Box Scores

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“It is probable that television drama of high caliber and produced by first-rate artists will materially raise the level of dramatic taste of the nation.” — RCA president David Sarnoff, 1939

“Television? The word is half Greek and half Latin. No good can come of it.” — Manchester Guardian editor C.P. Scott, 1928

“Television won’t matter in your lifetime or mine.” — Rex Lambert, The Listener, 1936

“Television won’t last because people will soon get tired of staring at a plywood box every night.” — movie producer Darryl Zanuck, 1946

“Television won’t last. It’s a flash in the pan.” — BBC school broadcasting director Mary Somerville, 1948

“How can you put out a meaningful drama or documentary that is adult, incisive, probing, when every fifteen minutes the proceedings are interrupted by twelve dancing rabbits with toilet paper?” — Rod Serling, 1974

“I hate television. I hate it as much as peanuts. But I can’t stop eating peanuts.” — Orson Welles, 1956

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The Kuleshov Effect

In the 1910s, Russian filmmaker Lev Kuleshov demonstrated the power of film editing with a telling experiment: He intercut the “inexpressive” face of actor Ivan Mosjoukine with images of a plate of soup, a child in a coffin, and an attractive woman. Though the footage of Mosjoukine was the same in each case, an audience “raved about the acting,” noted director Vsevolod Pudovkin. “[They admired] the heavy pensiveness of his mood over the forgotten soup, were touched and moved by the deep sorrow with which he looked on the dead child, and noted the lust with which he observed the woman. But we knew that in all three cases the face was exactly the same.”

This reveals the effectiveness of montage, Kuleshov said. An audience reacts not to a film’s elements but to their juxtaposition — the sequence of images suggests an emotion to them, and they project this onto the actors. Alfred Hitchcock demonstrates:

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Skin Deep

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Image: Wikimedia Commons

During the filming of Planet of the Apes in 1967, Charlton Heston noted “an instinctive segregation on the set. Not only would the apes eat together, but the chimpanzees ate with the chimpanzees, the gorillas ate with the gorillas, the orangutans ate with the orangutans, and the humans would eat off by themselves. It was quite spooky.”

James Franciscus noticed the same thing filming Beneath the Planet of the Apes in 1969. “During lunch I looked up and realized, ‘My God, here is the universe,’ because at one table were all the orangutans eating, at another table were the apes, and at another table were the humans. The orangutan characters would not eat or mix with the ape characters, and the humans wouldn’t sit down and eat with any one of them.

“I remember saying, ‘Look around — do you realize what’s happening here? This is a little isolated microcosm of probably what’s bugging the whole world. Call it prejudice or whatever you want to call it. Whatever’s different is to be shunned or it’s frightening or so forth.’ Nobody was intermingling, even though they were all humans underneath the masks. The masks were enough to bring out our own little genetic natures of fear and prejudice. It was startling.”

(From Joe Russo and Larry Landsman, Planet of the Apes Revisited, 2001.)

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On Time

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Japanese puzzle maven Kobon Fujimura devised this mind-reading trick. Ask a friend to look at his analog watch and mentally choose one of the hour numbers. Tell him, “I’m going to point to various numbers on the face of your watch with a pencil. As I do so, count silently, starting with the number after the one you’ve chosen. For example, if you’ve chosen 7, start counting with 8. When we reach 20, say, ‘Stop.'”

Point to any seven numbers at random, pretending to concentrate deeply. Then point to 12, then 11, 10, and so on counterclockwise around the dial. When your friend tells you to stop, you’ll be pointing to the number he had chosen.

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Making Luck

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Image: Wikimedia Commons

The audience was stunned when contestant Michael Larson won $110,237 on Press Your Luck in 1984, easily the largest one-day total ever won on a game show to that date. As lights flashed randomly on the Big Board, somehow Larson was consistently able to stop on squares that led to cash and additional play, and avoid the “whammy” that would bankrupt him.

It turned out that the light indicator wasn’t random. In studying the game at home, Larson had discovered that it followed five recognizable patterns; after memorizing these he could always be sure of landing on winning squares.

CBS producers divined the scheme, but they could find no cause to disqualify Larson, as he had broken no rules. They paid him his money, fixed the board, and established a maximum sum that future contestants could win.

Larson may have congratulated himself, but he didn’t get to enjoy his winnings — he lost the money in bad real estate investments and died of throat cancer at age 49.

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Slow Muse

Uninspired film titles listed by Patrick Robertson in Film Facts (2001):

  • **** (U.S., 1967)
  • … (Argentina, 1971)
  • ←→ (Canada, 1969)
  • A 100% Brazilian Film (Brazil, 1987)
  • An Animated Film (Poland, 1984)
  • Dutch Movie (Netherlands, 1984)
  • Film Without Title (West Germany, 1947)
  • Untitled (Italy, 1973)
  • Still Lacking a Good Title (Yugoslavia, 1988)
  • Don’t Worry, We’ll Think of a Title (U.S., 1965)

Greta Garbo said, “If only those who dream about Hollywood knew how difficult it all is.”

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Power Clubs

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From the Strand, January 1900: As a novel entertainment, George W. Patterson of Chicago fitted a pair of Indian clubs with electric lights powered by a custom-built 35-pound battery. “To give a display the room is darkened, and Mr. Patterson, taking his stand in front of the audience, turns on the current and swings the clubs with the most wonderful results.” The time of these exposures is 5-10 seconds:

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“We notice two distinct ‘O’s,’ with a very thick outer circle or ring. This larger circle is produced by a thirty-two candle-power, fifty volt lamp which is usually run on 110 volts, fixed to the tip of each club. Some idea of the power of these two lights, which are necessary to make the figures, may be gauged from the fact that they are too dazzling for the naked eye when lighted and stationary, and are so powerful that they are capable of illuminating an entire church or public hall of average size.”

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“A pretty design produced by lighted clubs in a darkened hall is seen in our third photograph. The clubs are always swung to music, so that the effect to the audience is still more pleasing. The patterns or figures which may be obtained by the swinging of the clubs are almost infinite in variety. The lights on the clubs are under the control of an operator behind the scenes, who turns on and off the lights of both clubs by means of a switchboard.”

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“In order to produce such a charming picture as seen in our next photograph, the clubs, of course, have to be swung fairly rapidly. Indeed, it would be impossible to obtain so many circles with one pair of clubs unless they are swung quickly, while the grace and style of the whole effect speak volumes for Mr. Patterson’s ability as a club-swinger. His club swinging has rightly been termed ‘poetry in motion.'”

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“A complication” and a “running figure.” “Although this kind of electrical display with Indian clubs is entirely new so far as the public is concerned, Mr. Patterson has given much time and thought to the subject, and his entertainments have not reached their present high degree of excellence and novelty without a great deal of patient study of that vast and marvellous subject which we call electricity.”

| Entertainment · Technology

One Last Thrill

In 2010 Lithuanian engineer Julijonas Urbonas designed the Euthanasia Coaster, a 7,500-meter roller coaster designed to kill its riders. After a 2-minute climb to the top of the drop tower, the 24 riders plunge 500 meters into a series of seven loops designed to subject them to 10 g for 60 seconds. This forces the blood away from their brains, causing first euphoria, then loss of consciousness and finally death by cerebral hypoxia.

Here’s what that looks like if you don’t black out:

When the train returns to the station, the corpses are unloaded and a new group of passengers can board. Urbonas says, “Thanks to the marriage of the advanced cross-disciplinary research in space medicine, mechanical engineering, material technologies, and, of course, gravity, the fatal journey is made pleasing, elegant, and meaningful.”

| Death · Entertainment · Technology

A Day’s Work

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On April 2, 1931, during an exhibition game between the minor-league Chattanooga Lookouts and the New York Yankees, 17-year-old pitcher Jackie Mitchell found herself facing Babe Ruth.

She struck him out in four pitches. “I had a drop pitch,” she said, “and when I was throwing it right, you couldn’t touch it.”

The New York Times reported that Ruth “flung his bat away in high disdain and trudged to the bench, registering disgust with his shoulders and chin.”

“I don’t know what’s going to happen if they begin to let women in baseball,” he told a Chattanooga newspaper. “Of course, they will never make good. Why? Because they are too delicate. It would kill them to play ball every day.”

Next up was Lou Gehrig. She struck him out, too.

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