Colleen Moore and Clara Bow On TCM Tonight!

[Gagman 66]

TCM presents a presentation of FRAGMENTS: RARELY SEEN TREASURES on Sunday evening in Prime-time. 2 hours of programming with clips from otherwise lost films. Including Colleen Moore's legendary FLAMING YOUTH (1923), and Clara Bow in Technicolor from RED HAIR (1928). Also what remains of Lon Chaney's THE MIRACLE MAN, and Emil Jannings Oscar Winning Performance from THE WAY OF ALL FLESH (1927), Directed by Victor Fleming.

Even though only one reel of FLAMING YOUTH survives today, I never thought that I would get to see it anyplace. Very excited about the April 3rd broadcast. Thanks so much to TCM Programmer Chuck Tabesh for devoting a full evening to these lost treasures. Sure hope this is the first step toward getting some of Colleen's surviving features on TCM at long last. Not to mention other Clara Bow titles besides just IT and WINGS away from Paramount.

After FRAGMENTS is another Special UNSEEN CINEMA. and the North American Premier of the Brand New Restoration Of LAILA On Silent Sunday Nights.

Here is an article about the Fragments broadcast. No mention of Colleen Moore, not surprising at all, as she is repeatedly overlooked and I'm getting tired of it. But I saw the Now Playing The Show For April and the reel of FLAMING YOUTH is definitely being featured.



http://news.turner.com/article_display. ... le_id=5593


Turner Classic Movies Treats Movie Fans to Rarely Seen Cinematic Gems Sunday, April 3
Lineup Includes Fragments: Surviving Pieces of Lost Films and 10th Anniversary Presentation of Unseen Cinema: Early American Avant Garde Film 1894-1941

Turner Classic Movies (TCM) will take viewers on an eye-opening cinematic journey with a night of rarely seen gems on Sunday, April 3. The evening will open with Fragments: Surviving Pieces of Lost Films, a two-hour program of segments from films that have otherwise been lost to history, as well as interviews with people involved in making and preserving these films. Then, a special 10th anniversary presentation of Unseen Cinema: Early American Avant Garde Film 1894-1941 will mesmerize viewers with a 2 ½-hour collection of 16 experimental, mind-bending works from the early days of cinema. Both collections feature work by well-known filmmakers and performers, including director John Ford and a teen-age Charlton Heston.

“This night of rare movie treasures is the latest demonstration of TCM’s commitment to film preservation and to showcase the efforts of the world’s leading film archives,” said TCM host Robert Osborne. “With as many as 80% of all pre-1930 films lost or damaged beyond repair, Fragments stands as a testament to cinematic treasures that have been claimed by the ravages of time. And celebrating its 10th anniversary this year, Unseen Cinema provides a look at some of early film’s most imaginative visions, most of which have never been presented in a major public forum.”

Fragments: Surviving Pieces of Lost Films, which was inspired by a similar presentation at last year’s TCM Classic Film Festival, opens the April 3 lineup at 8 p.m. (ET). Produced by Flicker Alley, the two-hour showcase features nine thematically arranged segments and case studies of clips preserved by some of the leading film archives in the country, including the Academy Film Archive, the UCLA Film & Television Archive and the Library of Congress Packard Campus for Audio Visual Conservation.

Among the pieces featured in Fragments are the final reel of John Ford’s The Village Blacksmith (1922) and a glimpse at Emil Jannings in The Way of All Flesh (1927), the only Oscar®-winning performance in a lost film. Fragments also features clips from such lost films as Cleopatra (1917), starring Theda Bara; The Miracle Man (1919), with Lon Chaney; He Comes Up Smiling (1918), starring Douglas Fairbanks; an early lost sound film, Gold Diggers of Broadway (1929), filmed in early Technicolor®, and the only color footage of silent star Clara Bow, Red Hair (1928). The program is rounded out with interviews of film preservationists involved in identifying and restoring these films. Also featured is a new interview with Diana Serra Cary, best known as “Baby Peggy,” one of the major American child stars of the silent era, who discusses one of the featured fragments, Darling of New York (1923).

At 10 p.m. (ET), Unseen Cinema: Early American Avant Garde Film 1894-1941 will salute the rich – but often unheralded – artistry of avant garde and experimental filmmakers during cinema’s formative years. TCM’s presentation includes 16 titles hand-chosen by archivists Bruce Posner and David Shepard from their world-renowned 175-film retrospective, which premiered in Moscow in June 2001. Posner and Shepard also selected material from the acclaimed Unseen Cinema seven-disc DVD collection, released in 2005.

TCM’s Unseen Cinema showcase features such intriguing works as a pagan dance sequence from Peer Gynt (1941), starring a 17-year-old Charlton Heston; Annabell Dances and Dances (1894-97), a pioneering attempt to capture dance on film; a dream sequence from Beggar on Horseback (1925), featuring popular character actor Edward Everett Horton; Carousel – Animal Opera (c.1938), a visual symphony by artist and sculptor Joseph Cornell; and Ballet mécanique (1923-24), Fernand Léger and Dudley Murphy’s abstract collage of machines, objects and shapes set to a radical George Antheils score reconstructed by Paul Lehrman.

About Flicker Alley, LLC
Flicker Alley, LLC was founded in 2002 with the goal of bringing film history to new audiences by offering an ever-expanding selection of new digital editions of cinema classics and rare works, many being presented for the first time. Flicker Alley has partnered with Turner Classic Movies on several historic cable broadcasts including three previously unavailable silent films produced by Howard Hughes, three rarely seen Rudolph Valentino films and brand new digital editions two masterpieces by Abel Gance, of J’Accuse and La Roue.

The Flicker Alley publishing brand has grown to enjoy national and international critical acclaim and is regularly featured in annual “Best Of” lists. In 2009 and 2011, the company has been a Heritage Award recipient by the National Society of Film Critics. The company has also been honored twice with the prestigious Il Cinema Ritrovato Award: In 2008 for George Melies - First Wizard of Cinema, and again in 2009 for Douglas Fairbanks - A Modern Musketeer.

About Unseen Cinema
Unseen Cinema is a collaborative film preservation project sponsored by Anthology Film Archives, New York; Deutsches Filmmuseum, Frankfurt am Main; and 60 of the world’s leading film archives, with generous underwriting by Cineric, Inc. The innovative programming has been hailed a milestone in film history. It received the 2005 Film Heritage Award from the National Society of Film Critics and a 2005 Special Citation from the Los Angeles Film Critics Association. Additional information is available at http://www.unseen-cinema.com.


About Turner Classic Movies (TCM)
Turner Classic Movies is a Peabody Award-winning network that presents great films, uncut and commercial-free, from the largest film libraries in the world. Currently seen in more than 85 million homes, TCM features the insights of veteran primetime host Robert Osborne and weekend daytime host Ben Mankiewicz, plus interviews with a wide range of special guests. As the foremost authority in classic films, TCM offers critically acclaimed original documentaries and specials, along with regular programming events that include The Essentials, 31 Days of Oscar and Summer Under the Stars. TCM also stages special events and screenings, such as the TCM Classic Film Festival in Hollywood; produces a wide range of media about classic film, including books and DVDs; and hosts a wealth of materials at its Web site, http://www.tcm.com. TCM is part of Turner Broadcasting System, Inc., a Time Warner company.

Turner Broadcasting System, Inc., a Time Warner company, creates and programs branded news, entertainment, animation and young adult media environments on television and other platforms for consumers around the world.


:-* Have been going berserk for hours! COLLEEN MOORE ON TCM!!!!!!! COLLEEN MOORE and CLARA BOW On TCM Tonight!!!!!!!

??? Where is the promotion for this event? >:( It is sadly lacking. I am very disappointed in the lack of publicity. No Promo on TCM even, except for NOW PLYING THE SHOW for April, and I haven't seen that shown for 2 weeks? :'( Good thing I recorded it.




"An Irish Gypsy?"




"The Right To Bare Arms"

[moira finnie]

I saw Fragments and thoroughly enjoyed it, though I was so sad when near the end of the reel of Flaming Youth, the film began to deteriorate rapidly--just as the wild things began jumping into the swimming pool in silhouette! I agree about the lack of attention paid to Colleen Moore generally, though it is probably due to the scarcity of her movies. Not only was she the first girl to wear what has become known as the Louise Brooks bob, but in the Brownlow documentary series Hollywood (1980) I thought that she was one of the most articulate contributors.

What a shame so many of Moore's carefully preserved films were mishandled by MoMA and allowed to deteriorate when mistakenly sent to Warner Brothers years ago. Still, when they are still discovering silent films as good as Upstream in New Zealand and that treasure trove in Russia recently announced, perhaps some of her movies will be found someday.

Btw, I loved seeing Clara Bow briefly in color for Red Hair (1928), though flapping the fish for an off-screen creature wasn't the ideal screen pastime for Clara, was it?

Thanks, indeed to TCM for this choice programming. What a pleasure it was to see such rare films and some of the devoted people involved in caring for them.

[Gagman 66]

moirafinnie,

Obviously, the whole evening revolved around the Colleen Moore footage for me. She was a tremendous actress and comedienne. Equally skilled at handling drama as well. None of her Starring features of the 1920's have ever been shown on TCM. This despite that most which survive are technically owned by Warner's. Still hoping for a debut of something later this year. We also saw the Trailer to Clara Bow's ROUGH HOSE ROSIE! (1927) That was an unexpected treat. And the Trailer from Colleen's HAPPINESS AHEAD (1928) looked simply awesome. Seems to have been a great film. What a sad loss. The best trailer by far of any of them. Unfortunately it was also among the shortest.

The Fragments of Clara's RED HAIR and THREE WEEKENDS were so well fragmentary, that you couldn't really tell a whole lot about either film. But still fun. The color fragment was just test footage, not part of an actual scene. I expected Colleen's FLAMING YOUTH to be a full reel, not bits and pieces spliced together as it turned out to be. But I was so thrilled to see it nevertheless.

This is interesting. Someone is claiming on Nitrateville that they saw a different sequence screened from THE WAY OF ALL FLESH than the two that were included in FRAGMENTS last night. The footage that did air was heart-rending from this legendary film.

Emill Jannings American career is virtually non-existent. In addition to the loss of THE WAY OF ALL FLESH, there was his Oscar nominated performance in Lubitsch THE PATRIOT, overall nominated for 5 Academy Awards. As well as Lewis Milestone's BETRAYED also featuring both Esther Ralston and Gary Cooper. Neither of these films is anywhere to be found. THE LAST COMMAND seems to be all that we have of his Paramount Silents today.

The interview with Baby Peggy Montgomery recalling how she and Gladys Brockwell jumped for real from the burning building when she was 4 years old in 1923 was incredible. That lady is still as sharp as a tack! Amazing! It was also nice seeing the recently discovered trailer of Constance Talmadge POLLY OF THE FOLLIES.

Actually, around 46 to 47% of Colleen Moore's movies still exist in at least partial form. Some of the features are in-complete. Such as Frank Borzage's THE NTH COMMANDMENT (1923) missing 3 reels, and ELLA CINDERS (1926) missing a couple from the original 7 reel release. All current materials are based on the condensed 5 reel 16 Millimeter Kodascope Libraries print of the 1930's. But others like THE DEVIL'S CLAIM, COME ON OVER, BROKEN CHAINS, IRENE, TWINKLETOES, ORCHIDS AND ERMINE, and LILAC TIME exist pretty much in their entirety. Although generally only the Kodascope of ORCHIDS AND ERMINE is in circulation, the full length feature in 35 Millimeter does exist. HER WILD OAT (1927) for decades a lost film, was found in a Czech archive and fully restored by the Academy Film Archive at AMPAS in 2006. Since than I have been waiting for a TCM debut. Meantime. two other fairly recent discoveries SYNTHETIC SIN (1928), and WHY BE GOOD? (1929) her two final Silent films, discovered in Italy, are currently pending restoration. Found at the Estate of Silent Legend Antonio Moreno, who co-Starred with Colleen in SYNTHETIC SIN. These were selected in 2006 as part of the Vita-phone project. Sadly, as it stands right now nothing has happened. Both movies are still on Nitrate stock, as funding for these projects has clearly been very slow to materialize. Hopefully, both can be still saved, but time is certainly of the essence. I won't feel very safe until Safety-prints, or at least Digital copies are made.

The Nederlands Fim Museum has some print material and elements on another lost Colleen Moore film OH, KAY! her first film after the hugely successful LILAC TIME. At this time, I don't know how much of OH KAY! that they have. I hope to find out additional details. Same with the print of the 1919 Charles Ray feature EGG CRATE WALLOP, which is part of the Russian Archive Collection at Gosfilmofond. I'm still hoping that they have Moore than that!