Saturday, February 13, 2010

Sepia Saturday: Reunions in Sepia

There is nothing remarkable about the above image of my paternal grandparents, Acy and Cassie Biggs, on the left and right, and an unknown women in the middle taken in 1924. However, how it came to me is one of those things that makes me think the internet is not as evil and useless as I sometimes think.

My grandfather, born in 1885, was a child of the Oklahoma Territory land run of 1889, and my grandmother was born the following year. After marrying in 1910, they had a first daughter, Ruby Lucile, who died suddenly in a household accident that haunted them for the rest of their lives. Part of their recovery was having three sons, my father being the youngest, born in 1922. By then my grandfather, whose parents were something of drifters and always lived on the edge of poverty, was one of the most successful farmers in the county with over $50,000 in savings, a remarkable sum in that era.

One morning in 1925, he was on his way from the farm to the bank in town with blue prints of the family dream house he planned to build complete with three fireplaces, an enormous wrap-around porch, a smokehouse and turrets and dormer windows. Just as he pulled his horse drawn wagon out onto the road, the wagon tipped and trapped him under one of the wheels where he was not discovered for more than two hours.

The next five years were spent on futile trips to Mayo Clinic, an odd form of electroshock therapy intended to restore use of his legs, and countless specialists who all confirmed that he would never walk again. They were correct, but the family savings were depleted by the time the 1929 stock crash hit and teh Oklahoma dust bowl followed.

That era was difficult for an able bodied man to survive in Oklahoma, and most of his siblings were part of the mass migration to California. Several stayed in touch, but the separation was difficult as was their feeling that his physical challenges made it impossible to make the journey with them. My grandmother, my dad and his brothers managed to run the family farm through that horrific period and slowly inched their way out of poverty. My grandfather died in 1952.

When my mother died in 2004, I got a mysterious email from a man with my last name in Riverside, California, who said he was a second cousin who was intent on documenting the extended family, especially those who it seemed were "lost" seven decades after the mass migration West. He had made a habit of searching any obituary with the Biggs last name, and immediately connected the dots back to his grandfather and mine. We met a few months later for the first time, and over the course of the past six years, more of the family members separated by time and thousands of miles have also met and exchanged many photos and stories.

A couple of years he sent me the above photo saying that he knew I probably had several copies of it but that I might enjoy having an electronic copy. I let out a small gasp when I opened the file. Before my father died in 2006, as his confusion grew greater through Alzheimer's, he repeated that it was becoming harder for him to remember his father standing or walking since the accident happened when he was only three years old. And while we had many pictures of him after his accident, we had only a few of him before. All of them are either portraits or shots of him seated. While father and I both stood over six feet, we knew that his father and grandfather both stood at just over and just under five feet respectively. There were stories of them both being called "little Mr. Biggs", a name neither took to very kindly.

So finally seeing a shot of my grandfather standing was bittersweet since it came a year or so after my father died. There was some solace in finally seeing what I had never seen and what my father feared he might forget

UPDATE: And here is a video I did about much of this same story. I appear towards the end -- the little kid in glasses and the sock cap with my sister and cousin Glen.

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Saturday, January 09, 2010

Sepia Saturday: The Maternal Line

For sepia Saturday, I hope it's not illegal to "recycle" past posts, but I'll share this post I did back in December 2006 after making a series of short slide/music shows for the holidays about different branches of the family. It came at the end of a two year stretch of much loss (both of my parents, my aunt, one of my cats, a few friends.) Knowing that those memories were still there, and looking at relatives lost even further back and seeing them so young and stylish is reassuring.

The pair above are my maternal grandparents, Ralph and Nancy Polley, on their wedding day in 1923. I've always loved this photo since it has such a F. Scott and Zelda Fitzgerald feel to it, and I love the photo of them on their roadster while taking a vacation in the Rockies. That's my mother peering out the back window. My favorite part of this photo is the technical "flub" of the shadow of the photographer at the bottom. Who is it? Another family member along for the ride? A mysterious stranger who kindly took the shot? The outline of the hat adds to the mystery, though I can't confirm if it's a man or a woman. A couple of Christmases ago I had this photo transferred onto a tin box which was a real hit with the family members who received it. They didn't complain about the toffee inside either.

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Monday, October 19, 2009

Penny Plain; Twopiece Coloured

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Monday, October 12, 2009

Life on Broadway


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Wednesday, July 30, 2008

Heute...


...In honor of Obama's recent Berlin triumph, I am listening to my favorite lesbian singer of dirty ditties, Claire Waldoff. She has the reputation of being Dietrich's first female lover, but I doubt that (not that Dietrich had female lovers but that they came that late). She's up there with Anita Berber with her monkey and monocle as far as my favorite Weimar characters.

Along with Guy Maddin, she's making me feel quite cheery in a darkly fatalistic way. how else would one want to have it.

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Sunday, July 13, 2008

Hush, Hush Sweet Junk Thief

I wrapped up the silent film festival weekend with two completely unrelated films as the afternoon moved into early evening.

A restored print of Her Wild Oat discovered in the Czech Republic and starring Colleen Moore was a nice treat. I first discovered her nearly 40 years ago in middle school when I picked up her autobiography in the bargain bin. Though she was the top box office draw in 1926 and 1927, she is pretty much forgotten by non-silent movie fans. Ironically, Louise Brooks was relatively obscure at the time and considered a cheap Colleen Moore knock off. Colleen had the flapper thing going long before Louise went to Berlin to be Lulu. Perhaps because she retired fairly happily and spent the next 50 years happily married and sane hurt her reputation as a legend. Her persona was somewhere between Clara Bow and Mary Pickford. Speaking of which, the feature was preceded by a two minute techincolor screen test of Pickford having dropped the orphan-waif and looking vampish, seductive and ready to play Lulu. Her Wild Oat merged the hard working orphan with the gauche flapper with scenes at the Del Coronado Hotel that seemed the template for Some Like It Hot to ultimately copy.
Having such a light but touching comedy before Teinosuke Kinugasa's Jujiro was not the best build up for such an intensely dark film. I appreciated that it was not a film about samurais, geishas, martial arts or an Ozu family chamber drama. Its central theme of a younger brother declaring to his big sister "I will follow you to the end of the earth" carried greater resonance after the screen faded to black, and it was all so dark -- sets painted gray and filmed at night -- with plenty of rain, blood, ash, painted hussies, a greedy old madam and a host of villains with bad teeth.

As always, this festival is the best trip to a foreign land -- the first quarter of the 20th century -- and I come away wishing I'd seen even more in the series.

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Saturday, February 09, 2008

Anybody Know...










...if there is a print available in any form of 1957's Jeanne Eagels starring Kim Novak in the titular role? I absolutely adored this film after seeing it only once in 1972 on late night TV. To the best of my knowledge, it's not available in any form or, for that matter, any of Eagels' own movies. It touched me on a deep level, and I hope that when I finally see it again I am not disappointed by it. Eagels, according legend, was sort of an American Anita Berber. Not unlike Louise Brooks coming from Wichita, she came from Kansas City but was a flame that dimmed too soon.

If I could find Skidoo, surely I can track this one down.

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Friday, October 19, 2007

Trixie Friganza - Restored at Long Last!



Yes, yes, I know I just made my comment about curbing my YouTube postings, but I still have a couple more to go before topping this month's quota, and this one is just to glorious to wait on.

While weaving through incredible third disc of The Jazz Singer, I just about fell off my chair, when to my delight, I saw the charming face and full figure of Trixie Friganza. Trixie Friganza! I first discovered her a few years back in an American Masters episode on Vaudeville. Trixie appeared in the 1937 A Star Is Born, some Chaplin films and others. She was also a suffragette at the turn of the century.

This is a brief clip from a six minute clip in The Jazz Singer reissue, one of nearly three and a half hours of Vitaphone Varieties, a series of weird and wonderful shorts from the late 1920s and early 1930s. In a jazz age rap, Trixie gives tips on how married gals who like a nip at the speakeasy when the husband isn’t watching can cover her tracks.

Each minute is superb, but this half minute clip is arguably the pinnacle in which she chronicles the fate of Lulu who ventures off to the Aloha state. Though comic, what's amazing about Trixie, is that she's a pretty strident feminist even by today's terms. This 33-second interlude comes out of nowhere in the middle of a technically comic tune in which she tells the fate of her two husbands. They're both losers, but when one decides to hit her, she does him in.

Enjoy!
Trixie the suffragette.

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Sunday, April 01, 2007

Jumping Up & Down (New York)


Come Tuesday, JunkThief will have his copy of Tony Sarg's Up and Down New York, originally published in 1926 and a vision of the New York, more specifically Manhattan, of one's dreams. Sarg was also a master puppeteer and is credited with creating the first inflatables for the Macy's Thanksgiving parade. In a different life JunkThief would have wanted to be a puppeteer and claymation film-maker. And he still might live that life.

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