The White Shadow (1923), The New 52, and Women Comic Book Readers Day

Last night was the U.S. debut of a lost, found, restored, yet incomplete print of one of Alfred Hitchcock's first credited (not directed) features, The White Shadow (1923).  Initially a six-reeler, three reels of the film were recently found in New Zealand and sent to the United States for restoration.  The film, directed by early collaborator Graham Cutts, was adapted by twenty-four year old Hitchcock from a novel by Michael Morton (no relation) and featured Hitchcock in several other significant roles including assistant director, editor, art director, set director, production designer.  It featured Betty Compson in a dual role as a set of twins - one socially "evil" (she drinks, smokes, and gambles!) and one her complete opposite - who fall in love with Clive Brook's American. 



It's difficult to judge an incomplete film.  The segments of White Shadow screened showcased some stunning photography, staging, and a few thematic obsessions that would mark Hitchcock's later work including doppelganger women and a dark sense of humor.  That said, the film was also absurdly plotted.  When the film devolved into a freeze frame, marking the end of the archivists' discovery, Eva Marie Saint came out and read a short description of the final three reels.  In thirty minutes of screen time, there are major character reversals, globetrotting adventures, and several blindsiding deaths (not of the murder varietal, unfortunately).  When the audience began to laugh at Saint's material, she smiled and said "Don't ask me what it means!  I didn't write it!"  The discovery was described as Hitch's "student film" and while it may be far from the perfection he later found it sure as hell made me want to go back and revisit his filmography. 

In other news, September 21st marked my attempt at bringing diversity into the comic book bullpen by advocating a discussion focused on women (talent and readers) and the comic book industry, Women Comic Book Readers Day (WCBRD).  I was a little disappointed at how slowly word spread amongst the social networking sites (perhaps I bit off more than I could chew for having a site that is less than two months old!) but I discovered something rather amazing on September 21st.  I went to my local comic book store to pick up two titles in DC's new 52:  Batman #1 (Scott Snyder, Greg Capullo, and Jonathan Glapion) and, my contribution to WCBRD, Batgirl #1 (Gail Simone, Ardian Syaf, Vincente Cifuentes, and Adam Hughes).  I found the former but was shocked to learn that the latter, which was released two weeks ago, was sold out.  I called my wife, who was on a field trip at Meltdown Comics to pick up Wonder Woman #1 (Brian Azzarello and Cliff Chiang) and asked her to find Batgirl.  However, it was sold out at Meltdown as well. 

I realize that some titles in the New 52 have sold out quickly.  I expect that from the usual DC Stable of Stars - Superman, Batman, Wonder Woman - but I was shocked to hear a Batgirl had completely sold out at two Los Angeles comic book stores (for additional perspective, I was still able to find copies of the first printing of Justice League!) and...would take two to three weeks to reprint!  I'm not sure who is buying Batgirl and I'm not sure why (and it will take a couple weeks to see the numbers on the sales) but it felt to me like a victory.  Gail Simone's title, even if it was centered on a character who is largely secondary in the DC Universe, had a successful run.  Perhaps DC's strategy is succeeding and new readers are looking at comics.  If so, it's only a matter of time and money before new talent begins to explore the medium.  Mark your calenders for Women Comic Book Readers Day 2012 and let's keep the dream alive. 

While on the subject of the New 52, I've thus far read two titles, Batman and Wonder Woman.  I'm a huge Batman fan and was skeptical about this reboot.  Yet, I was really impressed with Scott Snyder's script which contemplates what Gotham City means to its citizens and how Bruce Wayne tries to change that both as Batman and through Wayne's social initiatives.  There's some fight scenes and a whodunit, which also provide a strong hook.  The narrative device of the CPU contact lenses does a good job of introducing those unfamiliar to the Batman world without overexplaining itself.  Finally, I generally like Capullo and Glapion's artwork, which is both darkly detailed and streamlined.  However, I dislike some of the character design concepts, especially the Riddler (who now has a "?" Mohawk).  I'm not sure whose call that was, but it's pretty jarring when juxtaposed with Capullo's gritty pencils. 

Reading Azzarello's Wonder Woman was an odd experience.  Despite being a DC guy and a Comics Studies scholar, I had never spent a lot of time with the character.  Her origins, backstory, and general world largely remain a mystery to me and I was excited to read Azzarello's take for two reasons.  First, I admire his work on 100 Bullets and Joker.  Secondly, if someone can introduce you to a character, it's Azzarello.  That said, I can't really say what the hell is going on (Wonder Woman is protecting a pregnant woman from some centaurs).  Azzarello doesn't spend a whole lot of time explaining her origins (people forget that the origins of Batman were not divulged in the first issue!) but he does seem to be weaving them into an ongoing mystery plot.  It works, mainly thanks to the quality of the writing and to Cliff Chiang's graphically bold and dynamic artwork.  I'll be curious to see where the team takes this one.