WHAT SILENTS & PRE-CODES HAVE YOU SEEN LATELY?

[CoffeeDan]

Question--
I watched a film not long ago, from TCM, I thought it starred Ginger Rogers. Anyway, it was these two young people who fall in love, but before they can marry, a rich girl butts in and marries the man out from under the star. The man owns a gas station. And instead of being angry, the female star becomes friends with the rich girl and helps her paint and shop and everything. The rich girl's family is totally against the marriage and when she becomes pregnant, she goes back to NY and doesn't return. The man goes to find her and she tells him she wants a divorce and that the baby was a mistake (implied abortion? has to be a precode) and the man goes home to find the female star waiting for him, ready to pick up where they left off. Anyone know what this film was called?

That's CHANCE AT HEAVEN (RKO, 1934) with Ginger Rogers and Joel McCrea. Based on the 1932 Liberty magazine serial by Vina Delmar.

[Ann Harding]

I watched several silents recently. First, The Red Mill (1927) with Marion Davies. She is -as usual- absolutely delightful: lighthearted, mischevious with perfect comic timing. I nevertheless found the film's script rather flat. The sets were really somptuous. A nice feature.

*spoiler alert!*
Then I saw Rowland V. Lee's Barbed Wire (1927) with Pola Negri and Clive Brook. This is the first time I have seen Negri so understated as the young peasant woman. Her farm house becomes a PoW camp much to her distress as her young brother has gone to the front. But slowly she starts to be attracted by one German prisoner (C. Brook)....
The beginning of the film was impressive with the farm being surrounded by barbed wire and the prisoners arriving. The evolution of the characters were nicely underplayed. Unfortunately, I found the 'grand finale' with the return of the blind brother (which I saw coming a mile off...) to reconcile the neighbours a bit overdone. I am sure Erich Pommer had the best intentions when he produce this film, but, it become an anti-climax by milking too much our emotions. Nevertheless, a very interesting film indeed, where Clive Brook actually acts. Thanks Jeffrey!!!

[cinemalover]

I watched Fairbank's The Thief of Bagdad this past weekend. It had been decades since I had last seen it, and boy did I enjoy it. The special effects were fabulous for their era and Dougy makes a delightful scamp. If any one is interested I wrote the entire review over on my confessions thread. Good stuff. I gave it a 9 out of 10. This will undoubtedly make my list when we get around to voting for the Bestavorite Silents.

[MichiganJ]

Kino recently released a series of DVDs showcasing early women filmmakers and I just watched Lois Weber’s Hypocrites (1915). While there is no question that Weber was an accomplished filmmaker (the film features some brilliant camera movement, particularly an extended pan showing the various participants at a medieval feté), Weber’s problem is that she’s relentless in how she hammers her theme. She has the the subtlety of anvil dropping on your head.

Hypocrites is a good case in point, for the 50-minute running time, all she does is provide examples of hypocrites through vignettes, in which the “Naked Truth” holds up her mirror to show various hypocrisies. For instance, the hypocrisy in the “Home”, Weber has a doctor attending an ailing infant, while her brother prays and her mother and father worry. When “Naked Truth” holds up her mirror, it is revealed that the parents had allowed the sick infant to eat directly from a box labeled “indulgence” while her pre-teenaged brother sits nearby, engrossed in a book he’s reading. (And why not, the book he’s reading is titled Sex. See what I mean about the anvil?)

Even for a film from 1915, the over-all preachiness, and frankly, the obvious “revelations”, makes one wonder who was Weber’s intended audience? While the film was a big hit, I suspect that may be more because of the controversial choice to have the Naked Truth played by an honset-to-goodness (and uncredited) double-expossed naked woman!

Interestingly, earlier in the film, a monk is killed after unveiling his statue of “Truth”, which he also represented by sculpting a naked woman. So in some ways, Weber’s film is bullet proof, because she sets it up that if you disapprove of her naked actress portraying Naked Truth, you are a hypocrite.

Since I heartily approve, I guess that proves I’m no hypocrite....

[charliechaplinfan]

The Thief of Bagdad is brilliant isn't it. It perfectly showcases what was great about Doug and what made him so popular.

My version of Orphans of the Storm is the Kino version. It was the best available at the time. The soundtrack fits the film very well.

Last night I saw the Kino release of Warning Shadows. This is a German film without intertitles. I thought The Last Laugh was the first film without titles but it was this film directed by Arthur Robison.

The story is about a young married couple in the 19th Century, the wife has four other suitors and the husband is very jealous and possessive, they have a dinner party. In the middle of the party a shadow maker (he throws shadows on the wall) arrives and he shows the party what could happen. It has a sobering effect on all present.

The film has been beautifully restored. It is harder to watch and keep up with because of the lack of intertitles. Partly because there's no names to grasp at and some actors have a habit of looking the same to me. I managed though, and if I can manage it with constant interruptions, children wanting water etc anyone can. It's a worthwile effort.

[bdp]

I have the KINO version and it's very good (IMO). It has the original 1922 score by Louis F. Gottschalk & William Frederick Peters, arranged & performed by Brian Benison.

Brian Benison is a hack. I don't think there is a definitive version of 'Orphans' out there.

[MichiganJ]

Aside from the various budget releases, there are two versions of Orphans of the Storm available on DVD in the U.S., but I believe the Image and Kino versions are identical. They are both produced by David Shepard and contain the same (and in my opinion, wonderful) score performed by Brian Benison (from the original 1922 score).

The only difference in the two are found in the supplements. The Image DVD has none, but the Kino offers an introduction by Orson Welles (from a ‘70’s PBS series, I believe); footage of D.W. Griffith’s funeral; the radio eulogy for Griffith by Erich von Stroheim; and the short, Rescued From the Eagle’s Nest, staring (you guessed it) D.W. Griffith himself!

[charliechaplinfan]

Yes, that's how I decided on the Kino disc over the Image disc.

I've been a fan of Carl Dreyer since seeing Day of Wrath. Finally I got hold of The Passion of Jeanne D'Arc. I just know now I can't do this film justice. I've just sat for 80 minutes transfixed watching the final trial and execution of Joan Of Arc.

This is the best performance I have ever seen in a silent film Maria Falconetti as Joan. Every bit of pain showed on her face, words weren't necessary apart from the transcriptions from Joan's trial. Her face conveyed it all, tears, sorrow, inner torture, grappling with her feelings, trying to find solace amongst the priests, not understanding their desire to trip her up and the baying for blood of some of the guards.

The execution seems very real and symbolic. A flock of birds that circle upwards take the pain away from her execution, they are carrying her soul to heaven.

Dreyer is a marvellous director. This film was lost until 1981, thank heavens it was discovered in my life time.

[MichiganJ]

In my estimation, The Passion of Jeanne D’Arc is a perfect film. And I agree, Maria Falconetti gives, probably, the greatest performance by an actor in a Silent film. Maybe in any film...

[Gagman 66]

Everyone,

Where to begin??? Christine I find THE RED MILL to be a highly entertaining film, and among the great Silent comedies. Much better in-fact than several of the better know ones. I love the whole nutty cast. Marion Davies is the Star without question, but what a supporting cast of crazies like Karl Dane, and Louise Fazanda! I'm used to seeing Owen Moore as a villain, just the opposite here. George Siegmann, is always good. This is just a fabulously funny film! One of my favorites!

Same goes for TWO ARABIAN KNIGHTS. Lewis Milesstone somehow molded the most unlikely of combinations in William Boyd, and Louis Wolheim into a top flight comedy team! This is one off the most hilarious films I have ever seen anywhere! Mary Astor doesn't have allot to do but makes her presence felt! Ian Keith is there for good measure. A very underrated feature! Most everyone I have shared this one with went crazy over the movie!

I guess I didn't have the foresight that you did concerning the ending of BARBED WIRE. To me this one of the great unknown drama's of the 20's. Personally, I like this film better than WINGS, and they were both released at about the same time by Paramount. Pola Negri is great here. Nothing like the Vamp she is stereo-typically remembered as. I reviewed Lubitsch THE DOLL elsewhere.

Interesting that the Kino and Image DVD's of ORPHANS OF THE STORM are pretty much the same? There is a more recent version of this film produced by Kevin Brownlow's Photo-play productions. Unfortunately, I have not seen it and it has yet to appear on DVD.

Cinemalover, which version of THE THIEF OF BAGDAD did you see? Frankly the very best version is the Thames one from the 80's, which I have from Laser-disc. However, the current Kino DVD with the Mont Alto Orchestra score, is still pretty good too.

Hedvig,

THE DELICIOUS LITTLE DEVIL is a very fun film. Quite a different impression of Mae Murray than THE MERRY WIDOW provides. I agree that the film moves a little to fast. Murray was already 30 years old in 1919, playing a character of maybe 18 or 19? Some have commented that she was too old to be Sally O'Hara by the time THE MERRY WIDOW was produced? I have seen her in a couple other films, but I do not recall the titles at the moment? So many of her films have been lost.

Alison,

While I concur that THE PASSION OF JOAN OF ARC is a great film, but I find it very painful to watch at times. Must confess, I have never managed to get through CALIGARI as of yet from start to finish. I will one of these days though. I've heard about WARNING SHADOWS from some otrher people before. This is one film I do not have yet.

Myrna,

I am a big Ginger Rogers fan. I know that have PROFESSIONAL SWEETHEART recorded off TCM around here someplace. I will have to look it up when I have some time.

Michigan 3,

I have seen THE HYPOCRITES on both the old AMC, and TCM, but that was quite some time ago. I do not remember it very well. Is the new Kino DVD worth buying?

[drednm]

I agree Jeff, about BARBED WIRE. Even if you see it coming, it's a terrific ending.

I also agree about THE RED MILL as one of the great underrated comedies of the silent era, especially with the arc about the "haunted mill." Very unexpected. Of course I've liked every Marion Davies film I've ever seen. Am still looking for TILLIE THE TOILER.

[charliechaplinfan]

In my estimation, The Passion of Jeanne D’Arc is a perfect film. And I agree, Maria Falconetti gives, probably, the greatest performance by an actor in a Silent film. Maybe in any film...

The film has stayed with me. My first impression was that she was too old, Joan was 19 but it didn't matter, it wasn't about her age just the great performance.

I enjoyed The Red Mill although I wouldn't rate it as high as The Patsy and Show People. It is nice to see Owen Moore as a 'goody'.

[ChiO]

MichiganJ & CCF: I agree with you 100% on THE PASSION OF JOAN OF ARC. If there is such a thing as a perfect film, it and CITIZEN KANE are my nominees. And Welles and Dreyer are my two favorite directors (with Jacques Tourneur being right behind).

Although the new soundtrack to THE PASSION... is beautiful, I prefer watching it in silence. "Transfixed" is also the perfect word to describe my viewing experience. Rudolph Mate's cinematography, Falconetti's and Artaud's performances, Dreyer's direction...it is a revelation.

[charliechaplinfan]

I had the choice and I chose to watch it with The Voices of Light. I thought it fit but I will watch it again because it had such an impact on me and I will watch it in silence.

[Synnove]

Gagman, yes, she didn't look her character's young age in certain scenes, but I think that mostly she had a fresh appeal which made it work. She was also pretty funny, the faces she made were fstrange but good ina lighthearted slapstick story. I liked that film a lot.

CCfan and MichiganJ: I've long put off seeing The Passion, but now I'm putting it on my list!

MichiganJ, re. Lois Weber, you describe the same sense I've got from seeing some of her other films, something which has made me weary of buying Hypocrites. I wish more of Alice Guy's films were available for viewing instead.

I saw The Doll, which Gagman 66 has already written a review of. I pretty much agree with him. It's a delightful film, set in a fake fairytale world which brings to mind the illustrations of an old-fashioned children's book. Considering the story, that's entirely appropriate. Ossi Oswalda is fun to watch as the doll, who likes to live it up and dance when her slightly dim-witted 'husband' isn't looking. She was called the German Mary Pickford, and although she isn't quite like her, she has a charm all of her own, and a good sense of humour.

The documentary Lubitsch in Berlin is also worth seeing. It's very thorough in detailing his early years, using film clips and interviews with his relatives to paint a full picture. It kind of skips the rest of his life. Oh well, it's called Lubitsch in Berlin after all.

Lubitsch might have grown more polished in Hollywood, but some of the enjoyable, untaimed surrealness of his early style disappeared there, I think.