It’s Good To Be the King

big parade tc

There’s a new Blu-ray release of King Vidor’s 1925 “The Big Parade” from Warner Home Video, transferred from the original camera negative rediscovered in the 90s by Kevin Brownlow. It’s an impeccable edition of a great movie, and you should have it if you don’t already.

59 comments to It’s Good To Be the King

  • Oliver_C

    I’m very much hoping this blog can continue, because I have confidence that even brief, occasional observations from Dave will be enough to fuel diverse discussion here.

  • Barry Putterman

    Folks, might it not be more prudent to wait for our host to speak for himself rather than speculate based on a pair of press releases or fantasize psychological profiles without any personal knowledge of him?

  • Robert Garrick

    In the “personal knowledge” department, there’s a slightly more fleshed-out-than-a-press-release piece on Dave’s new job in “Variety.” Kehr was interviewed telephonically, as Howard Cosell used to say, by critic Scott Foundas, and he talks a bit about what he hopes to accomplish at MOMA. There’s also mention of Oklahoma City.

    http://variety.com/2013/film/news/dave-kehr-named-moma-adjunct-curator-for-film-1200747796/

  • Blake Lucas

    What I’m sure everyone here feels has already been well-voiced by many so I’ll just add congratulations to Dave on the MOMA job, regret he won’t be doing the Times column (I can’t think of anyone who can replace him and handle his range of subjects with such poise and thoughtfulness). I already have regretted the end of his Film Comment Further Research pieces–I read all of those and got on to a lot of movies and a few directors I didn’t know (recently saw Reinhard’s Chicago Calling for example, a marvelous movie) as I have also from the Times pieces (just saw Les Maudits from TCM showing and it was riveting).

    Of course, it’s up to Dave what he does with the blog but I thought Robert G. addressed this subject especially well in his post of 3:20 am. It shouldn’t be necessary to feel pressure to keep up a blog all the time just to keep it going, and Dave should know that we will check on it and then just move on and patiently wait for something to turn up at a later date when there isn’t something here.

    It is a treasure trove of good discussion about cinema at a time when that’s needed for those who are passionate about it and have some real devotion to keeping film history and cinema as it has been alive. Because, let’s face it, the changes coming and already here to an extent are profound as many here have addressed. It’s good to be able to share our worries and concerns as well as positive and constructive ideas.

    In any event, best to Dave and it is definitely MOMA’s gain to have him.

  • Good to know that Dave will keep MOMA’s collection accessible. I remember that in the 1970s I was able to book time to screen some of Brakhage’s 8mm movies in MOMA’s collection for an article; they let me use the projector myself (but I had projectionist bona fides from NYU.)

    Maybe Dave can keep this blog going by tying it in with his gig at the museum.

  • Rob Leith

    I have contributed only a few times since I discovered this blog a couple of years ago, but I would like to chime in to second the sentiment of those who “take comfort” in the site’s existence. In doing so I may be speaking for a large number who rarely or never contribute but who avidly follow what appears here.

  • Barry Lane

    Good luck, Dave. This has been an adventure I hope may continue in some form.

  • Robert Garrick

    Kehr talks some more about his new job, and about whether he will continue to write, in this short interview:

    http://blogs.indiewire.com/criticwire/by-any-means-necessary-dave-kehr-on-the-transition-from-critic-to-curator

    Also he’s got a new piece up in the New York Times on Orson Welles and “The Stranger” (1946), a film that Kehr admires. Kehr spends a fair amount of time talking about Welles’s politics, which Kehr characterizes as liberal. I’ve always seen Welles the other way: fundamentally conservative, but clever enough to showcase his (also quite passionate) progressive side for the Hollywood community.

  • Gregg Rickman

    Robert, Welles was quite the progressive firebrand in the 1940s, so much so that it’s been speculated that he would have been a target of the political blacklist circa 1950 if he hadn’t already fallen prey to the Hollywood studio blacklist of circa 1950, after the crash and burn of his Hayworth and Macbeth projects. He was safely in Europe. But yes, he also evinced (from an early age) a deep nostalgia for the past, evident at least as early as AMBERSONS. (“Automobiles are a useless nuisance!” says Welles’ bratty stand-in.) It’s probably his closest link to Ford.