Category: Travel

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Beyond Trickery: Houdini at Niagara Falls

While in New York City, I took in a few films I would have otherwise missed (the intoxicating My Winnipeg, featuring 1940s B-movie actress Ann Savage) or given a miss (the eerie Happening, which went nowhere, but worked well as a prolonged exercise in foreshadowing). Of these offerings, The Incredible Hulk was certainly the least, despite the compelling opening sequences shot on location in Brazil. Thereafter, Fantastic Four and X-Men: The Last Stand screenwriter’s Zack Penn’s adaptation of the Marvel strip exhausted itself, like so many of today’s nominal blockbusters, in CGI trickery that, after all these years, still fails to convince me.

Lou Ferrigno’s cameo sure made me long for the days in which monsters were made of materials that a more or less effectively resembled flesh and bone and stuntmen were at hand to bruise and break theirs for our amusement—the kind of hands-on work recalled for us in the unlikely medium of radio as a series of dramatic reenactments titled Daredevils of Hollywood.

I appreciate a solid stunt or expertly executed legerdemain, which is why I admire the work of the digits-deficient Harold Lloyd and the spectacles of the silent era in general.

During a visit to Niagara Falls, I wondered whether Harry Houdini, who also starred in a series of silent films, had ever gone over them in a barrel. He did not; but that is just the kind of stunt his public would have expected of the great escape artist, whose specter looms large in Michael Chabon’s The Amazing Adventures of Kavalier & Clay, which I had devoured not long before my trip to Niagara.

Rich in pop cultural references to comic books and superheroes, the novel makes mention of Houdini, a “hero to little men, city boys, and Jews,” in the opening paragraph:

In later years, holding forth to an interviewer or to an audience of aging fans at a comic book convention, Sam Clay liked to declare, apropos of his and Joe Kavalier’s greatest creation, that back when he was a boy, sealed and hog-tied inside the airtight vessel known as Brooklyn, New York, he had been haunted by dreams of Harry Houdini. “To me, Clark Kent in a phone booth and Houdini in a packing crate, they were one and the same thing,” he would learnedly expound at WonderCon or Angoulême or to the editor of The Comics Journal.  “You weren’t the same person when you came out as when you went in.  Houdini’s first magic act, you know, back when he was just getting started.  It was called ‘Metamorphosis.’ It was never just a question of escape. It was also a question of transformation.” The truth was that, as a kid, Sammy had only a casual interest, at best, in Harry Houdini and his legendary feats; his great heroes were Nikola Tesla, Louis Pasteur, and Jack London.  Yet his account of his role—of the role of his own imagination—in the Escapist’s birth, like all of his best fabulations, rang true.  His dreams had always been Houdiniesque: they were the dreams of a pupa struggling in its blind cocoon, mad for a taste of light and air.

There was no escaping the illusionist and stunt performer. So, while browsing at one of New York City’s few remaining video stores, I was not surprised to come across Harry Houdini box set, which I promptly snatched up.

Earlier this week, I screened The Man from Beyond (1922). A convoluted and somewhat ramshackle thriller involving cryonics, the supernatural, and plenty of melodramatic villainy, Beyond features a Niagara Falls-set climax not unlike the one in Henry Hathaway’s previously mentioned technicolor spectacle Niagara (1953). The only trickery is achieved through editing, which, to be sure, makes film a dubious vehicle for the display of an illusionist’s real-time feats. That aside, however, and despite all its cardboard hooey, Beyond achieves a physicality—a corpo-reality—missing from today’s CGIdeated action-adventures. When it comes to movie magic, I take bodies over pixels any day.

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After the Falls

Having just returned from a trip to Niagara Falls, I was eager to revisit Henry Hathaway’s 1953 technicolor thriller starring Marilyn Monroe. Shrewd, sexy, and sensational, the expertly lensed Niagara is the most brilliantly devised star-making spectacle of Hollywood’s studio era. It has so much going for it that it can afford to be utterly predictable. The Falls are predictable, which does not make them any less exciting. And as much as I enjoy spotting old-time radio performers like the aforementioned Lurene Tuttle or Jack Benny’s jovial announcer Don Wilson, Niagara hardly requires any added attractions to make repeat viewings worth my while. More than the mere setting for a tale of adultery and revenge, the magnificent Falls are a dramatic extension of Monroe’s form and the character she portrays, as well as an obvious metaphor for the rush of desire and the flimsiness of the social fabric with which we attempt to stay it.

No one seems safe from the inexorable and devastating force of Niagara. Not even Jean Peters, the far better half of a couple of second honeymooners so clean as to be emotionally washed up and well past passion. Spending a honeymoon by the falls is something of an endurance test. Either your love proves as strong and permanent as the scenery or the flame is doused and consumed by it. Passion, to be sure, is no requisite for marriage, which is why the falls can be seen as a substitute for it, an ersatz externalization for the unsettling influences those settling in dare not permit themselves to experience.

No matter how many showers she takes, how many times she gets sprayed by the mist, no matter how many times she slips into a new dress, Monroe’s Rose is far from spotless. She is no Lorelei Lee, either, an infantilized siren whose predatory sexuality is rendered innocuous by her apparent simplicity and her chief interest in the monetary value of her prey. According to the Code under which Hollywood operated, a lapsarian anti-heroine like Rose must go down in her own scheme to rid herself of her brooding, volatile husband (Joseph Cotten, whose character is too unsure of himself or his position to control his wife, let alone the film’s point of view).

For the gender-confused and fatalistic teenager I once was, Niagara outlined adult life as an improbable proposition, a threatening, unconquerable front: the terror of “taking the plunge” in conformity and the peril of attempting to go against the stream while stuck in a barrel destined for the Horseshoe Falls. Wet behind the ears, I seemed unlikely to get altogether soaked. My downfall would be suffocation, not rapture. The only recourse that appeared open to me back then was to assume the likeness of a devastating and lamented corpse when the bells were rung on my behalf by the re-producers in charge of casting me aside. I never got entirely over this feeling, but have long since learned to keep afloat.

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On the Effects of Beholding the Kaaterskill Falls

“Whoever has made a voyage up the Hudson must remember the Catskill Mountains. They are a dismembered branch of the great Appalachian family, and are seen away to the west of the river, swelling up to a noble height, and lording it over the surrounding country. Every change of season, every change of weather, indeed, every hour of the day, produces some change in the magical hues and shapes of these mountains, and they are regarded by all the good wives, far and near, as perfect barometers. When the weather is fair and settled, they are clothed in blue and purple, and print their bold outlines on the clear evening sky; but sometimes, when the rest of the landscape is cloudless, they will gather a hood of gray vapors about their summits, which, in the last rays of the setting sun, will glow and light up like a crown of glory.”

Thus opens a most curious tale related by the late Diedrich Knickerbocker, a New York historian whose papers have been passed on to us by one Washington Irving. As Mr. Irving comments in his preface to “Rip Van Winkle,” the story in question, the Knickerbocker records of Catskills lore have long since been “admitted into all historical collections as a book of unquestionable authority.”

The astonishing incident in the life of Rip Van Winkle need hardly be recounted here, famous as it has remained to this day. Besides, it has already been retold and dramatized on numerous occasions (such as this 30 November 1949 broadcast of the Family Theater), albeit not always with the respect and fidelity due to a chronicle of such historical significance. The producers of the 26 December 1948 presentation of “Rip Van Winkle,” starring an uncommonly tired Fred Allen, had the decency, at least, to prefix their bowdlerization with the disclaimer that “Any similarity to Washington Irving’s original is purely accidental.”

They ought to have called it Knickerbocker’s original, of course—but we should not expect such scholarly attention to detail from the purveyors of popular entertainments, especially when their tongues are so firmly lodged in their cheeks as to render them barely intelligible. Arch Oboler even went so far as to appropriate the legend for one of his propaganda performances, none too subtly titled “Rip Von Dinkel of Nuremberg.”

Earlier this week, while travelling through the ancient Catskill Mountains—which, truth be told, are not nearly as shadowy and mysterious as the Welsh countryside—we happened upon the Kaaterskill Falls, the very sight of the extraordinary episode in the life of the legendary idler. We retraced his steps, stumbling over the rocks and trees that nature has so liberally and carelessly strewn upon this secluded spot. The hike was tiring enough; but that could hardly account for the fatigue I have been experiencing ever since our return to Wales. A long forgotten lecture by a venerable physician appears to provide the answer.

One of Knickerbocker’s contemporaries, the now entirely forgotten Augustus Ohrenauf, had much to say about the effects of the Kaaterskill waters in a lecture entitled “Ansichten über das Betrachten von Wasserfällen,” which, soon after its publication in 1817, was haphazardly translated into English as “Falls Deductions.” Having perused the original treatise, I am now convinced that my fatigue, commonly known as “jet lag,” is due to that jet of water emanating from the Kaaterskill Falls.

According to Dr. Ohrenauf, it was the fall (and not the flagon of gin from a party of ghosts) that brought on Van Winkle’s decades-spanning slumber and all that befell him thereafter. Without any concern for etymological niceties, the good doctor insists that metaphorical expressions like “to fall asleep” (or the German “Augen fallen zu”) are directly related to the sensation of beholding cataracts and cascades. He argues further that the German expression of “einen Kater haben” (literally, having a tomcat, but meaning, “having a hangover”) is derived from that more than catnap-inducing Catskills ravine.

Entering the trail to the falls, we were instructed to sign a register (shown above), a precautionary measure, no doubt, to prevent visitors from getting lost in the woods due to the somnolent effects of the natural water feature they have set eyes on they are not likely to keep open for long. Dr. Ohrenauf thus advises sightseers to keep their ears peeled for the sounds of falling waters, lest they are prepared for a hazardous exposure to Lethean influences.

Meanwhile, I hope to stay awake for my subsequent entries in the broadcastellan journal, in which I shall continue to expound on the matter.

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"Dizzying and deafening the ear with its sound": From the Cave of the Winds

I shall resume this journal shortly. Just let me get the water out of my ears . . .

I am heading back to Wales after a month in New York, City and State. Upon my return, I shall try to catch up with myself, reviewing a few of the shows I have seen (Gypsy, again, A Catered Affair, and Attorney for the Damned, starring an old friend of mine), opening some of the books I have bought, and reporting from places I’ve visited (Woodlawn Cemetery, the Bronx and Elmira; Ithaca, on a Silent Movie night on which we were treated to a film made in Ithaca in 1915, featuring a young Oliver Hardy; FDR’s home near Hyde Park; Fleischmanns in the Catskills, where a young Gertrude Berg spent her summers in her father’s hotel; and, obviously, Niagara Falls, where I thought of Robert Southey’s “Cataract of Lodore,” from which I borrowed the line in the title).

The rush of experience is not necessarily enhanced by reflections in tranquility; but retrospection tends to improve on the performance of expressing it—especially after extensive editing.

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Audiophile, My Eye!

Has my ear been giving me the evil eye? For weeks now, I have been sightseeing and snapping pictures. I have seen a few shows (to be reviewed here in whatever the fullness of time might be), caught up with old friends I hadn’t laid eyes on in years, or simply watched the world coming to New York go by—all the while ignoring what I set out to do in this journal; that is, to insist on equal opportunity for the ear as channel through which to take in dramatic performances so often thought of requiring visuals. When. in passing, I came across this message on the facade of the Whitney Museum, my mind’s eye kept rereading what seems to be such a common phrase” “As far as the eye can see.”

It is the article that began to overshadow the empty nest below the dead eye of the cyclopean window in the austere façade, features that might well be to some what Roland Barthes referred to as the punctum—the point(s) to which the eye is drawn, the dot(s) that end up in the question marks we make of art that engages us.

What might that be, “the eye”? Are we to assume that one eye looks out into the world as any other, that the act of seeing is objective, divorced from outlook, range and perspective? Does “the eye”—untrained or jaundiced or unfocused—invariably begin to see things as it seeks what lies beyond perceiving, such as an imaginary bird returning to the nest of our senses?

A few days ago, I suffered an eye infection (come to think of it, the second one since my arrival here in late May), which brought the above picture back to mind. I am not sure just how it happened, but my right eye became alarmingly inflamed, my lid swelled up and my cornea buckled. It is still pounding now, even though there no longer exists any ocular proof of my discomfort. Perhaps, my eyes are aching for a break upon which they now begin to insist.

A day after the incident I ran into a former neighbor of mine. I had seen him only a few days earlier. This time around, he was wearing an eye patch. As I later learned, he had just lost his sight in one eye, yet too distressed to explain or share his grief. What would I do without my vision, imperfect as it has become over the years? I could not help pondering. Suddenly, my insistence on rooting for the ear as a sensory underdog began to sound rather hollow. I want to keep going out in public and see the world before I allow myself to be dragged away by the ear into the privacy of my inner visions . . .

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Secondary Childhood; or, Pandas to Ponder

Wili and Wali at Penrhyn Castle

It is not dotage but a momentary state of doting. Not the reliving of one’s own youth, however romanticized, but an imagining—or experiencing—of what it means to be very young while looking at objects or confronted with performances not created with me in mind. Not reverie, in short, but empathy. That is what I call “secondary childhood”—the state of being elsewhere in time and space, being young there while being here and quite otherwise. Listening to so-called old time radio programs produced in the US, for instance, I am keenly aware that I am entering worlds once inhabited by millions of children born in a country other than my German birthplace, past generations whose reflections are lost to us and, all too frequently, even to them—worlds the passage to which might have been blocked and obscured over time, but that might nonetheless be recoverable.

This recovery effort is quite distinct from the nostalgia of which I am so wary, the attempt of forcing oneself back through that passage and, failing to do so, creating one through which one may yet squeeze wistfully into a niche of one’s own making. It is quite another thing, to me, to set out to gain access to the worlds of other people’s childhoods, to tune in with one’s child’s mind open. I try not to make assumptions about audiences and their responses; instead, I try to become that audience by permitting myself to be played with so as to figure out how a game or play works.

Penrhyn Castle

As I have had previously occasion to share after a trip to Prague, I enjoy looking at old toys. Visiting the grand and rather austere neo-Norman castle of Penrhyn last weekend, on an excursion to the north of Wales, I was surprised to find, housed in that forbidding fantasy fortress, a corner devoted to a collection of dolls. Now, it seems perverse to be so drawn to the two stuffed animals pictured above, stuffed as Penrhyn is with exquisite furniture and impressive works of art (a Rembrandt, no less). I gather it was the bathos of it, the relief after having had greatness thrust upon me to be surprised by these unassuming and, by comparison, prematurely timeworn objects.

Turns out, the twin pandas in the straw hats are Wili and Wali, marionettes who co-starred in a long-running Welsh children’s program titled Lili Lon (1959-75). Upon returning to mid-Wales, where I now live, I immediately went online in search of the two; but, aside from a history of their creators, little can be found about them. I have become so accustomed to YouTubing the past that I was surprised to find no trace of Wili and Wali. No doubt, they still dwell in the memories of thousands who shared their adventures. I was not among them; yet, as is often the case when I come across titles of lost radio programs or fragments thereof, I imagine myself enjoying what is beyond my reach . . .

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I Was a Communist for Tallulah Bankhead

Memento Park, Budapest

Radio has always promoted other media, despite the competition it faced from print and screen. To some degree, this led to its decline as a dramatic medium. Producers made eyes at the pictures, neglecting to develop techniques that would ensure radio’s future as a viable alternative to visual storytelling. Television had been around the corner virtually from the beginnings of broadcasting; even in the 1920s, radio insiders were expecting its advent. So, the old wireless was often seen as little more than a placeholder for television, an interim tool for advertisers eagerly awaiting the day on which they no longer had to spell out what they could show to the crowd.

One of the last big hurrahs of radio during the early 1950s was The Big Show, a variety program hosted by actress Tallulah Bankhead (last revisited here). Sure, Bankhead promoted the movies—but on this day, 29 April, in 1951, she doubtlessly had something else in mind when she expressed herself “privileged to hear a portion of a truly great new Warner Bros. picture, starring Frank Lovejoy.”

According to Joel Lobenthal’s biography of the actress, Bankhead had a “phobia about communism,” largely owing to her Catholic upbringing. Yet, as George Baxt, a theatrical agent involved in booking talent for the program, tells it in The Tallulah Bankhead Murder Case, a mystery set during those Big Show nights, her show struggled as a result of this anxiety and the forms it took.

Not Bankhead’s anxieties—the measures taken by fierce anti-Communists to blacklist (or at least graylist) allegedly subversive players. By the early 1950s, even comedienne Judy Holliday was considered suspicious, which did not stop Bankhead from welcoming her on the Big Show on several occasions.

By playing a scene from a soon-to-be-released spy thriller titled I Was a Communist for the FBI, Bankhead fought for the life of the Big Show, now that even she, the fierce anti-Communist, had come under attack. As Bankhead pointed out, I Was a Communist was a dramatization of the Saturday Evening Post stories based on experience of counterspy Matt Cvetic, whom Lovejoy “deem[ed] it an honor” to portray.

“It certainly brought home to me the patriotic devotion and the sheer guts that Matt needed to take that nine-year beating.” At this point, a voice is heard, off-mike, telling Lovejoy that “someone had to do it.” That someone, speaking to the listening audience, was none other than Matt Cvetic:

Well, Frank, maybe we’d better wait until the job is done before we start taking bows.  The job is far from finished.  We’re just beginning to fight back against the deadly, ruthless, highly organized Soviet-controlled conspiracy.  So, we’ve got a lot of fighting yet to do before we can rid ourselves of this greatest threat to the world of free men.  We’ve got to fight.  All of us.  All the time.

“Amen to that,” Bankhead responded enthusiastically as the crowd in the studio applauded. Threatened by the blacklisters and the menace of television, Ms. Bankhead knew she had to fight—for the good of the country and the good of her show. The Big Show went off the air a year later, just as the aforementioned radio version of I Was a Communist began its syndicated run . . .

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Travels with My Antenna

If I did not already have a past, the seaside resort of Brighton might be just the place to get one. Last night, I got back from a jaunt to the ever popular London by the Sea, and what now follows is the kind of literary travelogue with the keeping of which I amuse myself in these hours of homebound retrospection. This time around, I need not dip into the reflecting pool of personal reminiscences, considering that the former fishing village of Brighthelmstone is brimming with the wickedness of others. The local museum introduces visitors to many a story about the less than pious townspeople, vengeful dames like the Chocolate Cream Poisoner, and various murderous goings-on (such as the Brighton Trunk Murders) that give you a pretty good idea why the place lent its name to thrillers like The Brighton Strangler (adapted here for Suspense) and Graham Greene’s Brighton Rock, which famously opens with the line: “Hale knew, before he had been in Brighton three hours, that they meant to murder him.”

Brighton sure is a hotbed of passion. After all, it was put on the map by Prince Regent George IV, who converted an old farmhouse here to erect his pleasure dome (pictured above on a bright Sunday morning) so that he might escape the strictures of the court and be with his unlawfully wedded wife, Maria Fitzherbert (“unlawful,” since soon-to-be-declared mad King George III did not give his approval).

“I’d like to be at the centre of all the devilry,” said the eccentric old woman with whom Henry Pulling got a “bizarre foretaste” of what it was like to Travel with [his] Aunt. Returning to the crime scene of Brighton Rock, Greene had his unlikely pair of travellers check into the Royal Albion. “Apparently,” Henry remarks, Aunt Augusta “had come first to Brighton when she was quite a young woman, full of expectations which [he was] afraid were partly fulfilled.” No doubt, Augusta had come to town for the same delights that attracted Jane Austen’s Lydia (in Pride and Prejudice, heard here in a Studio One production), namely to be at a “gay bathing place covered with officers.”

Like Greene’s free-spirited septuagenarian, we wanted to “be near the Palace Pier and the Old Steine.” So, we booked our room in the hotel next to the Albion, the stylish Royal York. According to last weekend’s edition of the Argus, Brighton’s local newspaper, the Royal York had just reopened after some eighty years, during which time it had housed government offices. Now, travellers can once again occupy rooms once slept in by Dickens, Disraeli, and Thackeray, who (in Vanity Fair) remarked that Brighton “always looks brisk, gay, and gaudy, like a harlequin’s jacket.”

In American radio drama, designed to supply a skeletal plot of classics like Vanity Fair (a thick volume condensed here for Favorite Story to play out in just under twenty minutes), such brightly hued capes are rarely captured in sound. Listeners were not so much transported to colorful locales as left to their own brushes. Without a map or an encyclopaedia at hand, it is difficult for anyone tuning in to picture a scene. Instead, listeners either pencilled in the missing detail or liberally applied the eraser of ignorance.

Sometimes, you just have to switch the old wireless off and spread your antennae to get a feel for what is wanting on the air . . .

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The "universal language of mankind"; or, Do You Verstehen Surtitles?

According to Henry Wadsworth Longfellow, our “universal language” is music. This might account for the international crowd at Budapest’s splendid opera and operetta houses; or perhaps it is ticket prices, which the locals are less likely to tolerate than the visitors in town for a good time. It is like that the world over, I suspect. New Yorkers are hardly the main audience for Broadway shows. What is on offer in any cultural center is largely owing to centrifugal forces. Is it the music that is universally understood? Or is it just that money talks without an accent?

Longfellow—who made above remark while on the subject of “Ancient Spanish Ballads”—is often quoted out of context. The “universal” is not meant to imply the absence or insignificance of regional or national idioms. We might all share a love of song without necessarily trilling the same tune:

The muleteer of Spain carols with the early lark, amid the stormy mountains of his native land. The vintager of Sicily has his evening hymn; the fisherman of Naples his boat-song; the gondolier of Venice his midnight serenade. The goatherd of Switzerland and they Tyrol, the Carpathian boor, the Scotch Highlander, the English ploughboy, singing as he drives his team afield—peasant, serf, slave, all, all have their ballads and traditional songs.

It is not local color you are likely to discover when stepping inside the larger venues, painted as they are in the color of money. What, I asked myself as I walked past a Finn in the foyer, is the intended audience for productions mounted by the National Hungarian Opera, where last year we took in the bewildering spectacle of Gone With the Wind, staged as a ballet to the music of Czech composer Dvořák, a pop-cultural miscalculation meant to foster good relations between Hungary and the United States. On offer this time around was Leoš Janáček’s Jenůfa, in Czech, with Magyar surtitles. Is it any wonder I am getting Prague and Pest confused as I try to recall our adventures in theatregoing?

In such moments of cultural confusion the Pontevedrian embassy can generally be relied upon as a refuge for the historically challenged. Yes, the Pontevedrian embassy is always open for business. Said Graustarkian edifice was set up for our convenience at the Budapesti Operettszínház, where the ever popular Lustige Witwe (heard here in a 23 January 1950 broadcast of Railroad Hour starring Gordon MacRae) once more saved her make-believe nation (or was it Montenegro?) from bankruptcy and waltzed off with the less-than-patriotic Danilo (portrayed with brio by Dániel Gábor) into the bargain—all in Hungarian with German supertitles, which, much to my irritation, I caught myself editing.

Finally, we went to the ballet, where “universal” meant lissome girl dancing with scrawny boy . . . to canned music. “Can real friendship exist between a man and a woman, and if so, why not? Happiness and pain follows each other again and again until death comes,” choreographer Antal Fodor comments in his note on “A nö hétszer” (“Women Times Seven”). Sometimes, you just have to provide your own translation . . .

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Night Bus; or, What Nearly Didn’t Happen

”Go where the hell ever you want. But get that word ‘bus’ outta the title. It’s poison.” That is what Harry Cohn told Frank Capra when the director declared that his next picture would be Night Bus, the comedy we now know as It Happened One Night. I have to agree with Mr. Cohn as to the toxicity of said vocable. After my recent trip to Budapest, “bus” has become a four-letter word in my lexicon, spelling b-u-s-t. The night bus that was supposed to transport us from Wales to England never even turned up. There we stood, in the wind and the rain, wondering how on earth we would get to Luton (about four and a half hours eastward) to catch the early morning flight to the Hungarian capital.

There were about fifty of us, waiting not only for the chartered vehicle but also anticipating the violent storm that was to batter the coastline and move, along with us, to the continent. It was well past 11 PM when we somehow—and, quite miraculously, given our remote location—managed to hire an alternative coach. Little did we know that, when we finally got underway around 0:30 AM, that that heaven-sent conveyance would end up sputtering along at 10 mph—on the highway, no less—and give up the ghost in its machine halfway through the journey. We missed our flight and spent five hours at a truck stop making twelfth-hour arrangements to get all of us to Budapest.

Amazingly, we did secure another flight from another airport, to which the bus, now repaired, transported us. We arrived at our destination some ten hours behind schedule—too late to enjoy the boat trip on the Danube planned for the afternoon. Our hotel, we discovered, was a converted psychiatric hospital; the folks in charge of making the building fit for its new purpose needn’t have gone through what didn’t look to have been all that much trouble. I, for one, was ready to be institutionalized.

Riding a bus—or missing and waiting for same—is about as enchanting as the prospect of digging a plastic fork into a fast food dinner. Hollywood caught on quick, romancing the railroad instead. As I took time to explore in an undergraduate essay “Ladies in Loco-motion: The Train Motif in the Romantic Comedies of Claudette Colbert” (previously mentioned here), that romance commenced as early as 1895—merely a quarter of a century after the completion of the first transcontinental railroad in America—when the Lumière Brothers, showing their “Arrival of a Train at Ciotat Station” at the first public movie theater in Paris, discovered that the tracks and the camera were indeed made for each other. Sure, some spectators left screaming—but most came back for more.

In 1903, motion picture pioneer Edwin S. Porter’s The Great Train Robbery revolutionized American film, since it led to the discovery that, as Ian Hamilton put it, “movies were not just ‘motion photographs’: they could indeed tell stories, defy the unities, move compellingly from A to B.” Bound and gagged beauties left to expire on the tracks, inexorable engines speedily approaching, and courageous heroes dashing to the rescue are quintessential images and sequences of both silent-screen melodrama and comedy.

As moviemaking and film narrative became more sophisticated, the plot-propelling and symbolic potentialities of the Iron Horse—from the far-off soundings of its prophetic whistle to close-ups of its powerful wheels—were explored and exploited in virtually every emerging genre, in mystery (Strangers on a Train) and musical (The Harvey Girls), in film noir (Double Indemnity) and war actioner (The Train), in Western (Union Pacific) and weeper (Brief Encounter).

To Hollywood’s romantic comedies of the 1930s and 40s, train rides, from the daily commute on the el to adventurous journeys on the Twentieth Century, proved vital as well, with trains and stations serving as unstable, mobile communities or pervious social settings in which relationships are as readily forged as foreshortened, as easily enhanced as escaped.

At once liberating and restricting in their scheduled, track-shackled predictability, distinctly modern, pragmatic and everyday, yet steeped in pre-automotive nostalgia, episodes in transit seem ideally suited to a comic rendering of the primal and perpetual boy-meets-girl plot, in which the lovers’ temporary separation, emotionally as well as physically, is an essential device. Consequently, Hollywood’s romantic comedy and its wilder, wackier subgenre, the Hays Office dodging screwball, make ample use of departures, arrivals, and escapades en route.

For all its influence on screwball, It Happened One Night did little to get the bus rolling again; perhaps, the crammed coach began to smell too much of a New Deal gone sour. Bus travel wasn’t so much democratic as socialist, the freedom of the road curtailed by the invisible tracks that are the prescribed route. On the train, at least, the classes could be compartmentalized, and there was ample room for glamour as well as hobo nonconformity. According to Emanuel Levy’s And the Winner Is . . ., even the success story of Capra’s Night Bus concludes with a real-life train incident. Claudette Colbert, not having expected to pick up a trophy for her role as Ellie Andrews,

was boarding the Santa Fe train to New York when she was announced winner. The Santa Fe officials held up the train and she was taken by taxi to the ceremonies at the Biltmore Hotel. “I’m happy enough to cry,” she said, ‘but I can’t take the time to do so. A taxi is waiting outside with the engine running.”

The bus driver did not wait for Miss Andrews. And he drove his vehicle into a muddy ditch, too. Is it any wonder the runaway heiress was such an expert hitchhiker? Buses! Imagine the joys of our shaky return trip, during which the coach’s anti-roll bar fell off and dragged noisily on the road like so many cans proclaiming “Just Married.” Hardly a marriage of convenience, it certainly was no romance . . .