WHAT SILENTS & PRE-CODES HAVE YOU SEEN LATELY?

[Moraldo Rubini]

I have the American version of A LADY TO LOVE and it's not a bad film at all.... I'm reading Edward G. Robinson's autobiography and he has nice things to say about Vilma Banky. Oddly he also claims the film did well although legend has it that the film flopped and sent Banky back to Europe.... I thought she was very good and sounded very much like Garbo.

Until seeing it yesterday, I hadn't realized there was an earlier version of They Knew What They Wanted. And it seems A Lady to Love is even a remake of the earlier The Secret Hour with Pola Negri and Jean Hersholt in the lead roles. And of course, these versions of the Sidney Howard story all ended up as the musical Most Happy Fella. The American version is tamed a bit. In the German version Vilma Banky is pregant with Buck's child. In the American version they have an affair (I believe only depicted with a kiss).

[Synnove]

I saw the Douglas Fairbanks version of The Three Musketeers yesterday. I must say, I was positively surprised. I have always heard that this is one of his slower films, and that it moves at an uneven pace. Well, that is undoubtedly true, but the second half of the film, once the plot points have been established, is a delightful adventure. It's great fun to watch Fairbanks as D'Artagnan, inspite of his unsuitable wig. This character is perfectly cut out for him. I think it suits him better than Zorro, probably because the aristocratic kingdom D'Artagnan lives in suits Fairbanks's sensibility better than Zorro's world of social injustice. I'm used to seeing Zorro as someone who fights for the poor, and when Fairbanks chooses not to focus on that in The Mark of Zorro it rings false for me. But there is nothing that rings false for me about D'Artagnan in The Three Musketeers.

The actresses playing Constance, Queen Anne and Milady DeWinter are all good - Barbara Lamarr is especially memorable as the scheming Milady who should have had more screentime. To begin with I thought they all looked pretty much the same though, all had the same facial features and hair, and of course the makeup lack of colour film helps make them all look very similar to one another. Women film stars could look very individual in films of the early 20's of course, but in Fairbanks movies the women aren't all that striking. Actually, the most striking thing about this film is the hats: my sense is that like Pirates of the Caribbean, this movie is in fact really all about hats.

I wonder what the French version of the film from that time is like. I hope we'll get to see it someday. All in all, the Fairbanks films are delightful entertainment, and great escapism.

[charliechaplinfan]

I rewatched The Wedding March wih Carl Davis's wonderful score. I think Von Stroheim's films are made to be viewed more than once, I picked up so much more second time around, I felt like I was almost watching a different film. Carl Davis's music helps bring Vienna to life and the waste and debauchery of Nicky's family. The film has three marriages at it's heart, that of Nicky's parents who obviously married for the advantage to be gained rather than love, the arranged marriage of Nicky to his crippled intended (played wonderfully by Zasu Pitts, looking remarkably like Lillian Gish) and Mitzi and Schani, the most odious because for Mitzi there is no advantage, no wealth to be gained just marriage to a brute. What is Von Stroheim saying about marriage? or is he just commenting on the European class system and snobbery. I'm not sure but it's awfully good viewing and my favorite Von Stroheim.

I saw Zoo In Budapest too. What a lovely little film, a fairy story almost. Animals always capture me, so I was hooked from the start, I was completely dragged into the story of the Zoo as it close and the almost hilarious escape of one of the orphan girls played by Loretta Young who has been incouraged in her escape by Zani played by Gene Raymond. The scenes at the finale are quite amazing, they look so dangerous the fighting large cats. I hope noanimals were harmed during the filming. The interaction of the animals with the cast made the film endearing. A little gem.

[Jezebel38]

I went to a swell lecture today on early Hollywood sound films that were made in German (and French, Spanish and Italian).

Where, pray tell Mr. Rubini, did you see these films screened?

[feaito]

I went to a swell lecture today on early Hollywood sound films that were made in German (and French, Spanish and Italian). We saw extensive clips of Edward G. Robinson and Vilma Banky in A Lady to Love. The English-language version featured a handsome Robert Ames as Buck; the German version had a less impressive fellow in the role. [Anyone know Robert Ames' story? I understand he was married to a young Vivienne Segal(!); how did he come to die so young?]

I'd seen the two Anna Christies before, but since I'd never watched them back-to-back and hadn't realized the many differences (both technical and aesthetic) between them.

We also saw various versions of The Big Trail. Most startling perhaps, was the German prologue (Die Grosse Fahrt) which declared it was a story of the importance of German immigrants' pioneering spirit in crossing and developing the land that would become the USA!

A Laurel and Hardy feature Der Spuk um Mitternacht/Murder Case that we saw in three languages featured an interesting change in dialogue:

Spanish version (all said in halting American-accented Spanish):

H: Don't you have an uncle name 'Laurel'?
L: Sure I have.
H: Where is he?
L: He's at the Medical University in Barcelona.
H: He's a doctor?
L: No, he's in a speciman jar.

English version:

H: Don't you have an uncle name 'Laurel'?
L: Sure I have.
H: Where is he?
L: He fell through a trap door and broke his neck.
H: Was he building a house?
L: No, they were hanging him.

Both dark, both startling, but quite different.

It was delightful to see a young Charlotte Greenwood playing with Buster Keaton in Parlor, Bedroom and Bath, even though she paled in grace next to the German version's (Casanova wider Willen) Marion Lessing.

It was amusing to see Joan Crawford and John Gilbert struggling with their german in Wir schalten um auf Hollywood, though Adolph Menjou was so adept at it, it seems odd he wasn't used in Hollywood's German exports.

We also saw scenes from The Big House juxtaposed with its french and german versions. Egon von Jordan was impressive in the Robert Montgomery role. It was fun to see Charles Boyer in the Chester Morris part.

What a treat Marco! Early '30s Hollywood films' multiple language versions are one of my passions and I've seen very few of them.

You are lucky!!

[Gagman 66]

Alison,

I too watched the Photo-play version of THE WEDDING MARCH a few weeks ago. I agree that Carl Davis fabulous score really brings the film to life. Fay Wray was exceptionally beautiful in this picture. I would likewise concur that I nearly mistook Zasu Pitts for Lillian Gish myself! That sounds on the face of it like a rather odd comparison, but not in this movie! Astonishing.

And yes Von Stroheim is great with what I took as sort of his own spin in some ways on THE MERRY WIDOW. Having not been allowed by MGM to finish that film in the manner in which He had intended. Certainly his Prince here appears to be something of mock John Gilbert stereo-type. It's hard to believe that as an actor Von Stroheim could be effective, and romantic in such a role, but his most certainly is. The ending left me yearning for the Tie-in follow-up THE HONEYMOON which frustratingly does not exist! Or at least is now considered to be lost. With any luck a print will yet surface.

Though this was a more recent restoration then the older Paramount laser-disc release, some sequences seem to look much improved, while others I didn't feel looked as good pictorially speaking. THE WEDDING MARCH just does not seem to survive in as good of a condition as some other Paramount Silents, such as THE COVERED WAGON, OLD IRONSIDES, THE DOCKS OF NEW YORK, and THE LAST COMMAND for example. The lone Two-color Technicolor sequence was pretty sharp though. Again this photo-play version was produced in 1998, so it is already over 10 years old.

Thanks much to Christine for obtaining me a copy! I probably would have never gotten to see this edition with English title-cards if not for her determined efforts!

[charliechaplinfan]

It is a film to treasure that's for sure.

[MichiganJ]

In regards to Fairbanks and The Mark of Zorro, it must be remembered that Fairbanks originated the part on screen. It came from a short story, which, if memory serves, Mary Pickford showed her husband. With Zorro, Fairbanks created a genre--the swashbuckler--and if it has a bit too much foppish humor, I see it as the film that bridged his earlier comedic roles to the roles in which he would always be remembered. Like Fairbanks' Robin Hood, which spends nearly the first half of the film establishing the legend (and, perhaps suffers because of it. But, I think that is because we--the modern audience--already know the legend and want Robin and his Merry Men from the get go--ala Errol Flynn's version), The Mark of Zorro is set on establishing, both the character and the genre. It actually amazes me how closely the swashbuckling genre adheres to the formulas established by Fairbanks.

The sequel, Don Q, Son of Zorro also doesn't necessarily portray Zorro (father or son) as the later Hollywood Zorro's would, as the protector of the poor. But it is also pretty great. (While "dad" wields a sword, "Jr." is a master with the whip.) It's a film that proves the lie about Hollywood and sequels...Son is every bit as good as Mark, probably better. In fact, Fairbanks' sequel to The Three Musketeers (One of my favorite Fairbanks films. Who cares if Doug is too old for D'Artagnan?), The Iron Mask is an absolute must see. Fairbanks' swan-song to silents is exciting and fun, and has a brilliant ending.

(Another silent sequel that is better than the original is Valentino's Son of the Sheik. While The Sheik is barely watchable--certainly the worst "famous" silent film--Son of is great fun and probably Valentino's best movie.)

(The sequel curse, I think started with talkies. "Son of Kong" anyone? Anyone?....)

[MichiganJ]

As to multiple language films:

I'm fascinated about how things are translated, since language is so nuanced, even from region to region, let alone country to country. Since many of my favorite films are "international", I always feel I'm loosing quite a bit with the subtitles (but, they are far better than suffering through a dubbed film). I find it fascinating, and quite telling, that many "international" films are re-issued with "improved" subtitles. It makes complete sense, of course, and some of the films come with multiple subtitles (Criterion's latest release of Kurosowa's Throne of Blood has two, and both seem "right".) I remember reading in high school Homer's Illiad and Odyssey. Boring. But a few years ago I read a new translation by Robert Fagles and they were real page turners (Really! And Oh Brother Where Art Thou became that much funnier, too!)

Obviously a word-by-word translation of any text is impossible, and it makes me wonder how works like Shakespeare actually "work" in another language. Somehow they do. Victor Hugo is one of my favorite authors, but I can't read French (I wish I could, I just don't have the language gene).

I remember when I got the laser disc of Monty Python and the Holy Grail, they included a snippet of the film dubbed in Japanese and the Japanese was re-translated back into English as subtitles.
In the French Castle sequence, the French soldier taunted Arthur and his "K-nigits" with phrases like:

"I'll chop off your heads, English pigs!
Before it's too late, you'd better withdraw and scavenge for food in the rubbish heap.
If you come closer, I will throw my runny nose on you.
Come back the day before yesterday!"

And forget about the whole, Knights who say "Ni" sequence...

Oh yea, the film's title in Japan was Monty Python and the Holy Sake Cup.

On topic, the Spanish language version of Dracula is far better than the Browning version (although Lugosi is a better Dracula). Browning's film has the opening and closing sequences, but draaaaaags in the middle. The Spanish version flows much better (and is much sexier, too.)

[feaito]

I finally watched "Beyond the Rocks" (1922) and it's an entertaining melodrama graced by the charms of two of thw Silent Cinema's biggest legends Swanson and Valentino, who look very well together. Being currently reading Swanson on Swanson, it was an added treat to watch this film, although some of the things Gloria tells about the film in her autobiography do not match what I saw. Robert Bolder, the actor who plays Gloria's elderly husband is most moving in the final scenes in the desert; very fine indeed.

I did not like very much some portions of the score and the sound effects though.

[Synnove]

In regards to Fairbanks and The Mark of Zorro, it must be remembered that Fairbanks originated the part on screen. It came from a short story, which, if memory serves, Mary Pickford showed her husband. With Zorro, Fairbanks created a genre--the swashbuckler--and if it has a bit too much foppish humor, I see it as the film that bridged his earlier comedic roles to the roles in which he would always be remembered. Like Fairbanks' Robin Hood, which spends nearly the first half of the film establishing the legend (and, perhaps suffers because of it. But, I think that is because we--the modern audience--already know the legend and want Robin and his Merry Men from the get go--ala Errol Flynn's version), The Mark of Zorro is set on establishing, both the character and the genre. It actually amazes me how closely the swashbuckling genre adheres to the formulas established by Fairbanks.

The sequel, Don Q, Son of Zorro also doesn't necessarily portray Zorro (father or son) as the later Hollywood Zorro's would, as the protector of the poor. But it is also pretty great. (While "dad" wields a sword, "Jr." is a master with the whip.) It's a film that proves the lie about Hollywood and sequels...Son is every bit as good as Mark, probably better. In fact, Fairbanks' sequel to The Three Musketeers (One of my favorite Fairbanks films. Who cares if Doug is too old for D'Artagnan?), The Iron Mask is an absolute must see. Fairbanks' swan-song to silents is exciting and fun, and has a brilliant ending.

(Another silent sequel that is better than the original is Valentino's Son of the Sheik. While The Sheik is barely watchable--certainly the worst "famous" silent film--Son of is great fun and probably Valentino's best movie.)

(The sequel curse, I think started with talkies. "Son of Kong" anyone? Anyone?....)

The Son of Kong, yes. But at least it had a slightly creative title. Unlike the ones that just tack on numbers, Spiderman 2, 3, 4 etc.

I read about the original magazine story The Mark of Zorro was based on right after seeing the film, and the film actually seems to be very faithful to that story. I guess my quibble with the film is based partly on what the concept of Zorro has become in my mind which is influenced by later incarnations (he's my favourite superhero if you couldn't tell) and with how well the story could have been told. If the story had been less about Zorro dealing with his own problems and more about fighting against an actual oppression, it would have been a more memorable film. And I think Douglas Fairbanks could have pulled it off without sacrificing the sense of fun the story has. I tend to think it's more fun to see villains ridiculed if they're really villainous. But I won't deny that the film is great fun and had a wonderful charm.

I know of course that it's the very first adaptation of Zorro, that it's a silent film from the developing years and Fairbanks's first costume movie, so it's probably unfair of me to be so critical of it. I guess I'm so used to arguing for the merits of silent movies, both the comedies and the dramas, so I criticize the ones that don't live up to my expectations. Then again, I should probably stop watching these films with my overly critical parents as well.

Thanks for the recommendation of The Iron Mask! It seems like a wonderful movie, and it's a shame it wasn't included in the box set.

[feaito]

I watched a quite delightful comedy with Mae Murray: "The Delicious Little Devil" (1919), in which she demonstrates her great skill as a comedienne. Her persona in this film reminded me of Marion Davies' in her 1920's comedies, quite uncannily. Valentino has an uninteristing secondary role as her suitor.

A very pleasant surprise. Mae Murray is very good!

[coopsgirl]

I watched Wild Horse Mesa (1925) a couple days ago and it was a pretty fun film. It stars Jack Holt, Douglas Fairbanks Jr., Billie Dove, Noah Beery, and George Magrill in a Zane Grey story. I got this one b/c Gary Cooper has an uncredited role as a cowboy and I think I spotted him in the background standing in between a couple of horses during one shot. It’s the earliest I’ve seen him in anything as 1925 was his first year in pictures when he worked mostly as a stunt rider or an extra.

I have to say George Magrill, who played one of the bad guys, looked an awful lot like Gary at least in long and medium shots. Up close though they looked different. Eugene Pallette, a wonderful character actor with the bull frog voice, also had an uncredited role in the opening scenes as a townsperson.

I’m not sure where this was filmed but the scenery is definitively western, with stretching vistas of rocks and canyons that the wild horses run through unabated. The cinematography was very good as well as the acting all around. I got my copy from Grapevine Video and can definitely recommend this one.

[Ann Harding]

I have been revisiting Rouben Mamoulian's City Streets (1931). I saw it 2 years ago on a big screen and was amazed by Lee Garmes' superb cinematography.


Nan (Sylvia Sidney) enjoys a good living helping her stepfather who is a bootlegger. Her boyfriend Kid (G. Cooper) is an honest young man though not rich. She tries to push him to get into the beer business. He refuses until one day, when Nan is sent to prison...
This early gangster picture shows what a great technical innovator Mamoulian was in the early years of talking picture. He used subjective camera, symbolism and also sound to reflect somebody's thoughts. Lee Garmes makes miracles with his camera. I particularly love that scene with Sidney and Cooper by the sea. It's very unusual at the time to see an outdoor scene like that. Sylvia Sidney is superb as the girl who discovers that her easy life was not quite what it should have been and tries to reform, herself and her boyfriend who fell into the same trap. I should mention Paul Lukas, playing excellently the suave mob boss and Guy Kibee whose good-nature hides a nasty killer instict. Lovely!

[coopsgirl]

Thanks for the screencaps of City Streets. I had no idea it could look that good. It’s such a fun movie and I love the kinda of artsy art deco look about it.

Interesting too that the TCM logo is on the top and not the bottom as it is here in the states.