Welcome to John Bengtson- April 24th-28th

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Welcome to John Bengtson- April 24th-28th

Post by Lzcutter »

Here's the link to Moira's announcement and details about his visit: http://silverscreenoasis.com/oasis3/vie ... =29&t=5682

"Have you ever wished that you could step into a silent film like Buster Keaton did in Sherlock, Jr. (1924) and experience that other world? Our upcoming guest in April will bring us as close to that wondrous experience as possible. In fact, retracing the steps of Keaton, Chaplin and Lloyd (and more) are on the horizon for the SSO this month.

Mr. Bengtson, a lawyer as well as film historian, blends cinematic archeology with social and urban history through his unique approach to examining the locations where and when films were shot. His work, which The New York Times described as a “Proustian collage of time and memory, biography and history, urban growth and artistic expression,” takes us on a virtual tour of the sites that provided inspiration for such giants as Harold Lloyd, Charlie Chaplin and Buster Keaton through his books, films and website.

Researching his discoveries of locations where films were shot and placing them in a social and cultural context has proved fascinating as he unearthed subtle class differences among these comic stars, the way that sequences were edited together (sometimes jumping from city to city, as in the case of Lloyd's hectic 1928 comedy, Speedy), and sometimes taking walking tours of the actual places that still exist in some form.

Here's his website: http://silentlocations.wordpress.com/

As Los Angeles preservationists and historians strive to save pieces of our past, Mr. Bengston collects those fragments of our film heritage, researches them and makes those locations still standing come to life through his books, his website and his tours!

So please feel free to join us here and ask Mr. Bengston questions regarding silent film locations including locations used in this year's Oscar winner, The Artist!

This is the thread to post your questions for John.
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Re: Welcome to John Bengtson- April 24th-28th

Post by Lzcutter »

Hey John,

Welcome to the SSO. As someone who has called the City of Angels home for over 35 years, it's great to meet someone who loves the city's film history as much as I do. I know from your books that you have also researched and traced early film locations in New York City.

How did you get interested in researching film locations?
Lynn in Lake Balboa

"Film is history. With every foot of film lost, we lose a link to our culture, to the world around us, to each other and to ourselves."

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Re: Welcome to John Bengtson- April 24th-28th

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What is your thoughts on the Silent Film ... The Artist?
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Re: Welcome to John Bengtson- April 24th-28th

Post by charliechaplinfan »

Welcome John, thank you for coming to the Oasis. I'm in England and I love your books on Chaplin and Keaton, both of which I own, they are frequently thumbed thorugh and I love the cross referencing in the books when both men have used the same location but different films. I love both men's comedies equally although their styles are very different I find it impossible to chose and I like the early history of film industry and the location shooting. How did you come to writing the books, was it a love of the movies, the men, old architecture, LA, a mixture? How hard did you find it to trace the history of Chaplin's movies and did you have co operation from his estate? I've read they can be quite protective of Chaplin's work, just like the man himself. Have you had the pleasure of meeting with the families of Harold Lloyd, Charlie Chaplin and Buster Keaton? Finally, what are your favourite silent comedies? (I have questions, lots of them)

Thank you once again for coming here :D
Failure is unimportant. It takes courage to make a fool of yourself - Charlie Chaplin
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Re: Welcome to John Bengtson- April 24th-28th

Post by movieman1957 »

Welcome to our little playground.

What were your favorite projects? What kind of things did you learn about the stars based on their location shooting?

Thanks for visiting with us.
Chris

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Re: Welcome to John Bengtson- April 24th-28th

Post by Gagman 66 »

Mr. Bergston,

:) Welcome to Silver Screen Oasis. I have enjoyed reading all your blog posts greatly. They are fascinating and extremely well researched. I too I'm curious to know your favorite Silent comedies. Favorite Lloyd film, and those you especially revere outside of the works of the Big Three. Have you had a chance to see some of the lesser known Roscoe Arbuckle features just before the Virginia Rapee' scandal? At least a couple of these have been found in the last few years. And who do you consider the top female comedy star of the Silent era, after Mabel Normand. Basically, her successor? What are your thoughts on Raymond Griffith's surviving films? Look forward to your comments here.
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Re: Welcome to John Bengtson- April 24th-28th

Post by SilentLocations »

Lzcutter wrote:Hey John,

Welcome to the SSO. As someone who has called the City of Angels home for over 35 years, it's great to meet someone who loves the city's film history as much as I do. I know from your books that you have also researched and traced early film locations in New York City.

How did you get interested in researching film locations?
Hi Lynn - glad to be here.

It all started innocently enough. When the Buster Keaton's films were finally released on home video starting in 1995, I immediately bought the laser disc set and a player (after all Buster deserves the best). It was quickly apparent that he had filmed a chase sequence from Day Dreams (1922) in North Beach in San Francisco, near where I once lived. So on a lark I took snapshots off of my TV set, and visited San Francisco one Sunday afternoon. I found all six locations rather easily, in just a few hours.

When I had a chance to visit LA on business a few months later, I stopped at the library to look into the old city directories, and again found several spots in an afternoon. One setting that stumped me was an old LA ball park appearing in Keaton's Neighbors (1920). Well, there happened to be at the library, at the same time, an expert on early SoCal baseball. The librarian pointed him out, and he quickly identified it as Washington Park. That was the first of what must now be 100 remarkable coincidences that expanded my ability to track locations down. I ended up meeting an expert about old amusement parks, another who knew about the Garden of the Gods movie ranch, and so forth. I still marvel at all the lucky breaks that fell my way.

I did not set out to be an author, but the momentum never stopped, and rather than fight it, I decided long ago to enjoy going along for the ride. In the process, I have had some of the most meaningful experiences of my life, including becoming friends with Eleanor Keaton, and driving her around on a guided tour towards the end of her life.

Another remarkable experience. In 1995 I flew from my home in the SF bay area to attend the Academy centennial tribute to Buster Keaton, hosted by Kevin Brownlow. 16 years later, I was invited by the Academy to appear in a Keaton program with Kevin Brownlow. I can't articulate how humbling and gratifying that experience was - moreover, it was something that I, back in 1995, would have never conceived of in my wildest dreams. So while I sometimes chuckle at how obscure and arcane my research is, it has also lead to these types of wonderful experiences.

You also mentioned my New York research for my Harold Lloyd book. After becoming pretty familiar with silent-era Hollywood and Los Angeles, it was an exciting challenge to start all over with a new city. Fortunately there are many NY resources available online, and I found myself surprised at how many NYC spots I was able to decipher. It helped that New York does not destroy its neighborhoods as quickly and completely as does Los Angeles.

In general, I have always enjoyed studying vintage photographs - they are such wonderful time capsules. And now that silent films are available on DVD, and we can freeze them on a computer for study, these classic films can also serve as time capsules to the past. I find this all very exciting.
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Re: Welcome to John Bengtson- April 24th-28th

Post by SilentLocations »

kingme wrote:What is your thoughts on the Silent Film ... The Artist?

I am really happy The Artist won Best Picture, and all of the awards and acclaim. It was such an outrageous, audacious conceit to stage a Black & White, silent, non-widescreen film, and I'm glad their creative risks were rewarded. They could have saved money by filming it in eastern Europe, but chose Hollywood instead. You have to admire that - it was the only Best Picture nominee filmed entirely in "Hollywood."

I also think Jean Dujardin is hysterical - he has a quicksilver ability to look dashing, and then goofy, just moments apart. You should check out the two OSS-117 spy spoof movies he did with Michel Hazanavicius - they are a mixed bag, but contain many wonderfully funny scenes. They are definitely not your run-of-the-mill cookie-cutter comedies.

I may be shooting myself in the foot, but I have now seen most of the Best Picture nominees, and the one that affected me the most was The Descendants. I'm glad the script won for Best Screenplay. It is definitely a personal response, but the issues about parenthood, and loss, and doing what is right, really spoke to me. The Artist was a lot of fun, but for me it did not have quite the same depth or complexity.
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Re: Welcome to John Bengtson- April 24th-28th

Post by SilentLocations »

charliechaplinfan wrote:Welcome John, thank you for coming to the Oasis. I'm in England and I love your books on Chaplin and Keaton, both of which I own, they are frequently thumbed thorugh and I love the cross referencing in the books when both men have used the same location but different films. I love both men's comedies equally although their styles are very different I find it impossible to chose and I like the early history of film industry and the location shooting. How did you come to writing the books, was it a love of the movies, the men, old architecture, LA, a mixture? How hard did you find it to trace the history of Chaplin's movies and did you have co operation from his estate? I've read they can be quite protective of Chaplin's work, just like the man himself. Have you had the pleasure of meeting with the families of Harold Lloyd, Charlie Chaplin and Buster Keaton? Finally, what are your favourite silent comedies? (I have questions, lots of them)

Thank you once again for coming here :D
Hey CC Fan

Thank you for the welcome. I think I explained some of how I came to write my books in a prior post. My first loves were the great silent comedians. I would watch them on compilation shows, or on specials on public broadcasting, and began collecting 8mm movies when I was in high school from places like Blackhawk Films. (I recently found an old Blackhawk catalog online, and accounting for inflation, a 400' Chaplin or Laurel & Hardy short would cost about $55 each in today's dollars. Where did I find so much money in high school?)

I also grew up at a time when it was common to find a Marx Bros. festival, or WC Fields festival, on a local TV station.

So I always enjoyed, and had a real appreciation for, the classic comedians from the Golden Age of Comedy. My appreciation of vintage architecture, and Hollywood/Los Angeles history, was something I developed later on, along the way.

Regarding the comedians' estates, I have had a great working relation with both the Chaplin and Lloyd estates, and have had the honor of meeting Suzanne Lloyd, Harold's grand-daughter, a couple of times. As mentioned, I also got to spend time with Eleanor Keaton on several occasions, and gave her a personal tour of where Buster filmed. I did not have any direct access to any studio records, but took advantage of, for example, some Chaplin shooting schedule pages that were included as a bonus feature on the early David Shepard release of Modern Times on DVD. But these clues only lead to one or two discoveries. Annette D'Agostino Lloyd has done a great deal of research into what extant Lloyd Studio records remain. Again, I did not get to review any of them directly, but took advantage of Annette's wonderful books, the Harold Lloyd Encyclopedia, and Magic in a Pair of Horned Rim Glasses, for certain key information. For example, while I determined independently where Harold had filmed a rooftop scene from Safety Last!, in her book Annette describes a letter Lloyd received from city officials giving him limited permission to film on the roof for a limited time. But I pretty much had to figure things out directly, without the help of studio records, especially regarding Keaton, for which I am not aware of any extant records.

Regarding Chaplin, for a long while I subscribed to the theory that he filmed everything on the backlot, and that there were few true Chaplin locations to be had. I was also initially discouraged because for some time Gerald Smith had already posted a wonderful website of Chaplin Then and Now Locations http://jerre.com/TandN/, which again led me to feel there was little remaining to be discovered. But when I finally got the Chaplin films on DVD, and began to really study them, I was delighted to realize there was a lot of un-chartered material still out there. In the end, my Chaplin book was significantly longer than my Keaton book, when I first questioned whether there was even enough Chaplin material to support an entire book.

My Lloyd book is even more dense. I had to compress about 360 pages of material into 304, and I had to leave out a number of incidentals.

I'm inclined to respond as Sarah Palin, and say "all of them," in response to your question about which are silent comedies are my favorites. Chaplin, Keaton, and Lloyd, and Laurel & Hardy, and Harry Langdon, and Charley Chase, and Roscoe Arbuckle ... Where do you stop? They are were all masters of their craft, immensely and uniquely talented, and were each allowed, to some degree or another, the chance to experiment, and improvise, and grow, for which we are all the beneficiaries. I also have to admit that I have a second and completely independent criteria for a "favorite" silent film, and that is ANY silent film, be it a dreadful bore, that has lots of exterior scenes shot on location. You never know what terrible, or obscure film, will provide a great view of a place where Chaplin, Keaton, or Lloyd filmed!

Cheers,
John
SilentLocations

Re: Welcome to John Bengtson- April 24th-28th

Post by SilentLocations »

movieman1957 wrote:Welcome to our little playground.

What were your favorite projects? What kind of things did you learn about the stars based on their location shooting?

Thanks for visiting with us.
As mentioned previously, one thing I discovered was that Chaplin actually did film a great deal on location, especially in his earlier films. While he preferred the control of the backlot, he still filmed on location when it was called for.

It was also fun to learn how often Chaplin, Keaton, and Lloyd would cross paths when filming. I think it likely that many of the common spots described in my books were unknown to them at the time as being common. While one star might have invited another to a private screening, and so forth, no one had unrestricted access to each other's films. Buster was not able to grab a few Lloyd DVDs, for example, and look closely at the settings in the background. Instead the background images were only fleeting glimpses, seen as a "live" flash during a screening, and then forever gone from view and memory. So unless they sat around trading copious notes, there wasn't really any way any of them could appreciate where the other contemporaries had filmed.

It was also a great surprise to discover how frequently Buster would film simple pick-up shots across the street from his own studio. His studio appears in the background of some shots in The Balloonatic, and in Sherlock Jr., and these fleeting glimpses may be the only extant moving picture record of his studio. As I mention in my latest blog, Buster and his crew must have literally walked from the studio to film some of the shots across the street. It's fun to imagine them doing that.

In a similar way, the few very early Lloyd films I have been able to see (most are lost, a few unreleased) contain many street scenes filmed on Court Hill, again, directly across the street from the magnificent Bradbury Mansion that served as the Rolin Studio (the Hal Roach predecessor studio) where Lloyd filmed. These glimpses are likely among the only extant movie footage of Court Hill, demolished more than 50 years ago.

The location work also shows how uncompromising and practical Keaton was. He matched scenes filmed in San Francisco with scenes filmed in Hollywood, or scenes in Beverly Hills with scenes in Newport Beach. For some reason The Navigator has an isolated scene filmed in San Francisco, when the rest of the film was shot in SoCal. So Buster would travel hundreds of miles to find the right setting for a gag. But ... he was also practical, and would film ordinary shots on the sidewalk directly across the street from his own studio.

And Lloyd was also a master at matching shots. The chases in Girl Shy were filmed all across SoCal. Hot Water matches scenes filmed in Santa Monica and on Bunker Hill. And the trolley race in Speedy cuts back and forth between shots filmed in Los Angeles and New York. For all the talk about how silent comedies were improvised, etc., it would not be possible to match scenes filmed miles apart without careful planning.

I also had not fully appreciated that Chaplin had shot his Mutual Comedies (1916-1917) at the same small studio Buster would later inherit. How remarkable is that? Chaplin and later Keaton both filmed at the same small studio, and certain buildings nearby appear in both of their films! And to top that, Chaplin and Lloyd both filmed at the Bradbury Mansion (Chaplin only briefly during his Essanay contract), and so the front porch of the mansion appears in both of their films!

Thanks,
John
SilentLocations

Re: Welcome to John Bengtson- April 24th-28th

Post by SilentLocations »

Gagman 66 wrote:Mr. Bengtson,

:) Welcome to Silver Screen Oasis. I have enjoyed reading all your blog posts greatly. They are fascinating and extremely well researched. I too I'm curious to know your favorite Silent comedies. Favorite Lloyd film, and those you especially revere outside of the works of the Big Three. Have you had a chance to see some of the lesser known Roscoe Arbuckle features just before the Virginia Rapee' scandal? At least a couple of these have been found in the last few years. And who do you consider the top female comedy star of the Silent era, after Mabel Normand. Basically, her successor? What are your thoughts on Raymond Griffith's surviving films? Look forward to your comments here.

Hi Gagman

It may sound odd, but while I have always enjoyed all types of silent films, and watched many silent dramas many years ago when they were featured on public television, I find myself not making time to watch many silent dramas these days. I have so many things to research, and study, that I am not making watching silent dramas a priority.

It is also rather embarrassing, but I also have access to dozens and dozens of "lesser" silent comedies that I haven't had time to watch. Instead, I have only made time to scan through them, at fast-forward, to see if there are any interesting locations presented in them. That sounds terrible, doesn't it? But in doing so, I occasionally run across a film that will have a unique view of a setting that interests me. As I mention in this recent blog post http://silentlocations.wordpress.com/20 ... hollywood/, I was able to figure out where Buster filmed a scene from Cops because the same setting appeared, in a broader view that contained more information, during an obscure Bobby Vernon film. Likewise,I plan to write a post about how a view from an early Larry Semon - Stan Laurel comedy, Frauds and Frenzies, provides a broad view of where Keaton filmed some important scenes in Cops and The Goat. You never know what odd or "lesser" film might contain a gold mine of information.

I truly enjoy Chaplin, Keaton, and Lloyd - each for differing reasons. They each had their strengths and relative appeal. Some one compared Chaplin and Keaton to Fred Astaire and Gene Kelly, and that kind of makes sense. I have begun using the analogy the Lloyd was the "Pixar" of the 1920s, as he made an unprecedented string of very popular, high quality, high-production value films. Chaplin was too sporadic, and Keaton just was never that popular.

I have "watched" (well, fast-forwarded, sorry! - that really sounds terrible) one pre-scandal Roscoe Arbuckle feature called Leap Year. It contains scenes filmed on Catalina Island. But I haven't seen the others. I have seen only one Raymond Griffith film, Hands Up. I recall it had some clever and original gags, but some flat spots too. I think the extant copy is missing a reel. While I could see his potential, it really was not enough of an exposure to form an opinion about him.

When it comes to top comediennes, I really am at a loss. I consider myself a fan of silent movies, and while I have developed a pretty strong sense of what Hollywood and Los Angeles (and New York) looked like in the 1920s, I am by no means an expert about silent films. So I'll turn it around, and ask whether you could tell me about your favorite silent comediennes, and why they appeal to you?

Cheers.
John
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Re: Welcome to John Bengtson- April 24th-28th

Post by movieman1957 »

I found it interesting about the comment on Lloyd and his permission to film on the building for a limited time. Has any of your research showed what kind of problems, if any, the filming had with local officials? There must have been some good relationships as there were so many outside locations.

Are there other books in the works?
Chris

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Re: Welcome to John Bengtson- April 24th-28th

Post by Sue Sue Applegate »

Mr. Bengston,
Thank you for visiting us here at the Silver Screen Oasis. We appreciate your abilities and talents, and hope that you might continue your association with us in the future.

My question is simply if you ever found one particular location and one particular director who had such a supreme challenge that it was questionable if a completed film might ever be finished.

Also, who, in your opinion, was the most daring actress on location as far as dangerous stunts are concerned?

Thank you!

Christy from Texas
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Re: Welcome to John Bengtson- April 24th-28th

Post by charliechaplinfan »

One of the things I really like about silent movies is the use of locations and fashions, there's something about them that feels like watching history that I don't feel as strongly when watching talkies, even the early talkies. I can fully understand how you fell into finding the locations and then finding more, I'm just glad that you decided to make them into a book.

Have you been able see past the films and perhaps get to know something of the comedians themselves, you mention Eleanor Keaton and Suzanne Lloyd. Did they give you insight into the people that weren't apparent in their films? Another thing you said that interested me, mainly because it's something that is hinted at in biographies or works on silent comedies is how well Chaplin/Keaton and Lloyd knew each other. Do you have any feelings about this? Were they friendly rivals, did they admire one another's work? Something I learned from Roscoe Arbuckle's biography is that Chaplin helped him after the scandal by investing money with him into some property. Keaton helped him too in many ways. In the early days of Hollywood there seems to have been a closeness in the Hollywood of the teens and early twenties which make it feel like a community as well as a money making business. I find the whole era fascinating, as you can tell and I'm reading all the posts with great interest.
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Re: Welcome to John Bengtson- April 24th-28th

Post by Gagman 66 »

Mr. Bengston,

:) Thank you for addressing my queries.Interesting response to be sure. I've learned a great deal from all the questions you have answered from the various patrons of this board. While I started my Silent film adventure mostly enchanted with the comedy genre, I have to admit that the majority of my most beloved Silents such as THE BIG PARADE, BEAU GESTE, DON JUAN, BARDLEY'S THE MAGNIFICENT, THE STUDENT PRINCE IN OLD HEIDELBERG, THE CROWD, etc, are all Drama's.

I would like to see Raymond Griffith's films get a little more attention and made more accessible to the public. I like HANDS UP!, PATHS To PARADISE, and in particular the lesser known THE NIGHT CLUB. Apparently, Paramount has taken no interest in making the pictures available.

As for Chaplin Lloyd and Keaton, my favorite films have long been CITY LIGHTS for Chaplin, THE FRESHMAN for Lloyd, with GIRL SHY a close runner-up. And for Buster, it's always been SEVEN CHANCES. I am anxious for the new Criterion Collection Blu-ray of THE GOLD RUSH to be released in June. Hopefully, the original 1925 release will finally receive the proper treatment on home video it has previously been denied.

Here is a lengthy list of many of my favorite Silent comedies outside of the Big Three. Not all of these titles would specifically qualify as being comedies, but the majority are for the most part. Allot of these you may not have seen yet yourself? So it gives you much to look forward too. As you can see I am a big Ernst Lubitsch fan. Not much into Harry Langdon, personally I prefer Arbuckle, Chase, and even Griffith to Harry.

In the first half of the 20's, I would probably dub Constance Talmadge as having been the screens leading comedian other than Mabel Normand. Her 1920 feature THE LOVE EXPERT is one of the funniest movies I have ever seen. Constance was just so delightful on-screen. Her drama queen Sister Norma Talmadge also Starred in what I believe to be one of the great forgotten movie comedies KIKI (1926). It's a shame Norma did not make more comedies, given KIKI was such a huge hit back in the day.

After the scandal that destroyed Mabel's career, Colleen Moore would probably have to be considered the most popular screen Comedienne of her time. Though Colleen didn't just make comedies exclusively. I have frequently described Colleen as the female Harold Lloyd. Where as Mabel was often referred to as "The Female Chaplin." I desperately want to for Colleen to see the same type of rediscovery that Lloyd's work is experiencing now. She is very deserving. She is so infectious and has a special charm and magic about her that I believe will resonates well contemporary audiences. Clara Bow made allot of comedies, but can not really be considered a Comedienne. The same with Bessie Love.

Marie Prevost was certainly one of the most naturally funny ladies in film. Though I don't really mention her much in this list at all. Phyllis Haver is another. Marion Davies settled into comedies for awhile starting with BEVERLY OF GRAUSTARK in (1926). I love Marion, but her clear influence is Constance Talmadge. While Davies has been described in recent years as the first Screw-ball comedienne I have to disagree. Constance T, Colleen Moore, Marie Prevost, and others were all making essentially the same type of films before Marion was. Davies is well represented on the last with 4 films, and I might have listed a couple more.

List of some of my favorite lesser known Silent Comedies. (Hope that these titles will peak your interest.)

A MODERN MUSKETEER (1917) Douglas Fairbanks.

THE OYSTER PRINCESS (1919) Ossi Owalda. Dire4cted by Ernst Lubitsch.

MALE AND FEMALE (1919) Gloria Swanson, Thomas Meighan. Directedf by Cecil B. De Mille.

WHY CHANGE YOUR WIFE (1919)-Gloria Swanson, Thomas Meighan, Bebe Daniels. Directed by De Mille.

THE DOLL (1920)- Ossi Oswalda. Directed by Lubitsch.

DON't CHANGE YOUR HUSBAND? (1919) Gloria Swanson. Directed by De Mille.

THE LOVE EXPERT (1920) Constance Talmadge, Natalie Talmadge.

THE MARRIAGE CIRCLE (1924) Florence Vidor, Marie Prevost, Adolphe Mejou, Monte Blue. Directed by Lubitsch.

HER NIGHT OF ROMANCE (1924)-Constance Talmadge, Ronald Colman. Directed by Sydney Franklin.

HELENS BABIE'S (1924) Baby Peggy Montgomery, Jean Carpenter, Edward Evertt Horton, Clara Bow.

A KISS FOR CINDERELLA-Betty Bronson, Tom Moore. Directed by Herbert Brenon.

ARE PARENTS PEOPLE? (1925) Betty Bronson, Florence Vidor, Adolphe Menjou, Lawrence Gray. (Missing two reels.)

LADY WINDERMERE'S FAN (1925) May McAvoy, Ronald Colman, Irene Rich, Bert Iytell, Edward Martindale. Directed by Ernst Lubitsch.

HER SISTER FROM PARIS (1925) Constance Talmadge, Ronald Colman, George K. Arthur. Directed by Sydney Franklin.

STAGE STRUCK (1925)-Gloria Swanson, Lawrence Gray.

OH DOCTOR! (1925) _Reginald Denny, Mary Astor.

IRENE (1926) Colleen Moore, Lloyd Hughes, George K. Arthur.

ELLA CINDERS (1926)-Colleen Moore, Lloyd Hughes. )Two reels are missing).

THE DUCHESS OF BUFFALO (1926) Constance Talmadge. Directed by Sydney Franklin.

KIKI (1926) Norma Talmadge, Ronland Colman, Gertrude Astor, George K. Arthur. Directed by Clarence Brown.

SO THIS IS PARIS (1926) Monte Blue, Lillyan Tashman, Patsy Ruth Millier. Ernst Lubitsch.

FIG LEAVES (1926) Olive Borden, George O'Brien, Phyllis Haver. Directed by Howard Hawks.

KID BOOTS (1926) Eddie Cantor, Clara Bow, Billie Dove, Lawrence Gray, Natalie Kingston.

THE BETTER OLE' (1926)-Syd Chaplin

SKINNERS DRESS SUIT (1926)-Reginald Denny, Laura La Plante.

MANTRAP (1926) Clara Bow, Ernst Torrence Percy Marmont. Directed by Victor Fleming.

THE RED MILL (1927)-Marion Davies, Owen Moore, Louise Fazenda, Karl Dane. Directed by Arbuckle.

TWO ARABIAN KNIGHTS (1927) William Boyd, Louis Wolheim, Mary Astor. Directed by Lewis Milestone.

HULA (1927) Clara Bow, Clive Brook, Arlette Marchal. Directed by Victor Fleming.

ORCHIDS AND ERMINE (1927) Colleen Moore, Gwen Lee, Jack Muhall.

THE GARDEN OF EDEN (1928)-Corinne Griffith, Charles Ray, Louise Dresser, Edward Martindale. Directed by Lewis Milestone.

THE PATSY (1928) Marion Davies, Jane Winton, Lawrence Gray. Directed by King Vidor.

A LADY OF CHANCE (1928) Norma Shearer, Johnny Mack Brown. Directed by Robert Z. Leonard.

SHOW PEOPLE (1928) Marion Davies, William Haines. Directed by King Vidor.

THE CARDBOARD LOVER (1928) Marion Davies, Nils Asther, Jetta Goudal. Directed by Robert Z. Leonard.

THE MATINEE IDOL (1928) Bessie Love, Johnny Walker, Lionel Belmore, Franklin Pangborn. Directed by Frank Capra.

LADY OF THE PAVEMENTS (1929) William Boyd, Lupe Velez, Jetta Goudal. Directed by D. W. Griffith.
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