I’ll be attending Il Cinema Ritrovato, the wonderful archival festival sponsored by the Cineteca di Bologna, from Friday, June 28 to Sunday, July 7, where I’m helping out with the programming and presentation of a tidy little Allan Dwan series (if I do say so myself). We’ll be showing films from all of Dwan’s several major periods, from a collection of his early one-reelers on Sat., June 29 at 6:30, to Dwan’s final film, the 1961 “Most Dangerous Man Alive,” on Sat., July 6, at 6:15 pm. I’m looking forward to meeting old friends (hello, Antti!) and making new ones, so please introduce yourself if you’re attending. One particular highlight for me will be the discussion with Kevin Brownlow on Monday at 4:15, which is bound to be full of personal insights into Dwan’s life and work from the film historian who knew him best.
Meanwhile, the massive, multi-lingual Dwan dossier edited by David Phelps and Gina Telaroli for the online publication Lumiere is available as a free PDF download here. The 460 pages of goodness include essays by Michael Henry Wilson, Bill Krohn, Jean-Loup Bourget, Chris Fujiwara, R. Emmet Sweeney, Farran Nehme, Maxime Renaudin, Cullen Gallagher, Fernando F. Croce, Daniel Kasman, Joe McElhaney, Christoph Huber, my own self and many others. With Frederic Lombardi’s scrupulously researched biography, Allan Dwan and the Rise and Decline of the Hollywood Studios“>”Allan Dwan and the Rise and Decline of the Hollywood Studios” appearing earlier this year, 2013 is turning out to be a watershed moment for Dwan studies. After decades of neglect, this amazingly prolific and unshakably personal filmmaker is finally being ushered into the ranks of the foremost American directors.
For folks in the New York area, the extensive Dwan series that Charles Silver has curated for MoMA continues through July 8. On Tues., July 2 at 4 pm, Frederic Lombardi will introduce one of Dwan’s most accomplished and moving films, the Republic musical “Sweethearts on Parade” (my piece on it is included in the Lumiere collection); unfortunately, because no good prints of this Trucolor production survive (and Paramount’s promised restoration has not yet appeared), the film will be shown in a black and white 16-millimeter print, which is hardly the best way to see it but that the way the world is right now. A panel discussion of Dwan’s work follows at 7 pm, featuring Mr. Lombardi and Ms. Telaroli, as well as the film historian (and personal friend of Dwan) Howard Mandelbaum, and the critic Cullen Gallagher.