I just watched Sergei Eisenstein's "Strike" from 1924.
I liked it. It had a real dynamic feel. The tension and the action built and built like few other movies I've seen. The only scene that didn't really work was when the Tsarist police spy went to talk to the criminal boss, whose gang seemed to consist entirely of deformed people. It was as if Tod Browning had suddenly directed part of this movie while Eisenstein was ill.
I'm a little puzzled as to why this film never got the attention lavished on "Battleship Potemkin" and "October." "Strike" is well worth a look for anyone interested in silent film.
WHAT SILENTS & PRE-CODES HAVE YOU SEEN LATELY?
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myrnaloyisdope
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Strike is quite good. The comedy in that film was completely unexpected. But I think in the scheme of things people generally view Eisenstein's silents as Potemkin and then every thing else. I've never had the sense that people view October as being significantly better than Strike
Potemkin is overrated, but the Odessa Steps sequence is as good as anything ever committed to film.
I think the Ivan The Terrible films are Eisenstein's best work though. They are the least bogged down by propaganda, and they are his most refined and introspective films.
Potemkin is overrated, but the Odessa Steps sequence is as good as anything ever committed to film.
I think the Ivan The Terrible films are Eisenstein's best work though. They are the least bogged down by propaganda, and they are his most refined and introspective films.
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charliechaplinfan
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I've been watching The Fanny trilogy of the last three nights. It's so great I just don't know where to start 
The trilogy is made up of three films Marius, Fanny and Cesar in this order.
Marius begins in Cesar's bar on the dockside in Marsielles. Marius his son played by Pierre Fresnay has dreams of becoming a sailor. Fanny works outside the bar selling shellfish. She has been friends with Marius since they were both children. She loves Marius but thinks that he doesn't love her. Panisse one of Cesar's childhood friends asks for Fanny's hand, her mother is pleased with the match as Panisse has money. Fanny confesses to her Mother that she wishes the proposal had come off Marius. When Fanny meets Panisse in Cesar's bar under the eye of Marius, Marius realises his true feelings for Fanny. Marius decides to put his dreams of the seas behind him and settel with Fanny. They start courting and spend time in bed. In a wonderful scene Fanny's Mother comes home early from her sister's and sees Marius's clothes in her kitchen. She opens the bedroom door and sees them lying together. Instead of going mad at them, she goes to see Cesar and talks about what to do. They must marry immediately, both parents pretending that they will condescend to let their child marry the other. Whilst the parents matchmake Fanny overhears a conversation Marius has with a sailor who wants to recruit him, he'd love to but there's Fanny to think of now. Fanny realises that she must let him go. He'd never be satisified until he'd been to see. The films ends as Marius leaves with Fanny's blessing and Fanny fainting in Cesar's arms.........
Fanny immediately picks up where Marius left off. Cesar is unaware that Marius has gone. When he realises, he is distraught. He doesn't hear from Marius for over a month and his circle of buddies (their banter through all three films is priceless) try to talk to him and help him. He is in the midst of telling them how he wouldn't even read Marius letter if he did send one, when one arrives, Cesar pretends to ignore it and the friends deprart so he can read his letter in peace. Fanny comes into the bar to hear. Marius has signed on for five years but had been able write beforehand as the ship had been in quarantine. Fanny however is not well, pining over her lost love and pregnant. She tells her Mother, who hits the roof, another fainting fit because that morning Panisse had renewed his intentions to court Fanny. Fanny goes to Panisse and tells of her problems. He wants her anyway. A man of 50 with no children, he's happy to bring up this child as his. The marriage goes ahead, with Cesar's blessing and meddling. He will be godfather and the child will be called Cesar. The child is born and Panisse is a wonderful father. Marius returns after discovering himself in love with Fanny when he was in the South Seas and unable to forget about her and finds out about the baby. He goes to Fanny's home, Panisse is away to reclaim what is his but Cesar knowing what he is up to comes and stops the couple before things get out of hand. He talks reason into the couple and Panisse returns, desperately wanting to keep his family. Fanny though wanting to go with Marius knows that Panisse is a kind man and will be the better father and husband to her and knowing it is the right thing to do, stays with Panisse as Cesar drags Marius away from his child and Fanny....
by this time I was dying to watch Cesar to see how it ended up
Cesar meaning the grandfather and grandson starts with Panisse dying although he takes at least half an hour to expire and the dialogue is very witty. Fanny is left a widow and Cesar her son is 20 years old. He knows nothing of Marius but before Panisse had died the priest had implored that he be told (the rest of the town seemed to know anyway) when Fanny tells Cesar that his beloved father was not actually his father, he is confronted with the fact that his lineage isn't as grand as he thought it was. He is a little bit of a snob having been educated away from home and given the best that Panisse could afford. He visits his godfather/grandfather to ask him about Marius. Grandfather Cesar hasn;t seem Marius for 13 years, the last time they rowed, he tells Cesariot (the son's pet name) where Marius can be found. Cesariot then goes and finds Marius but doesn't reveal who he is but he does get him to talk about his family and what happened from his point of view. Just as you think they are going to be better acquainted Marius's business partner has some fun at the posh boys expenses and tells him that Marius smuggles opium and os a burgular. Marius is mad but the boy has left. Only by chance the business partner later finds out who the boy was and rerights the wrong he had done. The final film ends with Cesar, Cesariot, Fanny and Marius together talking through their difference for the sake of Cesariot.
The final reel of the film shows Fanny and Marius meeting, still in love with one another but Marius not knowing if it was right for them to be together until old Cesar comes along and tells them that their son wants them to marry.
It's melodrama but of the highest order. I don't understand French and have to read the subtitles but I can tell this is acting of the highest order. Raimu, here is an actor I want to know more about, is so perfect, fatherly, cumudgeonly, irrascible, lovable, honorable. He loves his son more than anything in the world and conveys it in so many ways without telling him so and Pierre Fresnay inhabits Marius, you can feel his longing and when he returns to find his Fanny and baby, he is tormented, everyone is against him but it is his father's role, a betrayal in his eyes that he feels most of all. Orane Demazis completes the trio although good, she doesn;t quite hold a candle to the men.
A final word, the humour in this script, the openess about mistresses and everyone knowing about them, even the wives, poking fun at he church.
(The doctor tells the priest to stop visiting his patients because they seem to die after seeing him) the camaraderie and open cheating of the men in the bar.
It's wonderful
The trilogy is made up of three films Marius, Fanny and Cesar in this order.
Marius begins in Cesar's bar on the dockside in Marsielles. Marius his son played by Pierre Fresnay has dreams of becoming a sailor. Fanny works outside the bar selling shellfish. She has been friends with Marius since they were both children. She loves Marius but thinks that he doesn't love her. Panisse one of Cesar's childhood friends asks for Fanny's hand, her mother is pleased with the match as Panisse has money. Fanny confesses to her Mother that she wishes the proposal had come off Marius. When Fanny meets Panisse in Cesar's bar under the eye of Marius, Marius realises his true feelings for Fanny. Marius decides to put his dreams of the seas behind him and settel with Fanny. They start courting and spend time in bed. In a wonderful scene Fanny's Mother comes home early from her sister's and sees Marius's clothes in her kitchen. She opens the bedroom door and sees them lying together. Instead of going mad at them, she goes to see Cesar and talks about what to do. They must marry immediately, both parents pretending that they will condescend to let their child marry the other. Whilst the parents matchmake Fanny overhears a conversation Marius has with a sailor who wants to recruit him, he'd love to but there's Fanny to think of now. Fanny realises that she must let him go. He'd never be satisified until he'd been to see. The films ends as Marius leaves with Fanny's blessing and Fanny fainting in Cesar's arms.........
Fanny immediately picks up where Marius left off. Cesar is unaware that Marius has gone. When he realises, he is distraught. He doesn't hear from Marius for over a month and his circle of buddies (their banter through all three films is priceless) try to talk to him and help him. He is in the midst of telling them how he wouldn't even read Marius letter if he did send one, when one arrives, Cesar pretends to ignore it and the friends deprart so he can read his letter in peace. Fanny comes into the bar to hear. Marius has signed on for five years but had been able write beforehand as the ship had been in quarantine. Fanny however is not well, pining over her lost love and pregnant. She tells her Mother, who hits the roof, another fainting fit because that morning Panisse had renewed his intentions to court Fanny. Fanny goes to Panisse and tells of her problems. He wants her anyway. A man of 50 with no children, he's happy to bring up this child as his. The marriage goes ahead, with Cesar's blessing and meddling. He will be godfather and the child will be called Cesar. The child is born and Panisse is a wonderful father. Marius returns after discovering himself in love with Fanny when he was in the South Seas and unable to forget about her and finds out about the baby. He goes to Fanny's home, Panisse is away to reclaim what is his but Cesar knowing what he is up to comes and stops the couple before things get out of hand. He talks reason into the couple and Panisse returns, desperately wanting to keep his family. Fanny though wanting to go with Marius knows that Panisse is a kind man and will be the better father and husband to her and knowing it is the right thing to do, stays with Panisse as Cesar drags Marius away from his child and Fanny....
by this time I was dying to watch Cesar to see how it ended up
Cesar meaning the grandfather and grandson starts with Panisse dying although he takes at least half an hour to expire and the dialogue is very witty. Fanny is left a widow and Cesar her son is 20 years old. He knows nothing of Marius but before Panisse had died the priest had implored that he be told (the rest of the town seemed to know anyway) when Fanny tells Cesar that his beloved father was not actually his father, he is confronted with the fact that his lineage isn't as grand as he thought it was. He is a little bit of a snob having been educated away from home and given the best that Panisse could afford. He visits his godfather/grandfather to ask him about Marius. Grandfather Cesar hasn;t seem Marius for 13 years, the last time they rowed, he tells Cesariot (the son's pet name) where Marius can be found. Cesariot then goes and finds Marius but doesn't reveal who he is but he does get him to talk about his family and what happened from his point of view. Just as you think they are going to be better acquainted Marius's business partner has some fun at the posh boys expenses and tells him that Marius smuggles opium and os a burgular. Marius is mad but the boy has left. Only by chance the business partner later finds out who the boy was and rerights the wrong he had done. The final film ends with Cesar, Cesariot, Fanny and Marius together talking through their difference for the sake of Cesariot.
The final reel of the film shows Fanny and Marius meeting, still in love with one another but Marius not knowing if it was right for them to be together until old Cesar comes along and tells them that their son wants them to marry.
It's melodrama but of the highest order. I don't understand French and have to read the subtitles but I can tell this is acting of the highest order. Raimu, here is an actor I want to know more about, is so perfect, fatherly, cumudgeonly, irrascible, lovable, honorable. He loves his son more than anything in the world and conveys it in so many ways without telling him so and Pierre Fresnay inhabits Marius, you can feel his longing and when he returns to find his Fanny and baby, he is tormented, everyone is against him but it is his father's role, a betrayal in his eyes that he feels most of all. Orane Demazis completes the trio although good, she doesn;t quite hold a candle to the men.
A final word, the humour in this script, the openess about mistresses and everyone knowing about them, even the wives, poking fun at he church.
(The doctor tells the priest to stop visiting his patients because they seem to die after seeing him) the camaraderie and open cheating of the men in the bar.
It's wonderful
Failure is unimportant. It takes courage to make a fool of yourself - Charlie Chaplin
That sounds like a wonderful series, I had never heard about it before! Thanks for the review.
I saw West Point recently, starring William Haines and Joan Crawford, a very attractive team. I'm a big fan of Joan Crawford, and I loved seeing her in this early role. She was classy. It took me a while to take to Will Haines in his role though, I loved him in Show People, but I have a hard time warming to his arrogant persona in this movie. I think he did a tolerable job with redeeming himself at the end though. It was a pretty good movie overall, a pleasant late 20's comedy.
I saw West Point recently, starring William Haines and Joan Crawford, a very attractive team. I'm a big fan of Joan Crawford, and I loved seeing her in this early role. She was classy. It took me a while to take to Will Haines in his role though, I loved him in Show People, but I have a hard time warming to his arrogant persona in this movie. I think he did a tolerable job with redeeming himself at the end though. It was a pretty good movie overall, a pleasant late 20's comedy.
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Ann Harding
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I am really happy that you discovered this fantastice French trilogy, Alison! The three films adapted from Marcel Pagnol's three plays are still HUGE classics in France. Most people can quote some of its dialogue.
This is a scan of the picture I have just above my computer at home:
César (Raimu) kissing his son Marius (Pierre Fresnay) good night.....so sweet!!!
The three films adapted from Marcel Pagnol's three plays are still HUGE classics in France. Most people can quote some of its dialogue. This is a scan of the picture I have just above my computer at home:
César (Raimu) kissing his son Marius (Pierre Fresnay) good night.....so sweet!!!
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drednm
Just watched the 1919 Douglas Fairbanks comedy WHEN THE CLOUDS ROLL BY.... despite an awful music track, the film is fast and funny and Fairbanks is terrific as the superstitious dope who gets caught in the middle of a "mental experiment" (think GASLIGHT) and an oil land swindle involving the father of his new girl friend (Kathleen Clifford).
Accompanying this film on the DVD was the 1916 MYSTERY OF THE LEAPING FISH which I disliked right off despite the presence of Bessie Love and Alma Rubens with Fairbanks. It's a drug comedy (he plays Coke Ennyday), a subject I don't find funny. Despite some amusing sight gags, the film was a dud.
Accompanying this film on the DVD was the 1916 MYSTERY OF THE LEAPING FISH which I disliked right off despite the presence of Bessie Love and Alma Rubens with Fairbanks. It's a drug comedy (he plays Coke Ennyday), a subject I don't find funny. Despite some amusing sight gags, the film was a dud.
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charliechaplinfan
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Christine, I simply adore that picture. The affection between father and son is so very touching in the first film Marius. The way the relationship between the father and son evolves is part of the strength of the films.
Perfect picture
Perfect picture
Failure is unimportant. It takes courage to make a fool of yourself - Charlie Chaplin
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charliechaplinfan
- Posts: 9040
- Joined: January 15th, 2008, 9:49 am
It was a good choice Ollie.
Last night I had a Noel Coward night. First I watched Private Lives promarily to see Norma Shearer in a talkie. I liked her, thought her extremely attractive, more so than in still pictures. In the role of Amanda she had a real joie de vivre and a big naughty streak. This film dealt with spousal abuse. Neither spouse thought anything as laying into the other. Oh, the good old days. It retained a lot of Coward and was completely like a stage play brought to the screen without changing anything for the movie going public, apart from the actors appearing in it.
The other film I watched was Design For Living this didn't retain as much of the flavour of Coward but it didn't matter, it was directed by Lubitsch, it was full of his touches. Brilliant casting of Gary Cooper, Frederick March and Miriam Hopkins with what has to be the best manage a trois ever brought to screen. I have to say if I'd have been Miriam, I'd have had trouble choosing too. Edward Everett Horton completed the cast and gave his usual stellar performance.
The night before I'd watched Orchids and Ermines with Colleen Moore. I was completely taken with her character, to me she is a dark haired version of Marion Davies, an excellent comedienne to whom things just happen. This film concerned a millionaire who was masquerading as his own valet and the confusions that arose from it. It lasted just over an hour and what a good way to spend an hour. Colleen Moore is aomeone I'm going to have to investigate further.
I've also been watching lon Chaney, when I've finished all the films I shall report on him
Last night I had a Noel Coward night. First I watched Private Lives promarily to see Norma Shearer in a talkie. I liked her, thought her extremely attractive, more so than in still pictures. In the role of Amanda she had a real joie de vivre and a big naughty streak. This film dealt with spousal abuse. Neither spouse thought anything as laying into the other. Oh, the good old days. It retained a lot of Coward and was completely like a stage play brought to the screen without changing anything for the movie going public, apart from the actors appearing in it.
The other film I watched was Design For Living this didn't retain as much of the flavour of Coward but it didn't matter, it was directed by Lubitsch, it was full of his touches. Brilliant casting of Gary Cooper, Frederick March and Miriam Hopkins with what has to be the best manage a trois ever brought to screen. I have to say if I'd have been Miriam, I'd have had trouble choosing too. Edward Everett Horton completed the cast and gave his usual stellar performance.
The night before I'd watched Orchids and Ermines with Colleen Moore. I was completely taken with her character, to me she is a dark haired version of Marion Davies, an excellent comedienne to whom things just happen. This film concerned a millionaire who was masquerading as his own valet and the confusions that arose from it. It lasted just over an hour and what a good way to spend an hour. Colleen Moore is aomeone I'm going to have to investigate further.
I've also been watching lon Chaney, when I've finished all the films I shall report on him
Failure is unimportant. It takes courage to make a fool of yourself - Charlie Chaplin
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drednm
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myrnaloyisdope
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Design For Living is one of my favorite films. I usually can't stand Gary Cooper but he's decent enough in this, and everyone else is great. I like that almost 80 years after it was made it still feels daring. I don't even know how the ending got past the censors.The other film I watched was Design For Living this didn't retain as much of the flavour of Coward but it didn't matter, it was directed by Lubitsch, it was full of his touches. Brilliant casting of Gary Cooper, Frederick March and Miriam Hopkins with what has to be the best manage a trois ever brought to screen. I have to say if I'd have been Miriam, I'd have had trouble choosing too. Edward Everett Horton completed the cast and gave his usual stellar performance.
Alison,
I posted a big review of ORCHIDS AND ERMINE (1927) about a year ago on this forum, and several others. A delightful fun filled film! And yes very much in the Wacky-vain of a Marion Davies Screwball- type Silent Comedy. Constance Talmadge, and Marie Prevost also made these same type of clever light romantic comedies.
Colleen Moore was so charming, with such wonderful personality! She lites up the screen in every film in which she appears. In 1926-28 few Stars were as big! In-fact in 1926 Colleen ranked number 1 at the box-office!
Have you watched the copy I sent you of ELLA CINDERS (1926)? It is the best print of the movie thast I have seen, and the ending is in-tact. Though about a reel of the film is probably still missing from the original release.
Ed,
We have talked allot about Colleen in the past finally starting to get some attention and having a few of her films properly restored such as SYNTHETIC SIN, and WHY BE GOOD? as we speak. Hopefully, at least HER WILD OAT will surface on TCM somtime soon.
I posted a big review of ORCHIDS AND ERMINE (1927) about a year ago on this forum, and several others. A delightful fun filled film! And yes very much in the Wacky-vain of a Marion Davies Screwball- type Silent Comedy. Constance Talmadge, and Marie Prevost also made these same type of clever light romantic comedies. Colleen Moore was so charming, with such wonderful personality! She lites up the screen in every film in which she appears. In 1926-28 few Stars were as big! In-fact in 1926 Colleen ranked number 1 at the box-office! Have you watched the copy I sent you of ELLA CINDERS (1926)? It is the best print of the movie thast I have seen, and the ending is in-tact. Though about a reel of the film is probably still missing from the original release. Ed,
We have talked allot about Colleen in the past finally starting to get some attention and having a few of her films properly restored such as SYNTHETIC SIN, and WHY BE GOOD? as we speak. Hopefully, at least HER WILD OAT will surface on TCM somtime soon.-
drednm
Hopefully is right.... Of all the major female stars of the silent era, Colleen Moore probably ranks with Norma Talmadge and Constance Talmadge as the most unknown just because so few of their films survive. With a couple more Moore films, maybe this terrific comic and dramatic actress (LILAC TIME) will start to be restored to her proper stature.
Of course the real treasure in the Moore list of films would be FLAMING YOUTH, only a portion of which is known to survive.
Of course the real treasure in the Moore list of films would be FLAMING YOUTH, only a portion of which is known to survive.
Ed,
Well, we both have a surprising number of Colleen's movies on DVD-R, and the Talmadge Sisters too. Actually, they probably have as many surviving films as most people do. The sad thing is the films that do still exist have just never been properly restored. Finally, this is starting to change. Norma Talmadge KIKI (1926) was just restored, along with Constance HER SISTER FROM PARIS (1925), by the Doris group according to Kevin Brownlow.
LILAC TIME (1928) was one of the films that was supposed to have been undergoing restoration a little over a year ago, but I have no firm details to date? So frustrating! At least we know that the HER WILD OAT restoration was completed, and the film reportedly looks fabulous in 35 millimeter!
In addition to FLAMING YOUTH (1923), I am just as curious about THE DESERT FLOWER (1925), another of Colleen's lost features. For all we know one aor both of these could be in Roberto Di Chiara's vault in Argentina??? Jorge said that Roberto had several First National Silents! That's why it is vital that the collection be saved! There might be some 'Lost" Corinne Griffith features in there as well? Who knows?
By the way, What was the name of the obscure Colleen Moore feature from 1923 on Ioffer.com a few weeks ago? Do you recall? I can not think what it was for the life of me?
Well, we both have a surprising number of Colleen's movies on DVD-R, and the Talmadge Sisters too. Actually, they probably have as many surviving films as most people do. The sad thing is the films that do still exist have just never been properly restored. Finally, this is starting to change. Norma Talmadge KIKI (1926) was just restored, along with Constance HER SISTER FROM PARIS (1925), by the Doris group according to Kevin Brownlow. LILAC TIME (1928) was one of the films that was supposed to have been undergoing restoration a little over a year ago, but I have no firm details to date? So frustrating! At least we know that the HER WILD OAT restoration was completed, and the film reportedly looks fabulous in 35 millimeter!
In addition to FLAMING YOUTH (1923), I am just as curious about THE DESERT FLOWER (1925), another of Colleen's lost features. For all we know one aor both of these could be in Roberto Di Chiara's vault in Argentina??? Jorge said that Roberto had several First National Silents! That's why it is vital that the collection be saved! There might be some 'Lost" Corinne Griffith features in there as well? Who knows? By the way, What was the name of the obscure Colleen Moore feature from 1923 on Ioffer.com a few weeks ago? Do you recall? I can not think what it was for the life of me?