WHAT SILENTS & PRE-CODES HAVE YOU SEEN LATELY?

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myrnaloyisdope
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Re: WHAT SILENTS & PRE-CODES HAVE YOU SEEN LATELY?

Post by myrnaloyisdope »

Well, I've watched several things in the past little while:

Lonesome - I watched this without knowing anything about it, and was pretty much floored by it. The opening 10 minutes are absolutely sublime. I loved the documentary quality of the two leads (Barbara Kent and Glenn Tryon) going through their morning routine, followed by the brilliantly realized montage of each of their work day. The sequence is an attention grabber because it is unlike almost anything I've seen in silent cinema, it almost manages to out-Crowd The Crowd. The rest of the film doesn't quite live up the intro, but it's still damn impressive. The crowd sequences at Coney Island are quite mesmerizing, as the screen is packed with people and confetti, giving a sense of claustrophobia that gets heightened when the two leads are separated from each other. It's really good stuff, though I would like to see a better quality version, as mine is less than stellar in picture quality, and features an awkwardly dubbed soundtrack, that doesn't include the talking sequences. But this really needs to be on DVD, or TCM or something, so the world can see it.

A Page of Madness - This is my second Japanese silent after Ozu's I Was Born, But..., and well it couldn't be more different. Essentially the film is an avant-garde film about a mental hospital. There are no intertitles, so I didn't really have a good sense of what was going on, but some the imagery was quite stunning nonetheless. I found the film had a disruptive quality, that made it a little uncomfortable. I'm not sure what to make of it really.

20,000 Leagues Under The Sea - Stuart Paton's 1916 version of the Jules Verne novel is worthwhile for only one reason: the underwater photography is absolutely marvelous. The storyline isn't particularly good, or well acted, but it doesn't matter it seems, they just serve as an excuse to film underwater. It's quite fascinating to watch men in old-timey diving suits firing spearguns at sharks in 1916. That's really it though, the rest of the film is quite a drag, but thankfully Paton had enough sense to use a lot of underwater footage to keep the attention of a disinterested viewer such as myself.
"Do you think it's dangerous to have Busby Berkeley dreams?" - The Magnetic Fields
feaito

Re: WHAT SILENTS & PRE-CODES HAVE YOU SEEN LATELY?

Post by feaito »

I have watched some Pre-Codes:

- Bill Wellman's "Heroes for Sale" with Dick Barthelmess the other day. A great, great movie. I must admit that Dick's character extreme idealism and good naturedness bothered me a little, because so many bad things happen to this grand person, but nevertheless life is like that sometimes and it's a compelling film. Very realistic movie that tackles a lot of social issues; excellent performances, especially by the wonderful Aline MacMahon -Barthelmess is also superb. Loretta Young plays Dick's wife and she's very fine too. Beautiful print. A must-see film.

- “His Woman” (1931), which I watched on Youtube. Thanks to this site I have been able to watch many rarities like “Don’t Be Afraid of the Dark” (1973) – a Cult TV Classic- and “The Story of Temple Drake” (1933).

I found this wonderful little movie much better than I was led to believe it was. I did not think that either Gary Cooper or Claudette Colbert, were miscast –as I read in some book. They worked fine and they made the most of it. But the baby, who looked just like the Gerber baby, stole the film from everybody. I looked up at Imdb.com and I noticed that the name of the baby is or was Richard Spiro and that he appeared in that only film.

Douglass Drumbille and Joseph Calleia appear in small roles. In all, an enjoyable and charming Pre-Code; definitely worth a look.

- Oscar Winner for Best Picture “Cimarron” (1931) a huge epic, and although it has its moments, as a whole I found the film dated and flawed. Maybe with a better director than Wesley Ruggles it could have been better, who knows?

The print included in the official DVD is pretty poor. I found the film episodic; Irene Dunne is not at her best here and Richard Dix is a bit too much sometimes, although in general he’s OK. I must say that enjoyed them much more in the offbeat William Wellman picture “Stingaree”. Still, the ending moved me.
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Re: WHAT SILENTS & PRE-CODES HAVE YOU SEEN LATELY?

Post by charliechaplinfan »

A Page Of Madness is very different to I Was Born But...

On a similar subject but forward about 30 years I watched The Naked Island. I didn't realise until I put it on that apart from a couple of songs sang in school it was a completely silent film. It held as much beauty as the big silent epics. The story takes place on a Japanese Island a couple of miles away from the mainland. The island is inhabited by a family of 4, they make a few trips in the rowing boat everyday to fetch water, the rest of the day is spent farming the arid and rugged land that they have. I felt every bit of the hardship of this family, every trial and tribulation. This is a wonderful silent film that has had a very good restoration.
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Re: WHAT SILENTS & PRE-CODES HAVE YOU SEEN LATELY?

Post by movieman1957 »

I saw DeMille's "The King of Kings" from 1927. For about the first hour I thought I was watching "Great Stories of Jesus." If felt very episodic with very little narrative to move from one scene to the next. It picked up when Jesus was arrested. It had a more cohesive line from there. Ok cast but good sets and some good special effects during the crucifixion. Maybe it was me but I didn't find H.B. Warner's Jesus all that interesting. He had a few good scenes. One especially nice one with some children but mostly he tried to look stoic and had very little personality in the character. I thought maybe he would cut loose when he threw the merchants out of the temple but he didn't get all that angry.

Recorded from a TCM broadcast the picture looked great.
Chris

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Re: WHAT SILENTS & PRE-CODES HAVE YOU SEEN LATELY?

Post by myrnaloyisdope »

I'm very glad that the forum is up and running again.

feaito, I am big fan of Wellman, and Heroes For Sale. I'm amazed at how dense the film is, with themes of war, poverty, communism, labor, technology, heroism and cowardice all being crammed into 70 minutes. Remarkably it never feels rushed either. A great film, and the print on the new Wellman set is beautiful.

Ooh, and Stingaree is worth watching if only to hear Andy Devine speak with a British accent.
"Do you think it's dangerous to have Busby Berkeley dreams?" - The Magnetic Fields
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Re: WHAT SILENTS & PRE-CODES HAVE YOU SEEN LATELY?

Post by feaito »

Hi Myrnaloyisdope! So long no see! I'm also glad these boards are up again, thanks to Jon, Moira, Lynn et al.

Yes, "Heroes fo Sale" is a movie that impressed me deeply and I think it is a true gem.

Since I am reading Howard Hawks' biography, as it usually happens to me when I'm reading about a certain actor, director, producer or film, I felt an urge of watching Hawks' films -especially those profiled in the chapters I am currently reading, like "Scarface", "The Crowd Roars" and "Tiger Shark" (1932).

Well, I remembered that I had the latter on a tape somewhere, I searched for it and I have just finished watching it. It is a great action picture and although I read that Edward G. Robinson said that Hawks let him chew the scenery in this movie, I think that he gives a heartfelt performance as the Portuguese fisherman -Mike Mascarenhas- with a heart of gold, who loves both his best friend Pipe (played by Richard Arlen) and his wife Quita (Zita Johann). His personification reminded me a little of Tracy's portrayal in "Captains Courageous" (1937). I must admit that the ending struck me as too sentimental and I feel that it must have been imposed by Warners on Hawks -I must finish the respective chapter to know more about it. I had only seen Zita Johann in "The Mummy" (1932) and although not very pretty in my opinion, the actress had an attractive personality and beautiful voice; she also had a special je-ne-sais-quoi that gave her aura of mystery and which intrigues me quite a bit. Dick Arlen is fine as Eddie's loyal pal and Vince Barnett is especially enjoyable as Fishbone. This tale of two friends' rivalry for the love of one woman has been told often, but the realistic fishing scenes, the settings, and the scenes which feature the sharks are very well done and entertaining. Good adventure film.

I have been curious for a while about Zita Johann's film "The Sin of Nora Moran"; Is it good?
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Re: WHAT SILENTS & PRE-CODES HAVE YOU SEEN LATELY?

Post by MichiganJ »

movieman1957 wrote:I saw DeMille's "The King of Kings" from 1927. For about the first hour I thought I was watching "Great Stories of Jesus." If felt very episodic with very little narrative to move from one scene to the next. It picked up when Jesus was arrested. It had a more cohesive line from there. Ok cast but good sets and some good special effects during the crucifixion. Maybe it was me but I didn't find H.B. Warner's Jesus all that interesting. He had a few good scenes. One especially nice one with some children but mostly he tried to look stoic and had very little personality in the character. I thought maybe he would cut loose when he threw the merchants out of the temple but he didn't get all that angry.

Recorded from a TCM broadcast the picture looked great.
I actually like DeMille's King of Kings quite a bit. It's really DeMille at his best, because only Cecil B. DeMille would open the "greatest story ever told" in, what is essentially a brothel! And the sequence is in two-strip Technicolor! "Harness my zebras--gift of the Nubian King!..." says Mary Magdaline , while stroking her pet leopard. And then a chariot arrives with no less than three zebras harnessed to it. That's hard to beat.

While I agree that Warner was a little too passive in his performance (and about 15-years too old), the rest of the cast is quite good. And, as you mentioned, the special effects are pretty impressive.

Did TCM show the Road Show version (about 2-hours) or the premier version (nearly 3 hours)? It's been awhile since I watched the shorter version, but I don't remember it feeling too episodic. Although, to be honest, most Biblical epics feel episodic to me, at least on some level.
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Re: WHAT SILENTS & PRE-CODES HAVE YOU SEEN LATELY?

Post by movieman1957 »

It had to have been the road show as it came in under the two hours. It was from a Silent Sunday Nights showing. I told my wife when the first scene opened up this was done by the same man who did "The Ten Commandments" (which we had watched a month ago) and that he spared no expense in his movies. Well, when the zebras showed up with their matching head pieces she voiced her agreement. As far as the cast goes I didn't mean to disparage them. I liked the man who played Pilate.

One thing that struck me odd was the crucifixion scene at Calvary. Jesus was nailed as is traditionally thought. The two on either side were seemingly tied on and they were not tied the same. At the way they looked it could have taken much longer than the usual several days to die. (Jesus' promise to the one notwithstanding.)

The color was a nice surprise.
Chris

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Re: WHAT SILENTS & PRE-CODES HAVE YOU SEEN LATELY?

Post by MichiganJ »

I re-wateched Jean Renoir's second film, Nana, based on Émile Zola's novel, and found it as enjoyable this time as I did on the first going. Unlike his first film, (the experimental Whirlpool of Fate), Nana doesn't rely on any cinematic tricks, but rather on setting and most importantly, characterization. Renoir's wife, Catherine Hessling stars, and she is quite broad in her performance, which some may find off-putting, especially since the other actors are quite restrained. But I think Hessling is dead on in her interpretation. Nana is, after all, a failed actress, at least when she appears on stage. But what her "act" does to men, however...ooo la la. Dr. Caligari himself, Werner Krauss, is but one of Nana's victims, and his performance is as pained and nuanced as Hessling's is broad.

The production cost a pretty penny (the film's failure nearly bankrupted Renoir), and it's all there on the screen. The sets and costumes are gorgeous. And Renoir's direction is quite impressive. There's a sequence near the end where Nana goes "slumming" back to the dance hall she used to frequent, joining in on the Can-Can, which Renoir captures beautifully. (And Hessling "can" dance.)

I also liked the score by Marc-Olivier Dupin, which captured the mood of each scene nicely.
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Re: WHAT SILENTS & PRE-CODES HAVE YOU SEEN LATELY?

Post by feaito »

Great review JMichigan, Nana is a film that I'd like to see.

I have watched two films today:

Firstly "The Fugitive Lovers" (1934) a comedy-drama that is kind of reminiscent of that same year's "It Happened one Night". Madge Evans and Bob Montgomery meet in a bus and become lovers-on-the-run. He's a cultured escaped convict, imprisoned for manslaughter and she's a chorus girl who's trying to get rid of Nat Pendleton, who's very good in his role of "Legs". The Madge Evans I watched in this film has nothing to do with the actress I saw in either "Son Of India" or "Dinner at Eight", she's lively, witty, wisecracking, I liked her very much. Bob's in fine form too. Maltin's two stars review is absolutely unfair. Boleslawski did a fine job directing this fast-paced film. And I liked the "arty" camera angles and close-ups derided in Maltin's book. Ted Healy did not annoy me this time and The Stooges are fine too. Akim Tamiroff has a bit role as a deaf-and-dumb man. Lots of excitement and very amusing. Thanks April!

Secondly I watched "Berkeley Square" (1933), a film that had eluded me for years. As a kid I was flabbergasted by the 1951 Remake "I'll Never Forget You" (1951) with Tyrone Power and Ann Blyth, which I got to revisit for the second time as an adult, only recently thanks to its release on DVD. I had read that the 1933 film was superior than its remake and to a certain point I agree. I guess that it's more faithful to its source -a stage play- and thus, its stage origins are more apparent in the 1933 film. I think that the screenplay of the first version is better, but the changes that were made in adapting the story in 1951 and the chemistry between Ty Power and Ann Blyth, improved on the original version from a Romantic point of view. The 1933 film is well acted and touching in some parts, but certain scenes have a too-stagey feeling, whilst the 1951 version, although not as impressive to watch as a grown-up, is more endearing and has a special magic quality that trascends the story. I'd like to watch a good copy of the 1933 movie, because the print I saw at youtube is quite poor. But I'm glad that I had the opportunity to watch it. Someone like Borzage would have been better suited to this material than Frank Lloyd.
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Re: WHAT SILENTS & PRE-CODES HAVE YOU SEEN LATELY?

Post by Gagman 66 »

:D Hey, It's good to see the site back up and running again, There was nothing here for several days time. I have seen lots of Silents over the past few weeks.

I bought the new Murnau set from Kino, and saw THE LAST LAUGH (1924) The new print restored by the Murnau Foundation is just fantastic! A gigantic improvement over the previous release. The new recording of the original 1924 score composed by Giuseppe Becce just knocked my socks oft too!

What I did not understand is why Emil Janning's age old and well liked Doorman/Porter is suddenly demeaned and scorned by his own family and the entire neighborhood, just because He is now a Men's Room Attendant? A job He reluctantly accepts. He really loved his work for all those years as a Doormen, I understand that, but why is being a Men's Room attendant handing out towels, and polishing a few shoe's so much worse of a thing??? :P

THE CIRCLE A completely forgotten MGM feature from 1925 directed by the great Frank Borzage. This is a very nice print that seems to have come out of nowhere? Had no music so I added a score, and the movie really came to new life. Awesome cast of players, including a young Joan Crawford in one of her very first film appearances during the prologue. The film Starrs Eleanor Boardman, and Malcolm McGregor. With Creighton Hale, Alec Francis, Eugenie Besserer, and George Fawcett all in the cast. Based on a Smash hit broadway play by Somerset Maugham, the film is so different than Borzage's later Classics at Fox like SEVENTH HEAVEN, STREET ANGEL, and THE RIVER. Basically, a movie about spouse stealing, and rather it was a good idea or not?

As the picture opens, the setting is Merry Ole' England In 1895, A ill-contented wayward wife "Lady Catherine Cheney" (Crawford) runs off with her husband Clive's best friend. Never looking back, leaving her abandoned child behind her.

We fast forward some 30 years, and Lady Elizabeth Cheney (Boardman) now married to the jilted baby of old Arnold (Hale) is contemplating doing the exact same thing! Running off with his best friend Luton, played by the much to handsome McGregor.However, Lady Elizabeth is not as yet completely committed to the notion. First she wants to see how well Lady Catherine did for herself. So she invites her and the wife-stealing Hubby "Lord Hugh Porteous" for a reunion of sorts after three decades apart. Just what might happen? As luck would have it unsuspecting old man "Lord Clive Cheney" a sportsmen, has a trusty rifle He keeps at the ready. Looks like He may have something to shoot with it very soon now! Oh My! Ah, the plot thickens. THE CIRCLE is a highly entertaining film, that seems a prime candidate to be scored and pop up on TCM one of these days. The film is in outstanding condition, so it does not need much in the way of restoration. I will work on a bigger review to post later on.

I had watched THE YANKEE CLIPPER (1927) just released on DVD by Flicker Alley as part of the UNDER FULL SALE collection. While I enjoyed the film, I was somewhat under-whelmed by it. There appeared to be a number of Title-cards that were absent? The people seemed have been saying allot to each other, but the titles often are not there to explain the conversations?

:) Child Star Junior Coghlan's character is indeed one of the bright spots in the film. I remembered him well from William Haines SLIDE KELLY SLIDE released the same year at MGM. In that film Junior really stole the show much of the time. As He kept insisting his scorn for Woman, I kept waiting for some cute 12 year old Miss to give him a jolt, but it never happened. Would be wonderful to see TCM interview the man, before He passes away.

;) This is a good solid restoration for the most part. Some sequences were razor sharp from 35 millimeter sources, while a few others appeared to be from 16 millimeter stock. Some tinting effects. Mostly a light green shade. There seemed to still be some key footage missing here and there, as the story skipped around quite a bit, and became more difficult to follow. Yet this is the most complete print since the film's original release according to Flicker Alley. A solid feature, not a great Silent, but still worth seeing.

:'(William Boyd is very much the stoic stone cold serious figure He was in THE ROAD TO YESTERDAY, and THE VOLGA BOATMAN. There is barely a hint of the more jovial fun loving William Dangerfield Phelps of TWO ARABIAN KNIGHTS. Elinor Fair is certainly pretty enough, but her character doesn't really have much depth in the picture. The Romance between her and Boyd is perhaps somewhat understated. Might have been a bit more involving.

Dennis James score is pretty much all Photoplay type music, and fits the mood of the film well enough. Solid scoring though nothing spectacular. Seeing it live would be a much different experience though I am sure.
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Re: WHAT SILENTS & PRE-CODES HAVE YOU SEEN LATELY?

Post by feaito »

Thanks to April I had the chance of watching Robert Montgomery's "The Mystery of Mr. X" (1934), a most entertaining mystery movie whose Pre-Code origins are very clear, because crime goes unpunished -at least thievery. Robert Montgomery skillfully plays a suave crook in the William Powell vein, and is most effective. His co-star is beautiful and elegant English Actress Elizabeth Allan, whose best known movies are "David Copperfield" and "A Tale of Two Cities" (both 1935). Henry Stephenson and Lewis Stone, two dignified actors who in my opinion are very much alike and share similar traits, play Allan's father & Head of Scotland Yard and the Superintendent, respectively. Ralph Forbes -Ruth Chatterton's first husband-, impersonates Allan's devil-may-care fiancé. One of the most amusing characters in this film is Forrester Harvey's taxi driver, who is Montgomery's sidekick and partner in crime.

Recommended. A picture that deserves to be discovered.
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Re: WHAT SILENTS & PRE-CODES HAVE YOU SEEN LATELY?

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Gagman 66 wrote:What I did not understand is why Emil Janning's age old and well liked Doorman/Porter is suddenly demeaned and scorned by his own family and the entire neighborhood, just because He is now a Men's Room Attendant? A job He reluctantly accepts. He really loved his work for all those years as a Doormen, I understand that, but why is being a Men's Room attendant handing out towels, and polishing a few shoe's so much worse of a thing??? :P
Roger Ebert did as good a job of explaining this to modern Americans as I've seen:
His tragedy "could only be a German story," wrote the critic Lotte Eisner, whose 1964 book on Murnau reawakened interest in his work. "It could only happen in a country where the uniform (as it was at the time the film was made) was more than God." Perhaps the doorman's total identification with his job, his position, his uniform and his image helps foreshadow the rise of the Nazi Party; once he puts on his uniform, the doorman is no longer an individual but a slavishly loyal instrument of a larger organization. And when he takes the uniform off, he ceases to exist, even in his own eyes.
I think that nails it -- it's not the job as much as it is the uniform -- lavish and overdecorated, it's the source of much of the doorman's self worth. Stripped of his finery, he becomes nothing.

Great, great film.
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Re: WHAT SILENTS & PRE-CODES HAVE YOU SEEN LATELY?

Post by charliechaplinfan »

Jon, what you say about The Last Laugh makes the character even more poignant. I understood that he was demoted to a job he found very demeaning after the job he had so loved but to add the meaning of the uniform, yes it speaks to everyone doesn't it, his friends, his neighbours and mostly himself. It is an incredible film.

I've watched a couple of Wellman films. Heroes for Sale follows an injured POW, captured by the Germans and sent home addicted to morphine, he is given a job by the man who took the honours and glory that were due to him. His addiction ruins his chances of employment and he is sent to a sanitarium, released he is a new man, finds a job in a laundry, new digs were he meets Loretta Young who he then marries and a mad German inventor who starts off a communist but as he invents a new machine to ease the jobs of the laundry workers and makes money from it becomes an ardent capitalist. Richard Barthelmess is a good choice for the lead, the broken man who comes home from the war and fights to find his place in society. He finds it only at the expense of the men he works with. When they revolt against the new owners of the laundry who have dismissed them from their jobs he goes along to stop it but gets arrested, his wife also tries to stop it and she is trampled to death in the process. 5 years in prison then he returns home to his son but he has to move on because he has been sentenced for inciting a mob to riot. He leaves his child to his ex landlady played with depth by Aline McMahon. Whilst he has been in prison he has got a fortune from the machine he promoted, he leaves this with the landlady who also runs a soup kitchen, she spends his money looking after others in need whilst he is pushed from state to state and lives on the breadline.

I knew the thirties in America`were hard but until recently didn't appreciate the amount of films that talk about the deprevation, this is one and probably one of the hardest hitting.

I also watched Frisco Jenny not as hard hitting but presents Ruth Chatterton a giid part to get her teeth into, the ending too rather surprised me and I have to say, without make up and with her hair scraped back at the end she looked far more beautiful.
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Re: WHAT SILENTS & PRE-CODES HAVE YOU SEEN LATELY?

Post by charliechaplinfan »

Well I've seen quite a few precodes since we were last here.

COQUETTE Mary Pickford's first talkie for me is a complete success. Mary won an Oscar for her role as Norma Beasant the coquette of the title. Taken from a Broadway play that starred Helen Hayes, Mary manages very well to portray a bright young thing with Johnny Mack Brown as her love interest, credit must be given to to Johnny Mack Brown and Louise Beavers for natural performances. Mary is a little stilted at times, probably due to the new technology and the direction. It's very much presented as a play, it's static like films of this era usually are. The film is to Mary's credit, good material pulled off very well for a lady of 37 (you'd never know) I'm so plased I saw this one.

MURDER AT THE VANITIES a great who dunnit precode, a star studded cast set backstage with musical numbers to boot. Performances that stood out, Victor Maclaglen as the cop and Toby Wing as a starlet.

OTHER MEN'S WOMEN I really liked this movie, it had realism, the scenes filmed on the train and by the railroad were a glimpse of history. James Cagney has a small part but he makes the most of it, and DANCES a little sometihng he should have done more of. Joan Blondell is great as the other woman. Mary Astor as the woman both men love, the ending was sad but I liked the effect.

ONE SUNDAY AFTERNOON Early Gary Cooper and Fay Wray. Interesting Gary Cooper plays a dentist and in flashback we look back at his youth, he wanted Fay Wray and ended up with her friend, Fay Wray didn't want him (was she mad) the moral here is that he was better off all along with the friend, Amy played by Frances Fuller.
Failure is unimportant. It takes courage to make a fool of yourself - Charlie Chaplin
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