WHAT SILENTS & PRE-CODES HAVE YOU SEEN LATELY?

[SSO Admins]

We had a little forum software weirdness, but I think it's fixed now. Let me know if there are any more problems.

[drednm]

Saw THE COSSACKS this weekend.... very good romance/adventure starring the gret John Gilbert with Renee Adoree, Ernest Torrence, Dale Fuller, Mary Alden, and Nils Asther.

[Synnove]

I saw Hoodoo Ann yesterday. It's not a remarkable film, but I thought it was very interesting and charming. The story seems like two stories really, or you could say that the film is divided into two halves, one about a bullied girl at an orphanage, and one about a movie-struck girl who thinks she has committed a crime. Well, life doesn't have a plot either. The western parody shown is very fun to watch. Mae Marsh gives a good performance as the unlucky Ann - she isn't as moving as she was in Intolerance, but she's competent and memorable. She has lovely expressive eyes. Bobby Harron makes the most of his small role. Overall, this is a very nice little film from the 1910's, my favourite decade for the movies.

[drednm]

I liked HOODOO ANN and thought Mae Marsh was a hoot, especially with her gun.... neat little film

[srowley75]

I saw Kino's edition of the German film Different From the Others with Conrad Veidt the other night. Almost made me pass out to read the actors spouting opinions about homosexuality that ironically sounded more tolerant than you're likely to hear from many in our contemporary society. Only pieces of the film survive, and that's a shame because the film would surely pack a greater emotional impact if the viewer were able to see portions that had to be replaced by stills - and furthermore, it's difficult to evaluate performances, cinematography, etc. when you can only view snippets.

Throughout most of the film, the subject matter is handled tastefully (especially for its day - 1919), despite the intro which essentially warns the viewer that films of this type, though plentiful in Germany before the Nazi era, were quite exploitative in nature. Somewhat shocking is the scene in which a German sexologist hosts a seminar on homosexuality and shows slides of hermaphrodites and cross-dressers, and during that portion the film admittedly slides into what I would consider exploitation territory a la Glen or Glenda. After having viewed this title, I'm curious to find out if any more of these early German films are available.

-Stephen

[silentscreen]

Hoodoo Ann was a good example of one of Griffith's smaller, pastoral films like True Heart Susie. Actually, one of Griffith's employees Lloyd Ingraham, directed it. But it had his spirit in it. It's special because of Mae Marsh, as so few of her starring roles survive. She has a charming chemistry with Bobby Harron, no great beauty, but her looks are more those of an ordinary sort of girl. A charming valentine to a bygone era.

[Ann Harding]

Yesterday I watched two precodes. First, M. LeRoy's Gold Diggers of 1933 with Joan Blondel, Ruby Keeler, Aline MacMahon & Dick Powell. I had seen it a long time ago and didn't remember it at all. Overall, I am not a great lover of the Warner musicals. What I enjoyed mostly in the film were the two performances by Joan Blondel & Aline MacMahon as they are fleecing Guy Kibbee & Warren William. Ruby Keeler is bit bland; Dick Powell has more charm. I think I would have prefered the film as a straight comedy!

Then, I put on W. Ruggles' Bolero (1934) with Carole Lombard & George Raft. As the title suggest, Carole & George are dancing partners in various nightclubs. Unfortunately the script is rather bland and Raft is as wooden as ever. Carole does what she can, but, the film is uninspired. But it does give us a glimpse of Raft's talent as a dancer and Carole shows up in some pretty amazing outfits. Not a great film....

[Ann Harding]

Yesterday, I watched Raoul Walsh's What Price Glory? (1926) with Dolores Del Rio, Edmund Lowe and Victor McLaglen. It's amazing that this film and The Big Parade have been written by the same man: Laurence Stalling! The two films are just so different though they are both anti-war. Walsh loved this kind of buddy story with quite a lot of broad comic! McLaglen is the typical Irish guy he loved to portray in his pictures. Nice to see a very young Dolores Del Rio as well!
Some scenes are really moving like the death of the young boy. A very interesting feature.

[Synnove]

Silentscreen, a charming valentine to a bygone era is a good way to describe Hoodoo Ann. It's great escapism.

Annharding, What price is Glory is next on my viewing list! I can see what you mean about Golddiggers of 1933, although I liked the depression element of the story. Sometimes it didn't mesh so well with the comedy, making the film seem very divided in what it wanted to be, but I think it also made it different and very interesting.

[charliechaplinfan]

Strangely enough I watched Footlight Parade last night. I've yet to see Gold Diggers of 1933 yet. I think Footlight Parade is an excellent film. There is the excellent chemistry between James Cagney and Joan Blondell, the wonderful supporting cast and the showstopping numbers at the end.

The first time I watched this my husband was half watching and he was exasperated by the numbers at the end. He was far too practical pointing ou that it would be too expensive to stage these numbers for tryouts etc. That's not the point, you've just got to believe in it, like a fairy story.

I like Ruby Keeler and Dick Powell but IMO when Cagney starts to sing and dance, he eclipses both of them.

[drednm]

I liked GOLD DIGGERS OF 1933... the musicals numbers are excellent and the cast, especially Joan Blondell, Aline MacMahon, and Dick Powell are tops. It's also interesting to see Ginger Rogers in a supporting role and Warren William getting top billing for this musical (even though he's basically a supporting player here).

The "Forgotten Man" number is terrific!

The plot is a tad wheezy but still works, with lots of snappy one liners.

[myrnaloyisdope]

I adore the Busby Berkeley musicals, the Warners boxset might be my favorite DVD's that I own.

42nd Street is the best of them all I think, simply because of Warner Baxter's performance. He is wonderful, and the closing scene of him sitting exhausted after the performance is among my favorite final scenes ever. Ruby Keeler for all the criticism of her, does the doe-eyed "who me?" schtick as well as anyone. Ginger Rogers is great with her faux-British accent, and there is just so much good stuff in there. The only weak point is the love story with Bebe Daniels, but it doesn't get too much focus. All the songs are great too.

Gold Diggers of 1933 is almost equally sublime. The main story is much more frivolous, but it works because it's just silly. I enjoyed the risque quality of it. Plus you can't go wrong with Joan Blondell as your lead. My only complaints are that Aline MacMahon can be a little annoying, and Ginger Rogers just disappers about half way through. But at least she gets to sing "We're in the Money" at the beginning(in a wonderfully ironic scene). "Forgotten Man" is also a wonderful and powerful number, pretty much my favorite Berkeley number along with "42nd Street".

Footlight Parade is a bit weaker than the first two, but not by much. The musical numbers are by this point completely wondrous, ludicrous, implausible, and entertainingly over-the-top. The closing number of "Shanghai Lil" is glorious, you have Ruby Keeler in yellow-face, James Cagney doing a wonderful song and dance, you have opium dens, army formations, an FDR tribute, it's incredible really. Plus Joan Blondell being the queen of sauce. I also can't forget the satirical plotline involving corrupt censors.

Dames is the weakest Berkeley I've seen. It has a very contrived storyline, Hugh Herbert being very annoying, and it kind of plods along. Joan Blondell is still pure quality, but it's just not his best. The musical numbers are for the most part top-notch, although it has the only dud I've yet seen with "The Girl at the Ironing Board" being pretty underwhelming, and not even a very good song. "I Only Have Eyes For You" is pretty great, although the dozens of Ruby Keeler heads are oddly discomforting.

Another Berkeley musical sadly not on DVD is Wonder Bar. Al Jolson, Delores Del Rio, and Kaye Francis all are great in this one. It's so absurd, and fast-paced, and frivolous, with no pretensions of being anything less than insane. Of course the film is best known for the very offensive but equally wondrous "Goin' to Heaven on a Mule", which features a legion of performers in black-face, and Al Jolson crooning about Heaven for blackfolks. You have porkchop trees, constant dice games, machines that make fried chicken in one fell swoop, tapdancers coming out of watermelon. Obviously it's vigorously offensive, but for sheer spectacle it's among Berkeley's best.

I should mention Fashions of 1934 which contains one Berkeley number "Spin a Little Web of Dreams" which isn't especially memorable, but still solid. The film itself is more of a curiosity for William Powell and Bette Davis fans, as it's slight on story, has some decent comedy, and is only 78 minutes.

I absolutely adore Berkeley, and anxiously await vol. 2.

[charliechaplinfan]

I need to gem up in my Busby Berkeley. I love 42nd Street but think Footlight Parade has the edge. I think the storyline is more far fetched but the addition of James Cagney gives even more sparkle along with the musical sequences at the end. They're pure cinema magic.

The first time I watched By A Waterfall I was utterly mesmerised by it, why hadn't I discovered it before? If we ever have a vote for the most awe inspiring or favorite film sequence, this has to be one of my top contenders.

[Ann Harding]

Yesterday, I went to a special screening of two silent (German) Lubitschs with some live music.
The first one Romeo & Julia im Schnee (Romeo and Juliet in the Snow, 1920) was a parodic version of Shakespeare's play taking place in a small village in the Black Forest. This was a very broad comic farce; but, it was pretty hilarious. The family feud turns into a snow ball fight and Julia is promised to a complete village idiot...Romeo & Julia go the local apothecary to buy some poison where they are given sugared water... really funny!!! The film was accompanied by a pianist who did a great job using themes from Prokofiev, Tchaikovski and Wagner.

The second was one of the earliest surviving Lubitsch's feature: Schuhpalast Pinkus (Shoe Salon Pinkus, 1916) where he played the lead role. A 24-years old Lubitsch becomes the 16-years old Sally Pinkus, a very naughty schoolboy who only thinks about truanting, cheating at exams and looking at girls. He is expelled from school and ends up finding a job at as shoe seller. But, what does he do? He doesn't want to help customers (one has a hole in his socks!!! ) and prefers to flirt outrageously with the shop girl (Ossie Oswalda in her first Lubitsch feature). Finally, he becomes himself a shoe shop manager using his incredible cheek to reach his aim.
Lubitsch as a comedian really emphasized the 'ethnic' aspect of his Sally Pinkus: he is really the prototype Jewish character. It must have been pretty common in those days in Berlin to protray Jews in such an exaggerated way. Though, when we now see it, it feels nearly antisemitic. Nevertheless, the film was extremely well articulated and funny.
But, the music was dreadful: the film was drowned under a heavy accompaniment of electric guitar & drums...It felt like a heavy melodrama...
Let's hope that these early Lubitsch will make it soon on DVD.

[MissGoddess]

I read about Lubie's early silent movies and that character he played variations of until he went into directing. He apparently gained a fair measure of attention playing the role. It sounds a lot like what became
standard fare in Yiddish theater. When I learned about his years with
Reinhardt and all the Shakespeare they did, I understood his later work
better because I always had sensed an affinity believe it or not. And I've often thought that Lubitsch is one of the few film makers with whom Shakespeare himself would have bonded.