BOOK 156: SEIZE THE DAY: SAUL BELLOW

First published in 1956, is considered (by, for example, prominent critic James Wood) one of the great works of 20th century literature. Seize the Day was Saul Bellow's fourth novel. It was written in the 1950s, a formative period in the creation of the middle class in the United States.

FILM 1456: MODERN TIMES

TRIVIA: Discounting later parodies and novelty films, this was the last major American film to make use of silent film conventions such as title cards for dialogue. The very last dialogue title card of this film (and thus, it can be said, the entire silent era) belongs to The Tramp, who says "Buck up - never say die! We'll get along."

Charles Chaplin allows the Tramp to speak on camera for the first time during the restaurant scene, but insisted that what the Tramp says be universal. Therefore, the song the Tramp sings is in gibberish, but it is possible to follow the story he tells by watching his hand gestures.

This was one of the films which, because of its political sentiments, convinced the House Un-American Activities Committee that Charles Chaplin was a Communist, a charge he adamantly denied.

Charles Chaplin devoted eight days to filming the department store roller-skating scene where he skates blindfolded on the edge of the fourth floor, coming within inches of falling over the edge into the deep stairwell below. The dangerous large drop was actually a painted scene on a pane of glass carefully placed in front of the camera to align with the existing set and create the illusion of great height.

A full dialogue script was written for the film, as Charles Chaplin had intended to make a complete talkie. According to a documentary on the DVD release, Chaplin went so far as to film a scene with full dialogue before deciding instead to make a partial talkie.

According to some accounts, working together on the film put a strain on Charles Chaplin and Paulette Goddard's relationship. Contrary to the way young actresses were presented on screen, Paulette was to wear shabby clothing and no make-up as the Gamin. When she showed up for filming with her hair beautifully coiffed, he dumped a bucket of water over her head.

Although filmmaking had become the province of large teams of highly specialized technicians, Charles Chaplin resisted delegating tasks, involving himself in every aspect of production, even to the point of blowing bubbles in a pail of water to simulate stomach-grumbling sounds.

FILM 1204: BICYCLE THIEVES

TRIVIA: The movie director Sergio Leone worked as an assistant for Vittorio De Sica during the filming of this movie. He also has a short appearance as one of the priests that are standing next to Bruno and Antonio during the rainstorm.

Lianella Carell was a journalist who came to interview Vittorio De Sica when they were looking for someone to play the role of Maria. But, when De Sica saw her, he instantaneously decided that she would play Maria for the movie.

Vittorio De Sica claimed he selected the actors for the characters of both Bruno and Antonio because of their walks.

The Swedish title for "Ladri di biciclette" (plural 'thieves') is "Cykeltjuven" (singular 'The Bicycle Thief).

FILM 1158: ROGER & ME

TRIVIA: The unnamed San Francisco left-wing magazine that Moore goes to work for at the beginning of film is Mother Jones. Moore worked for the magazine for three months in 1985 before being fired for putting his friend on the cover. Moore sued the magazine for contract breech, and used the money he won in the settlement to partially fund Roger & Me (1989).

This is the only movie where there has been a successful lawsuit against Michael Moore - filed by former friend Larry Stecco who successfully argued that his portrayal in the movie was not an accurate reflection of his character ("False light invasion of privacy" is the legal term) and won. Stecco was interviewed attending a society fund raising ball and was made out to be a high-society rich pig who partied while people where starving outside. He was actually a lawyer who worked pro-bono for the poorer residents of Flint.

In a radio interview, Michael Moore felt this film was a failure, since it did not stimulate any interest in development or investment to the town of Flint.