their new Panoram machine, and the Soundies screening exhibition “Coin-Operated Treasures: Black-Cast Soundies from the Astoria Studio.“

The Panoram came with an 8-film reel of Soundies. And not even the MoMI folks have seen them all yet.

This Sunday, July 21, at 1 p.m., the full 8-film reel will screen on the Panoram–exactly the way people watched Soundies in the 1940s. At 3 minutes apiece, the whole program should take about 25 minutes or so.

I’ll be on hand with MoMI curator Barbara Miller for a post-Panoram conversation and audience Q & A. And an impromptu book signing for Soundies and the Changing Image of Black Americans on Screen: One Dime at a Time.

We don’t know for sure that the reel will include one of Dorothy Dandridge’s Soundies, seen here in A Zoot Suit (1941). But I certainly hope so.

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Soundies at the Orphan Film Symposium

Courtesy Orphan Film Symposium, NYU

In April, the Museum of the Moving Image in Astoria is hosting the 14th edition of the Orphan Film Symposium—and Soundies will be there.

On Saturday, April 13, I’ll present a short Soundies program on this year’s symposium theme of “Work and Play”—six films that combine performance, play, work, and music in unexpected ways.

It’s part of the 2:45 p.m. “Soundworks” program, which also features presentations on DeVry Cine-Tone Films of the late 1920s, the Black-owned Pyramid Pictures Corporation of the early 1920s, and the enigmatically titled “Leo Roars!”

The Orphan Film Symposium kicks off with a reception and screening on Wednesday evening, April 10. Programs run from 9:30 or 10 a.m. into the evening on Thursday, Friday and Saturday, April 11-13.

More details: https://wp.nyu.edu/orphanfilm/

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Wrapping Up the Year with A Soundies Clip-a-thon

Just in time for the holidays, we celebrate another terrific year for Soundies with clips from some of my favorites, courtesy of Kino Lorber and Soundies: The Ultimate Collection.

First up: Day, Dawn, and Dusk in Rigoletto (1945).

The Three Heat Waves in Operatin’ Rhythm (1943).

A teenage Doris Day in Is It Love or Is It Conscription?  (1941).

And Dorothy Dandridge and Paul White in A Zoot Suit (1942).

You can find these Soundies–and about 195 more–in the 4-disc video set Soundies: The Ultimate Collection. For more about the videos, see the page on this website. And you can read the rave reviews here.

For ordering, there’s a deep discount on Amazon… and a discount at Kino Lorber too.

Happy Soundies hoidays to all! and warm good wishes for the new year.

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2 New Reviews for “Soundies: The Ultimate Collection”

More than three months into its release, the “Soundies: The Ultimate Collection” continues to rack up reviews and coverage.

This week brings a full-page story by Russ Tarby in The Syncopated Times and a review by film maven Laura Grieve on her blog “Laura’s Miscellaneous Musings.”

In his article, Tarby singles out a number of individual Soundies performers, especially Black musicians like Duke Ellington, Dorothy Dandridge, Nat King Cole, the Delta Rhythm Boys, and John Shadrack Horace & Johnny Moore’s Three Blazers in “Along the Navajo Trail.” 

But his greatest enthusiasm goes to a more obscure performer. “It’s  the lesser-known hillbilly combo, Redd Harper and the Sells, that really stands out thanks to British-born actress Florence Gill,” Tarby writes. “While band members sporting fake beards crank out ‘There’s a Hole in the Old Oaken Bucket’ on guitar, concertina, and tea kettle, an elderly Florence steals the show by clucking like a chicken. Her fowl imitation is so realistic that she often appeared as a hen in Disney cartoons. Unforgettable!”

For Grieve, the entire set is “absolutely stupendous,” with “many hours of watching, reading, and listening enjoyment.” And, she notes, “along with watching the movies, the programs can also simply be listened to. It’s a movie or a music jukebox, as one prefers!”

You’ll find the online version of Russ Tarby’s article here.

And Laura’s blog post here.

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Next Week: Soundies in LA

"Soundies: The Ultimate Collection" at the UCLA Film Archive October 2023

“Soundies: The Ultimate Collection” is coming to Los Angeles.

On Friday, October 6, the UCLA Film Archive is presenting four sizzling programs from the video set.

Kicking things off: “Starting from Swing,” an 8-film lineup featuring powerhouses like Duke Ellington and His Orchestra, Count Basie and His Orchestra, and the International Sweethearts of Rhythm, one of the hottest all-woman big bands of the 1940s.

The second program, “Powered by Dance,” opens with the classic Ellington Soundie “Hot Chocolate (‘Cottontail’),” showcasing the era’s preeminent jitterbug troupe, Whitey’s Lindy Hoppers. There’s virtuoso tap dance and rhumba too.

Rounding out the program, “Jumping into Gender Play” and “Heading Toward Rock ‘n’ Roll” feature iconic performers like Sister Rosetta Tharpe, Louis Jordan, and Les Paul, along with rediscoveries like Maurice Rocco, June Richmond, and the incomparable Day, Dawn, and Dusk.

There’ll be a post-screening Q&A with project contributor Mark Cantor, author of The Soundies: A History and Catalog of Jukebox Film Shorts of the 1940s.

It’s happening next Friday, October 6, at 7:30 p.m. in the Billy Rose Theater at UCLA.  Admission is free, no advance reservations. Box office opens one hour before the event. More information here.

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“Jammin’ in the Panoram”: J. Hoberman on Soundies and “The Ultimate Collection”

Film critic, curator, and historian J. Hoberman has written a wonderful essay about Soundies, which went online this weekend at the New York Review of Books.

Describing Soundies as “social hieroglyphs,” Hoberman enriches an account of their history with specific films in the Kino Lorber set, from Dance, Baby, Dance (“Tantze Babele”) to I Shut My Mouth for Uncle Sam.

With a historian’s eye, he adds wonderful tidbits to our collective Soundies knowledge—including the little-known fact that “Mi Chee” (née Machiko Takaoka), the miniature dancer in Hoagy Carmichael’s Hong Kong Blues, was also known as Myrtle Goldfinger.

“Delson’s curation is creative,” Hoberman writes about Soundies: The Ultimate Collection, adding that “her strongest points are made through juxtaposition. The introductory section basically alternates Black bands and performers with white ones, allowing viewers to draw their own conclusions about the origins and virtuosi of American entertainment.”

In closing, he writes: “To use a term that migrated from Black slang to general usage during the 1940s, Soundies: The Ultimate Collection is a deep dig. . . . Not just nostalgia buffs or cultural historians but Tik Tokers will find much to mine here.”

Read the full essay here.

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A Thumbs-Up on Soundies from the Wall Street Journal

Will Friedwald, Wall Street Journal review of "Soundies: The Ultimate Collection"

“An essential set in terms of both quality and quantity, with no shortage of amazing performances.”

That’s how music and cultural writer Will Friedwald describes Soundies: The Ultimate Collection in today’s Wall Street Journal.

“The most radical aspects of the package,” Friedwald adds, “are its emphasis on Black performers and its thematic organization largely along social, racial, political and gender lines.”

In addition to appearances by future celebs like Nat King Cole, Doris Day, and “a pianist at a point so early in his career that he is billed as Walter Liberace,” Friedwald notes that “every kind of music is accompanied by dancing; the set is easily worth the asking price for that footage alone.”

In the 1980s, Friedwald says, it was common to describe Soundies as the forerunner of MTV music videos. But, he concludes, “we now know that they were much more than that—an invaluable musical and visual record of who we are as a people and a culture.”

Read the full review here.

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A Rave Review . . . And Another Interview

Word is starting to get out about Soundies: The Ultimate Collection.

In a New York Sun review that went online July 27, critic Mario Naves writes:

“Few items that have come through the transom in recent months have elicited as much joy, as much wonder and surprise, as ‘Soundies: The Ultimate Collection,’ a four-disc Blu-Ray set released by Kino Lorber. For devotees of American popular music, the package is nothing short of a necessity.”

He wraps up by saying: “What are you waiting for? ‘Soundies’ is a valuable contribution to our understanding of 20th century America and an indicator of how pop culture may well be the most effective agent for fostering true diversity.”

Read the full review here.

And for your listening pleasure, here’s a 12-minute Soundies conversation with Max Foizey, host of “Max on Movies” on KTRS radio in St. Louis and contributor to the movie website ZekeFilm.

Hear the conversation here.

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A Soundies Clip-a-thon!

To celebrate today’s release of Soundies: The Ultimate Collection, the folks at Kino Lorber have prepared a slew of film clips highlighting some of the top performances.

Here are three of my favorites.

The Charioteers in Swing for Sale (1941)

The Kim Loo Sisters in Gee! The Jeep Jumps (1944)

And Louis Jordan and His Band in Ration Blues (1944)

For more about Soundies: The Ultimate Collection, see the page on this website.

For ordering, there’s a deep discount on Amazon… and a discount on the Kino Lorber page, too.