WHAT SILENTS & PRE-CODES HAVE YOU SEEN LATELY?
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myrnaloyisdope
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Wonder Bar is not out on DVD, I wish it were.
I watched 2 silents on the weekend both of which I enjoyed quite a bit.
Having just heard of Colleen Moore for the first time this past week, I decided to check out Ella Cinders (1926). I thought it was quite good. Moore has great comedic timing, and you really feel for her as she gets treated like dirt by her family. It's a slight and silly story, but it makes a nice companion piece to Show People, as they both deal with the rise to stardom of small-town girls.
It's a great intro to Moore, and I am looking forward to seeing some more.
I also checked out Howard Hawks' A Girl in Every Port, with Victor McLaglen and Louise Brooks. I thought it was quite funny, and it being my first exposure to Louise Brooks' Hollywood work, was pleased to find that she has the same charisma and presence as in the Pabst films.
I thought it was interesting that even early on Hawks' was still focused on the themes of brotherhood, male relationships, and travel/adventure. It fits quite well with his later work.
My only complaint was that Myrna Loy is listed as being in the movie, but she's nowhere to be found. Are there other Myrna-filled versions floating around? The print I saw was 78 minutes.
I watched 2 silents on the weekend both of which I enjoyed quite a bit.
Having just heard of Colleen Moore for the first time this past week, I decided to check out Ella Cinders (1926). I thought it was quite good. Moore has great comedic timing, and you really feel for her as she gets treated like dirt by her family. It's a slight and silly story, but it makes a nice companion piece to Show People, as they both deal with the rise to stardom of small-town girls.
It's a great intro to Moore, and I am looking forward to seeing some more.
I also checked out Howard Hawks' A Girl in Every Port, with Victor McLaglen and Louise Brooks. I thought it was quite funny, and it being my first exposure to Louise Brooks' Hollywood work, was pleased to find that she has the same charisma and presence as in the Pabst films.
I thought it was interesting that even early on Hawks' was still focused on the themes of brotherhood, male relationships, and travel/adventure. It fits quite well with his later work.
My only complaint was that Myrna Loy is listed as being in the movie, but she's nowhere to be found. Are there other Myrna-filled versions floating around? The print I saw was 78 minutes.
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Ann Harding
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I have just watched W.A. Wellman's Wild Boys of the Road (1933). It's an astonishing Depression picture. Two boys leave their homes as their parents are too poor to feed them. They try desperately to find a job, but end up as vagrant and beggars living on the fringe of society....
What a film! Wellman made such good pre-codes in those years! The group of kids who play are superb. The film is gritty and brilliantly directed. It's quite reminiscent of Beggars of Life made a few years earlier by Wellman. Don't miss if you can catch it!
What a film! Wellman made such good pre-codes in those years! The group of kids who play are superb. The film is gritty and brilliantly directed. It's quite reminiscent of Beggars of Life made a few years earlier by Wellman. Don't miss if you can catch it!
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charliechaplinfan
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- Joined: January 15th, 2008, 9:49 am
I watched West of Zanzibar directed by Tod Browning and starring Lon Chaney. I think they are such a sinister combination, they manage to evoke the atomosphere and heat of the jungle so well. I find it so hard to believe that Lon Chaney was such a nice lovable guy when I see him in films like West Of Zanzibar. He is so evil tormenting his wife's daughter who was born after she left him. The film has a pay off, only Chaney could play it so well. A stellar cast also starring in this are Lionel Barrymore, Warner Baxter and Mary Nolan.
If you like Tod Browning movies, this is a must.
If you like Tod Browning movies, this is a must.
Failure is unimportant. It takes courage to make a fool of yourself - Charlie Chaplin
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charliechaplinfan
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I've just seen Counsellor At Law directed by William Wyler starring John Barrymore an actor who needed to be heard. He's great as the lawyer who has come up through the working classes and made it as the most sought after lawyer in New York. On the way he has given jobs and opportunties to ex cons and acquaintances who've gone straight and his workforce are devoted to him.His wife is played by Doris Kenyon and his devoted secretary by Bebe Daniels.
This film is filmed entirely in the law firm and has to be seen for the art deco sets and the marvellous wisecracking and cast of characters that to and fro through the doors of the practice.
This film is filmed entirely in the law firm and has to be seen for the art deco sets and the marvellous wisecracking and cast of characters that to and fro through the doors of the practice.
Failure is unimportant. It takes courage to make a fool of yourself - Charlie Chaplin
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myrnaloyisdope
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I watched 1933's The Power and the Glory last night, and was quite impressed. I had seen it referenced in a documentary about Preston Sturges, who wrote the film. I wanted to see it because it was described as a pre-cursor to Citizen Kane in that it is about the life and death of a magnate told in non-linear flashback, and there is even a major twist revealed at the ending. The similarities seemed glaring.
I had it mixed up with another film written by Sturges called Diamond Jim. Ironically due to my recent discovery of Colleen Moore, I wanted to check her out in The Power and the Glory, not realizing it was the film I was actually looking for.
Anyway the film itself is quite good, the acting is solid particularly Colleen Moore as Spencer Tracy's jilted wife. Her voice translates really well to sound, so it's a shame she didn't continue on. The direction is competent but not memorable, and sometimes the film feels a bit too maudlin, with generic music and formulaic presentation. But it is fascinating to see a film from 1933 with such an advanced narrative.
Essentially the film is covering three different periods: the present(after Tracy's death), the recent past(the dissolution of Tracy's marriage, and his remarriage), and the distant past(the courtship and marriage of Tracy and Moore). It's really quite advanced for that time, because it jumps back and forth between the three periods
With a better director it probably would be more highly regarded today.
But it was excellent nonetheless, and the final twist is so bleak, and so pre-code.
My highest recommendations.
I had it mixed up with another film written by Sturges called Diamond Jim. Ironically due to my recent discovery of Colleen Moore, I wanted to check her out in The Power and the Glory, not realizing it was the film I was actually looking for.
Anyway the film itself is quite good, the acting is solid particularly Colleen Moore as Spencer Tracy's jilted wife. Her voice translates really well to sound, so it's a shame she didn't continue on. The direction is competent but not memorable, and sometimes the film feels a bit too maudlin, with generic music and formulaic presentation. But it is fascinating to see a film from 1933 with such an advanced narrative.
Essentially the film is covering three different periods: the present(after Tracy's death), the recent past(the dissolution of Tracy's marriage, and his remarriage), and the distant past(the courtship and marriage of Tracy and Moore). It's really quite advanced for that time, because it jumps back and forth between the three periods
With a better director it probably would be more highly regarded today.
But it was excellent nonetheless, and the final twist is so bleak, and so pre-code.
My highest recommendations.
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drednm
If you like both ELLA CINDERS and SHOW PEOPLE, you'll also like Mabel Normand's hugely underrated THE EXTRA GIRL (1923), another film about a small-town girl who tries for movie stardom.
The film was banned in most places because of a series of scandals Normand was implicated in (and probably innocent of), and after the murder of William Desmond Taylor her films were routinely banned.
But THE EXTRA GIRL is probably Norman's best feature film although I also like TILLIE'S PUNCTURED ROMANCE and MICKEY.
The film was banned in most places because of a series of scandals Normand was implicated in (and probably innocent of), and after the murder of William Desmond Taylor her films were routinely banned.
But THE EXTRA GIRL is probably Norman's best feature film although I also like TILLIE'S PUNCTURED ROMANCE and MICKEY.
Don't forget SOULS FOR SALE (1923) with Eleanor Boardman, Richard Dix, Lew Cody, and that All Star supporting cast, loaded with big name cameo's! This is not a Not a comedy, but a very good movie, and well worth seeking out. -
drednm
SOS ICEBERG-----Amazing adventure film made in Greenland as a co-production of the USA
and Germany. The film has a documentary feel to it and although filmed
in both English and German versions, much of the film is silent.
Rod La Rocque stars as an explorer who gathers an expedition team to
find the files and whereabouts of an explorer who died in the Arctic.
Once there, they realize they are too late because the ice is melting
and the explorer is likely on the other side on a vast fjord. So La
Rocque sets out by himself and becomes lost as well.
The rest of the team then sets out after La Rocque. German actor Sepp
Rist becomes the new leader of the team, which include famed silent
actor, Gibson Gowland who starred in GREED.
After the team loses a sled carrying their food and most of the sled
dogs (they fall in an ice cave) the men now face starvation as well as
exposure to the elements. n an attempts to cross the fjord they end up
on a giant iceberg that breaks away from the mainland. They a adrift.
They make radio contact just before their batteries die, and La
Rocque's wife (Leni Riefenstahl--infamous German filmmaker and actress)
sets out to rescue them. But as she approacher the ice berg, her plane
crashes and she is stranded with them.
The story is quite good, but it's the real footage of Greenland that is
amazing. The shots of the frozen north, the icebergs, and the freezing
Atlantic serve as a spectacular backdrop for the story. The aerial
shots of rescue planes are also stunning.
The filming of the iceberg as it breaks apart and rolls in the ocean as
it seeks a new balancing point is a one-of-a-kind scene.
Despite the star status of La Rocque and Riefenstahl, Rist and Gowland
steal the film, which is beautifully directed by Tay Garnett with lots
of closeups. This is a must-see film!
and Germany. The film has a documentary feel to it and although filmed
in both English and German versions, much of the film is silent.
Rod La Rocque stars as an explorer who gathers an expedition team to
find the files and whereabouts of an explorer who died in the Arctic.
Once there, they realize they are too late because the ice is melting
and the explorer is likely on the other side on a vast fjord. So La
Rocque sets out by himself and becomes lost as well.
The rest of the team then sets out after La Rocque. German actor Sepp
Rist becomes the new leader of the team, which include famed silent
actor, Gibson Gowland who starred in GREED.
After the team loses a sled carrying their food and most of the sled
dogs (they fall in an ice cave) the men now face starvation as well as
exposure to the elements. n an attempts to cross the fjord they end up
on a giant iceberg that breaks away from the mainland. They a adrift.
They make radio contact just before their batteries die, and La
Rocque's wife (Leni Riefenstahl--infamous German filmmaker and actress)
sets out to rescue them. But as she approacher the ice berg, her plane
crashes and she is stranded with them.
The story is quite good, but it's the real footage of Greenland that is
amazing. The shots of the frozen north, the icebergs, and the freezing
Atlantic serve as a spectacular backdrop for the story. The aerial
shots of rescue planes are also stunning.
The filming of the iceberg as it breaks apart and rolls in the ocean as
it seeks a new balancing point is a one-of-a-kind scene.
Despite the star status of La Rocque and Riefenstahl, Rist and Gowland
steal the film, which is beautifully directed by Tay Garnett with lots
of closeups. This is a must-see film!
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charliechaplinfan
- Posts: 9040
- Joined: January 15th, 2008, 9:49 am
Last night I needed a bit of humour and glamour, I looked to my favorite team, Fred Astaire and Ginger Rogers in The Gay Divorcee which I think is a precode, slap hands for me if I'm on the wrong thread.
This was the first in the Rogers and Astaire films in which they starred. They dance to one of my favorite songs, Night and Day as well as doing the Continental. Fred rips Ginger's skirt on first acquaintance, bumps her car on second acquaintance, and says the wrong thing completely the third time he sees her. As it's Fred and Ginger it works out perfectly in the end. This film is one of the most humourous of the pairings. To me, there is very little in the films, I'm not as keen on Flying Down to Rio and The Story of Vernon and Irene Castle but the others are the tops.
This was the first in the Rogers and Astaire films in which they starred. They dance to one of my favorite songs, Night and Day as well as doing the Continental. Fred rips Ginger's skirt on first acquaintance, bumps her car on second acquaintance, and says the wrong thing completely the third time he sees her. As it's Fred and Ginger it works out perfectly in the end. This film is one of the most humourous of the pairings. To me, there is very little in the films, I'm not as keen on Flying Down to Rio and The Story of Vernon and Irene Castle but the others are the tops.
Failure is unimportant. It takes courage to make a fool of yourself - Charlie Chaplin
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SSO Admins
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You owe it to yourself to check out the remake, Kongo with Walter Huston in the Lon Chaney role. It's not as good, but it's orders of magnitude more lurid, if you can believe that.charliechaplinfan wrote:I watched West of Zanzibar directed by Tod Browning and starring Lon Chaney.
If you like Tod Browning movies, this is a must.
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myrnaloyisdope
- Posts: 349
- Joined: May 15th, 2008, 3:53 am
- Location: Toronto, Ontario
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I watched several pre-codes yesterday all of which had their merits.
First up was 1931's Honor Among Lovers, starring Claudette Colbert, Fredric March, and very briefly an unrecognizable Ginger Rogers.
Your standard girl chooses wrong guy melodrama, with the stock market as the backdrop. Colbert plays March's secretary, who must choose between March and her current lover played by Monroe Owsley. That's really the big weakness of the story, who on earth would choose Owsley over March? I think Owsley is probably the most-groan worthy actor I've come across. Nothing he does is remotely believable, and he's just so unlikable that he ruins every part I've seen him in.
Anyway the chemistry between March and Colbert is quite good, and Charles Ruggles offers some nice support. Colbert continually impresses me, and she is quite good in this very early starring role. She already has a complete grasp of how to make her character's sympathetic and believable.
Secondly I watched 1933's Fast Workers with John Gilbert and Mae Clarke. It was Tod Browning's follow-up to Freaks, and couldn't be more different. Gilbert plays a fast-talking, hard-living, construction worker, and Mae Clarke is a loose woman who he can't commit too. Most of the focuses on the cameraderie of Gilbert and his fellow workers Robert Armstrong and Sterling Holloway, as they risk their lives working hundreds of feet above ground. It's all quite funny and fast-paced, and Browning's direction is solid as always. Gilbert is quite good and quite charming as the lead, although his voice has that usual sing-songy quality to it. Clarke is great as usual, I swear her acting style is years ahead of it's time, aside from the occasional bought of histrionics, she brings a subtlety to everything she does. She's all gestures, and pauses and mannerisms. The payoff of the film is absolutely wonderful too.
I also checked out 1934's Gambling Lady with Joel McCrea and Barbara Stanwyck. This one is all Stanwyck, she is just so far ahead of everybody it's incredible. She plays a card-shark who marries into Joel McCrea's wealthy lifestyle, but can't leave her old friends behind. McCrea gives one of his better early performances, and Pat O'Brien is a-ok too. But Stanwyck makes the movie, she's just superlative.
Finally I watched 1931's Indiscreet directed by Leo McCarey with Gloria Swanson and Ben Lyon. I was anxious to see one of Swanson's early talkies. It's an odd movie, in that it tries to mix comedy, melodrama, and musical, and doesn't seem sure of what it's trying to be. My understanding is that the movie was originally a full-on musical, but when musicals went bust, they cut it from 10 songs to 3 songs. Again it is your standard one girl, two guys story, and again the other guy is played by Monroe Owsley(man I wish he would go away). The melodrama is pretty weak, and the songs just come out of the blue, although they are ably sung by Swanson.
What works in the movie is the comedy parts, which are a pre-cursor to McCarey's later screwball work. Swanson is excellent during the screwball moments, such as pretending to be crazy, and trying to sneak onto a ship. She's got great facial expressions, body language, and her timing is dead on. She actually reminded me a bit of Katharine Hepburn in Bringing Up Baby. Unfortunately there isn't enough of the comedy parts. I think the movie could have been great if it just stuck with one genre. Still worth checking out though.
First up was 1931's Honor Among Lovers, starring Claudette Colbert, Fredric March, and very briefly an unrecognizable Ginger Rogers.
Your standard girl chooses wrong guy melodrama, with the stock market as the backdrop. Colbert plays March's secretary, who must choose between March and her current lover played by Monroe Owsley. That's really the big weakness of the story, who on earth would choose Owsley over March? I think Owsley is probably the most-groan worthy actor I've come across. Nothing he does is remotely believable, and he's just so unlikable that he ruins every part I've seen him in.
Anyway the chemistry between March and Colbert is quite good, and Charles Ruggles offers some nice support. Colbert continually impresses me, and she is quite good in this very early starring role. She already has a complete grasp of how to make her character's sympathetic and believable.
Secondly I watched 1933's Fast Workers with John Gilbert and Mae Clarke. It was Tod Browning's follow-up to Freaks, and couldn't be more different. Gilbert plays a fast-talking, hard-living, construction worker, and Mae Clarke is a loose woman who he can't commit too. Most of the focuses on the cameraderie of Gilbert and his fellow workers Robert Armstrong and Sterling Holloway, as they risk their lives working hundreds of feet above ground. It's all quite funny and fast-paced, and Browning's direction is solid as always. Gilbert is quite good and quite charming as the lead, although his voice has that usual sing-songy quality to it. Clarke is great as usual, I swear her acting style is years ahead of it's time, aside from the occasional bought of histrionics, she brings a subtlety to everything she does. She's all gestures, and pauses and mannerisms. The payoff of the film is absolutely wonderful too.
I also checked out 1934's Gambling Lady with Joel McCrea and Barbara Stanwyck. This one is all Stanwyck, she is just so far ahead of everybody it's incredible. She plays a card-shark who marries into Joel McCrea's wealthy lifestyle, but can't leave her old friends behind. McCrea gives one of his better early performances, and Pat O'Brien is a-ok too. But Stanwyck makes the movie, she's just superlative.
Finally I watched 1931's Indiscreet directed by Leo McCarey with Gloria Swanson and Ben Lyon. I was anxious to see one of Swanson's early talkies. It's an odd movie, in that it tries to mix comedy, melodrama, and musical, and doesn't seem sure of what it's trying to be. My understanding is that the movie was originally a full-on musical, but when musicals went bust, they cut it from 10 songs to 3 songs. Again it is your standard one girl, two guys story, and again the other guy is played by Monroe Owsley(man I wish he would go away). The melodrama is pretty weak, and the songs just come out of the blue, although they are ably sung by Swanson.
What works in the movie is the comedy parts, which are a pre-cursor to McCarey's later screwball work. Swanson is excellent during the screwball moments, such as pretending to be crazy, and trying to sneak onto a ship. She's got great facial expressions, body language, and her timing is dead on. She actually reminded me a bit of Katharine Hepburn in Bringing Up Baby. Unfortunately there isn't enough of the comedy parts. I think the movie could have been great if it just stuck with one genre. Still worth checking out though.
"Do you think it's dangerous to have Busby Berkeley dreams?" - The Magnetic Fields
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drednm