The archive within an archival screening

The UCLA Film and Television Archive regularly programs series that focus on a certain subject, country's work, or the specific work of a director or actor. These last two months have been a treat for Joan Blondell fans like myself, as the Archive programmed 14 prints of her films, all on 16mm and 35mm, and from the screenings that I attended, in great shape. Each screening was preceeded by rare home movies of Blondell and her family in their home from the 1940s, followed by a double feature of her films. My favorite film of Blondell that would have been perfect to show in the Christmas season is Desk Set, but knowing this film line for line, I was sated by knowing I would be learning more about her career with the chosen films.

For an archivist like myself, an evening that rang true was November 5th, featuring Three on a Match and Three Broadway Girls, both of the Precode era. Precode films are known for being a little more risque than their counterparts, as with the code came heavy censorship. Joan Blondell was a princess when it came to Precode female roles, as illustrated by her character in Three on a Match who is seen as a juvenile delinquent turned Broadway star. As the film progresses, she soon has to convince Ann Dvorak's character to give up her wild life of drugs and drinking and go back to her husband and child. Bette Davis is featured in an early role as a third friend (the three share a match and bad luck ensues). Three Broadway Girls features Blondell as one of three actresses trying to make ends meet during the great depression.

Archivally, this evening exploded on the screen with so many layers of how the moving image captures time. The home movies, restored from the original 16mm elements and shown digitally, capture what the home of a movie star would have been like back in the 1940s. Just by seeing that these 16mm films were shot in color, the audience can see that Blondell and husband Dick Powell were of status. The hair styles, the love they show their child (now much older and attended all the screenings with his charming wife) and the wonderful environment of their Hollywood home gave a glimpse into a very specific time of this family's history.

In Three on a Match, the story begins at the turn of the century, and shows the characters growing up before they become their leading parts. Each time period is shown passing by shots of newspapers and archive footage of that history of time. Imagine, a 1932 film that utilizes archive footage! The events that are told are specific to their time as well. For example, when the three lead females are first shown, a newspaper clipping from the early 1900s discussing how mandatory education was just enforced is shown and the film cuts to a public school playground. 

Three Broadway Girls, also featuring Madge Evans and Ina Claire was shown on 16mm and surprisingly was of better quality than Three on a Match, much to my surprise (although for their age both were quite stunning to see on the big screen). A lighter plot, I was still awed that because this took place in the time that it did, a peak into that specific moment in history was unveiled. The costumes, hair, and difference in class, generation, and styles of living between the characters, not to mention the hysterical banter between the leads that left us laughing the whole car ride home, brought us back to a time now gone.

I congratulate the UCLA Film and Television archive on being able to consistently program titles that speak to audiences. If you haven't gone to one of their events, I recommend going soon. The series still has two more screenings and details can be seen here:

https://www.cinema.ucla.edu/events/2016/blonde-crazy-joan-blondell