Blitherus Maximus

Let’s start with a small confession: I had to stop smoking the Devil’s Lettuce years ago, because I’m asthmatic. I found gummies were less deleterious to my lungs. My recent hospital stay would have doubtless been even worse, had I kept using my old skull-shaped bong. So now it’s a cheery little gumdrop in the evening to help dispel stress and make easing into sleep easier.

Those of you familiar with the Wacky Weed will also know of its propensity to inspire Deep Thoughts, thoughts that will commonly not survive the return of sobriety. The best example of this was in the seminal classic stoner book, A Child’s Garden of Grass. The fellow in the anecdote had a thought so profound, he had to write it down. The next morning he checked his notebook and he had written, “There’s a funny smell in this room.”

I, too, have a notebook. I, too, have written the occasional Bit of Profundity on it. I realized I needed the damn notebook because age has done its inevitable drying up of my brain, and as a director I once worked with told me, “Writing it makes it go to a different part of your brain.”

Last night I had such a Deep Thought that I filled an entire page of that notebook. This is a treacherous thing in itself, as my handwriting is abysmal. I was told this was due to a lack of hard work on my part, not because of any such frippery as neurodivergence or any other such undiscovered lore. No, I’m not bitter at that, or that I was flatly told to stop wasting time cartooning and concentrate instead on math, you’re smart, you’re just not applying yourself.

God, what a different career path I could have had.

Anyway.

We need to hook this essay up to a tow truck to drag it out of the mud of my childhood and into the 70s and 80s for my point.

“EEEEEEEEeeeeeeeeee-“

I’m too bloody lazy to find when TV stations stopped signing off at midnight with the National Anthem and a test pattern. After that, though, they suddenly had hours of airtime to fill up with something, and that something was whatever they had in the movie packages the stations had bought.

Movies were downright ubiquitous those days. Movies played during Prime Time, in the morning hours, in the afternoon. But especially from midnight to 6am. The Sunday paper with its local TV guide gave me a roadmap for what was ahead that week (and nearly caused a heart attack when I saw Forever Evil was playing the next Saturday on Up All Night).

In most American households in those days (and probably still now, but I can’t be sure because shit got weird yo) the TV was turned on first thing and stayed on until the house’s resident night owl turned it off. It wasn’t necessary to watch, it was necessary to have the sound. As one smart guy put it, we were listening to the medium, not the message.

And part of that medium was the movies.

I guess a lot of my night owl movie watching was doing just that – listening while reading, looking up when something interesting happened. But a lot of it was staying up until 2am to watch a rare showing of Lemora or Corman’s budget-starved peplum Atlas. But there were also times that I would read Tim Lucas examining some obscure Italian spy comedy and thinking oh my god, I’ve seen this! thanks to those late-night viewings.

That particular TV landscape is only a memory now, alas. TV stations found it more lucrative to show unending infomercials instead of relying on local businesses taking advantage of the reduced fees for night owl advertising. That’s only part of the reason, I’m sure. Tune into that morning Dialing for Dollars show and discovering you’ve already seen the movie? Change that channel!

“Ewww! Get that crap off my TV!”

And a lot of those old movies were black-and-white, which somehow morphed from a matter of budgetary and technological necessity to an Ew! Black and white! P-too! Evil! Which is something I will never understand. Especially since those people also refuse to watch anything modern done in black-and-white as an artistic choice.

My major overarching argument here is that constant firehose of movies, even if only half-watched, had educational value. You could get swept into another time period, another culture, just for a few minutes or longer. We could develop a worldview that didn’t end at our nose or our phone screen. It could nudge us into intellectual curiosity, to finding out more – which sadly seems to also be out of favor, culturally.

So what brought me to this episode of Old Men Complaining About the Modern World?

Probably obvious.

“Tariff him!”

Tonight there is scheduled to be a UFC MMA event on the lawn of the fucking White House, and smarter men than me – Rick Wilson, to name just one – have pointed out that this is a scene from any of those Fall of Rome movies you would have seen in rotation. The Emperor of a failing nation idly watching while sweaty muscle men beat each other up for their amusement, even as the people starve, and the nation crumbles. As a real-life metaphor, it is hard to beat.

I think Rick may be just a little older than myself – he came up through those movie-infused years (though I’m also pretty certain Rick has read a book or two). We have the historic receipts administered through art.

And I’m just not sure that most people now have that knowledge, having lived through a time that movies were relegated to paid streaming channels, not free through your local TV. I find that immeasurably sad and the lack of historical comprehension not a little frightening.

If you were ever doubting that I was an aging hippie, take this as your proof: I have just demonstrated that I can blame Capitalism for anything.

The Devil Bear (1929)

So last year Gold Ninja Video sent me an email with the following synopsis:

A mutiny breaks out in a ship over a chest of gold.

In the fracas, the boat crashes along the shore of Ontario’s Lake Superior.

From the wreckage emerges a hulking, snarling figure, caged no more!

Now, with freedom clenched between its razor-sharp fangs, the furry beast escapes into Canada’s dense wilderness. Where it shall be bestowed a new name by all those who lay their terrified eyes upon its deadly form… THE DEVIL BEAR.

Oh, and the Devil Bear is a gorilla. 

Well, that closing line certainly sealed the deal.

The history of The Devil Bear is strange and patchy at this remove. Apparently started as a project titled The Spirit of the Wilderness, it was to be a history of Canada’s transformation from wild frontier to urban modern. Thunder Bay Productions promised a state-of-the-art production facility in Ontario, and more movies. After initial well-received nature footage, Spirit sort of faded from view along with Thunder Bay Productions, and then suddenly The Devil Bear made its debut in Buffalo, New York.

The aforementioned mutiny happens during a storm on Lake Superior, with the mutineers beating the captain badly and making off with the chest. The gorilla is the captain’s pet, Borno; neither the synopsis or the movie bothers to tell us Borno saves the captain in the ensuing shipwreck and cares for him in a cave. The Captain, quite addled after his beating, builds a ship’s wheel out of wood.

That bit will be teased out and scenes of Borno in the forest will bewilderingly interrupt:

The actual plot of the movie that involves a young geologist, Bill Sifton (Carroll Nye), who is trying to prove a mine has gold. He is in love with the daughter of a local missionary, Werta (Dorothy Dwan), and we’re going to recognize Sifton’s treacherous partner as one of those nautical ne’er-do-wells from the beginning of the picture.

The plot gets even more complex from there, with treachery, murder, and more scenes of Borno roaming around the woods (he is never explicitly – or subtly, for that matter – called “The Devil Bear”). Borno will eventually carry Werta off to the Captain’s cave and I think we’re supposed to supply “DEVIL BEAR!!!” over the wild gesticulations of the Native American Servant reporting the damsel-napping.

Everybody winds up at the cave, there will be a to-do, the Captain will get conked, returning him to sanity… and doggone if he isn’t the brother of the judge who’s been helping Sifton all this time!

Borno escapes into the woods, where he may remain to this very day, lurking, stalking… in fact, he may be behind you right now.

BOO!!!

Haha hahaha! God, the look on your face!

This is all, incidentally, based on “an autobiographical story” by Sargeson V. Halstead, the founder and head of Thunder Bay Productions. He either had a fascinating life or, you know, is lying.

Gold Ninja’s Justin Decloux says he believes this is an “interim” picture, made between the dominance of silents and the surge of talkies. There is, in fact, a lot of talking in this movie, with the intertitles becoming few and far between after the initial introductions. This puts me in the position of having to figure out what specifically the hell is going on for most of the movie. Sifton heads to the big city to talk to the man we eventually learn is The Judge (I had to find out by reading the packed-in booklet), and a sudden alternate love interest in the Judge’s… daughter? Niece? We’ll eventually learn, almost by accident, that her name is Grace. This led me to expect a much more nuanced denouement than the one I got. But this is the print that The Library and Archives of Canada possessed, so let’s be happy with what we got.

It is a well-made movie. There are a lot of seasoned pros in the mix, not least of which is Dorothy Dwan, who was married to Larry Semon and starred in his rather bizarre version of The Wizard of Oz. Though not credited in the titles, Charles Gemora played Borno. There are some nods to Murnau in double-exposed sequences, and there is quite a bit of outstanding outdoor photography.

And hey, a guy in a gorilla suit.

Lost classic? Mmmm… perhaps? I’m just glad it exists, really.