Oh, I like Why Worry! That's the one where he plays a hypochondriac who ends up in the middle of a South American revolution, isn't it?
Recently, I've watched The Jazz Singer and The Primitive Lover. I found the first more historically interesting than anything else; and the shift between speech and silence was sometimes quite disorientating. The scene where Al Jolson was playing the piano and singing for his mother, and she was just responding naturally (instead of roundly mouthing dialogue in the approved early talkie manner) was rather touching. As for Jolson himself, I think he's an illustration of how much popular tastes change.
I was interested in The Primitive Lover because I wanted to see Constance Talmadge and Harrison Ford. I wasn't disappointed. Although the film itself was not exactly a masterpiece, their comic acting was so charming and subtle. I really enjoyed it.
WHAT SILENTS & PRE-CODES HAVE YOU SEEN LATELY?
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feaito
Thanks to Alison I've just watched "Hoopla" (1933), Clara Bow's last film and a wonderful Pre-Code. She plays a Carnival dancer who falls for the Carnival manager's son (naively played by Richard Cromwell). Bow could have well been the rival of Harlow during the thirties, so bad it was her last film. She's sexy, fun to watch and so down-to-earth. Preston Foster plays Cromwell's bad tempered dad and Minna Gombell his jealous lover.
Worth catching.
Worth catching.
I watched Henry King's "Tol'able David," which impressed me very much. It took a while to get started, and I was starting to think that Harold Lloyd's "The Kid Brother" had spoiled me for this, but after David's brother was crippled, I really was rivetted to this movie. The cross-cutting at the climax was extremely sophisticated for 1921, I thought, and the fight between David and the evil family surprised me for how graphic it was.
I guess this shows there is nothing new in movies. You have the brutal all-male family here, and they show up in Ford's "My Darling Clementine" and "Wagonmaster" and Peckinpah's "Ride the High Country." In the Seventies, the brutal all-male family becomes the killers in "Texas Chainsaw Massacre" and the mutants in "The Hills Have eyes." I would bet money that Wes Craven has seen "Tol'able David."
I guess this shows there is nothing new in movies. You have the brutal all-male family here, and they show up in Ford's "My Darling Clementine" and "Wagonmaster" and Peckinpah's "Ride the High Country." In the Seventies, the brutal all-male family becomes the killers in "Texas Chainsaw Massacre" and the mutants in "The Hills Have eyes." I would bet money that Wes Craven has seen "Tol'able David."
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drednm
HOOPLA was a remake of the part-talkie THE BARKER which starred Betty Compson, Dorothy Mackaill, and Milton Sills. This has been restored but has not been seen outside of museum showings.
TOL'ABLE DAVID is a great film by Henry King with an exciting and emotionally draining finish. Richard Barthelmess is remarkable.
And speaking of remarkable, I just watched the obscure 1931 talkie OVER THE HILL which featured a truly moving performance by Mae Marsh (in her mid 30s) in her talkie debut, playing the workhorse old mother of a dysfunctional family. The one good son (James Dunn) takes the wrap for the father's botched robbery and goes to jail. After his release he goes to Alaska for a new start and sends money home to care for mother, but the rotten son steals the money and tosses the old lady into the poor house. On the son's return from Alaska, there is hell to pay. Marsh is just wonderful and should have had a solid career in talkies. This film was also directed by Henry King.
TOL'ABLE DAVID is a great film by Henry King with an exciting and emotionally draining finish. Richard Barthelmess is remarkable.
And speaking of remarkable, I just watched the obscure 1931 talkie OVER THE HILL which featured a truly moving performance by Mae Marsh (in her mid 30s) in her talkie debut, playing the workhorse old mother of a dysfunctional family. The one good son (James Dunn) takes the wrap for the father's botched robbery and goes to jail. After his release he goes to Alaska for a new start and sends money home to care for mother, but the rotten son steals the money and tosses the old lady into the poor house. On the son's return from Alaska, there is hell to pay. Marsh is just wonderful and should have had a solid career in talkies. This film was also directed by Henry King.
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charliechaplinfan
- Posts: 9040
- Joined: January 15th, 2008, 9:49 am
I'm glad you enjoyed Hoopla Fernando, I agree with you about Clara, so much talent there but she didn't believe it. I wish they'd restore more of her work.
Thanks for all of your comments regarding Douglas Fairbanks. I'm going to rewatch The Gaucho, I've just read the section on that film. I've watched The Thief of Bagdad, the photoplay version that Gagman sent (thanks Jeffrey) and I have The Black Pirate and Robin Hood. The ones I'm missing are The Three Musketeers, The Iron Mask and Don Q Son of Zorro. Once my wallet has recovered from the festive season I'll have to extend my collection.
One thing that has struck me whilst looking through the pages is that I find Doug quite ordinary and looking his age in photos in his every day clothes but in costume during shooting he looks a completely different person.
Thanks for all of your comments regarding Douglas Fairbanks. I'm going to rewatch The Gaucho, I've just read the section on that film. I've watched The Thief of Bagdad, the photoplay version that Gagman sent (thanks Jeffrey) and I have The Black Pirate and Robin Hood. The ones I'm missing are The Three Musketeers, The Iron Mask and Don Q Son of Zorro. Once my wallet has recovered from the festive season I'll have to extend my collection.
One thing that has struck me whilst looking through the pages is that I find Doug quite ordinary and looking his age in photos in his every day clothes but in costume during shooting he looks a completely different person.
Failure is unimportant. It takes courage to make a fool of yourself - Charlie Chaplin
old moviiee
Garbo
I was glad to see that you enjoyed the Valentino / Swanson film. I was curious because of the stars but just couldn't stay awake. I recall how popular he was but don't remrmber her from that time. Too young, I guess. I hope you get to see more of Rudy. .... mel
I was glad to see that you enjoyed the Valentino / Swanson film. I was curious because of the stars but just couldn't stay awake. I recall how popular he was but don't remrmber her from that time. Too young, I guess. I hope you get to see more of Rudy. .... mel
Watched René Clair's The Italían Straw Hat (1927), a brilliant comedic farce about a young man heading to his wedding when his horse (it takes place in 1895) munches on the straw hat belonging to a "respectable" woman who is behind the bushes with her lover. She can't go home without her hat, lest her husband find out her indiscretion, so her lover, a military officer, forces the bridegroom to find a replacement, which, naturally, is not easily done.
Clair's direction is first-rate, certainly on par with Lubistch, and this film will have you smiling, and outright laughing, throughout.
Clair's direction is first-rate, certainly on par with Lubistch, and this film will have you smiling, and outright laughing, throughout.
"Let's be independent together." Dr. Hermey DDS
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Ann Harding
- Posts: 1246
- Joined: January 11th, 2008, 11:03 am
- Location: Paris
- Contact:
MichiganJ: René Clair's Un chapeau de paille d'Italie is fabulous! I agree. 
If I haven't been around much during the past few days, I caught the flu and was in bed. When I got better I started watching some Fairbanks comedies and it was a wonderful treat!
When the Clouds Roll By (1919) by V. Fleming is a tremendous picture where Doug is the victim a mad doctor who uses him a guinea pig. Poor Doug swallows a heavy dinner that gives him some terrible nightmare... The film contains some amazing sequences with Doug walking on the ceiling (like Fred Astaire in Royal Wedding) or some nearly avant-garde scenes before it was invented.
His Picture in the Papers (1916) by J. Emerson shows Doug as the heir of the king of Vegetarian food who likes nothing more than a juicy steak. To prove his hability at business and marry his beloved, he has to managed to appear on the front page of the newspaper. He tries various tricks to draw attention to him, but he fails.....
Another really delightful comedy. Doug really knows how to pace his comedies. They were really ahead of their time with some fabulous title cards written by Anita Loos.
Reaching for the Moon (1917) by J. Emerson. Alexis Caesar Napoleon Brown (D. Fairbanks) dreams to be a Royal. Then one day, an ambassador turns up and tells him he is now King of Vulgaria. He takes the boat to be crowned in his kingdom just to discover that his new life, far from being a fairy tale, is actually a nightmare: assassination attempts, arranged marriage, treason....
This is the story of the Prisoner of Zenda turned into a hilarious comedy with poor Doug discovering that his normal life as a small employee in a button factory was far preferable to that of a Royalty.
I have now seen 7 Douglas Fairbanks comedies and I tell you there are among the best ones I have ever seen. Before he made swashbucklers, Doug made some fabulous comedies and you should really get the new Flicker Alley set: they are must-see!!!
If I haven't been around much during the past few days, I caught the flu and was in bed. When I got better I started watching some Fairbanks comedies and it was a wonderful treat!
When the Clouds Roll By (1919) by V. Fleming is a tremendous picture where Doug is the victim a mad doctor who uses him a guinea pig. Poor Doug swallows a heavy dinner that gives him some terrible nightmare... The film contains some amazing sequences with Doug walking on the ceiling (like Fred Astaire in Royal Wedding) or some nearly avant-garde scenes before it was invented.
His Picture in the Papers (1916) by J. Emerson shows Doug as the heir of the king of Vegetarian food who likes nothing more than a juicy steak. To prove his hability at business and marry his beloved, he has to managed to appear on the front page of the newspaper. He tries various tricks to draw attention to him, but he fails.....
Another really delightful comedy. Doug really knows how to pace his comedies. They were really ahead of their time with some fabulous title cards written by Anita Loos.
Reaching for the Moon (1917) by J. Emerson. Alexis Caesar Napoleon Brown (D. Fairbanks) dreams to be a Royal. Then one day, an ambassador turns up and tells him he is now King of Vulgaria. He takes the boat to be crowned in his kingdom just to discover that his new life, far from being a fairy tale, is actually a nightmare: assassination attempts, arranged marriage, treason....
This is the story of the Prisoner of Zenda turned into a hilarious comedy with poor Doug discovering that his normal life as a small employee in a button factory was far preferable to that of a Royalty.
I have now seen 7 Douglas Fairbanks comedies and I tell you there are among the best ones I have ever seen. Before he made swashbucklers, Doug made some fabulous comedies and you should really get the new Flicker Alley set: they are must-see!!!
Ann Harding, glad you are feeling better and I completely agree about the new Fairbanks set, it is fantastic! His comedies hold up quite well, and the new print of Zorro looks great!
I watched the pre-code Tonight or Never, a romantic comedy starring Gloria Swanson and Melvyn Douglas. While the double entendres and innuendoes kept the film interesting, it still wasn't quite as good as similar fare by Lubitsch. Swanson is an opera singer, who sings with little passion until she spends the night with gigolo Douglas, who gives her her voice (etc). But is Douglas really a gigolo? Of course not (no spoiler alert necessary if you've seen at least one romantic comedy), but there is a welcome little twist that is expected but still may be a welcome little surprise.
Swanson and Douglas share some chemistry, and both are fine in the acting department, but the film lacks something. Little actual laughs, Tonight or Never is merely amusing. Still, two great stars, fancy clothes (Swanson wears a few coats with collars that look like those horse-shoe head rests you buy for flying or long car trips), and not a little hanky-panky, adds up to a decent time. (You also get to see exactly how teeny-tiny Swanson was. In their one standing "love-making" scene, she needs to be on tip-toes while he bends like Quasimodo...)
I watched the pre-code Tonight or Never, a romantic comedy starring Gloria Swanson and Melvyn Douglas. While the double entendres and innuendoes kept the film interesting, it still wasn't quite as good as similar fare by Lubitsch. Swanson is an opera singer, who sings with little passion until she spends the night with gigolo Douglas, who gives her her voice (etc). But is Douglas really a gigolo? Of course not (no spoiler alert necessary if you've seen at least one romantic comedy), but there is a welcome little twist that is expected but still may be a welcome little surprise.
Swanson and Douglas share some chemistry, and both are fine in the acting department, but the film lacks something. Little actual laughs, Tonight or Never is merely amusing. Still, two great stars, fancy clothes (Swanson wears a few coats with collars that look like those horse-shoe head rests you buy for flying or long car trips), and not a little hanky-panky, adds up to a decent time. (You also get to see exactly how teeny-tiny Swanson was. In their one standing "love-making" scene, she needs to be on tip-toes while he bends like Quasimodo...)
"Let's be independent together." Dr. Hermey DDS
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charliechaplinfan
- Posts: 9040
- Joined: January 15th, 2008, 9:49 am
I never knew about the Flicker Alley release, how have I missed that. Christine, you really must get or borrow a copy of the new book on Douglas Fairbanks, it goes into his early comedies in some detail including explaining the special effects, apparently Fred filmed his dancing on the ceiling in exactly the same way.
I watched The Gaucho, the second film I ever saw with Douglas Fairbanks in. First time around I missed the fact his character was very different in this film to his usual hero, this hero is deeply flawed, cynical and heavy smoking (this always strikes me as strange considering he was such a health nut but according to the new book he smoked an awful lot) but he's also very attractive and sensual something that has never struck me about Doug before (ok I know he looked good in TTOB and TBP but he was a cleaner cut hero and I'm not sure those heroes were aimed directly at the ladies). Anyhow, back to the film.
I like the story about faith, whether you have it or not and although 'religious' films don't float everyone's boat you can take it as a fairystory. Mary Pickford as the Virgin Mary, that is a fairy story and a delightful one. What a compliment to pay a wife although it may have been a backhanded one, he was alledged to have had an affair with Lupe Velez during filming. They do have chemistry on screen and she is the most realised of all the women in his swashbuckler films. Eve Southern isthe girl who saw the Virgin, I think she gives a brilliant spiritual performance, something that I would think would be hard to do well.
The stampede of steers at the end is impressive too, the lighting of Mary Pickford as the Virgin Mary, the book goes into details as to how this was done.
I watched The Gaucho, the second film I ever saw with Douglas Fairbanks in. First time around I missed the fact his character was very different in this film to his usual hero, this hero is deeply flawed, cynical and heavy smoking (this always strikes me as strange considering he was such a health nut but according to the new book he smoked an awful lot) but he's also very attractive and sensual something that has never struck me about Doug before (ok I know he looked good in TTOB and TBP but he was a cleaner cut hero and I'm not sure those heroes were aimed directly at the ladies). Anyhow, back to the film.
I like the story about faith, whether you have it or not and although 'religious' films don't float everyone's boat you can take it as a fairystory. Mary Pickford as the Virgin Mary, that is a fairy story and a delightful one. What a compliment to pay a wife although it may have been a backhanded one, he was alledged to have had an affair with Lupe Velez during filming. They do have chemistry on screen and she is the most realised of all the women in his swashbuckler films. Eve Southern isthe girl who saw the Virgin, I think she gives a brilliant spiritual performance, something that I would think would be hard to do well.
The stampede of steers at the end is impressive too, the lighting of Mary Pickford as the Virgin Mary, the book goes into details as to how this was done.
Failure is unimportant. It takes courage to make a fool of yourself - Charlie Chaplin
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silentscreen
- Posts: 701
- Joined: March 9th, 2008, 3:47 pm
I watched Son of the Shiek again recently as my best friend is a Rudy fan, and I'm sharing my Valentino films with her. Nothing earth shattering, just pure lovely escapism and Rudy looks good in costume dramas and along side Vilma Banky. Sad to say that this was his last film, but some how fitting nonetheless.
"Humor is nothing less than a sense of the fitness of things." Carole Lombard
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drednm
I watched two ultra-rare films this weekend.
SECRETS (1924) was a big hit for Norma Talmadge. About 2 thirds of the film survives although the story is still easy to follow. This was remade by Mary Pickford in 1933 and was her final film appearance. The story is basically the same but the locales all different with Talmadge starting out in England and ending up in Scotland. Talmadge was one of the biggest stars of the silent era and is more famous now for her failure in talkies, although her NEW YORK NIGHTS is quite good.
George Jessel made a huge mistake in turning down Warners' THE JAZZ SINGER in 1927. In 1928 he tried to right things and get his film career on track with LUCKY BOY. The story is very similar even down to the mother, but Jessel just didn't have the dynamic personality or singing talent of Jolson (or Eddie Cantor for that matter). The film (about 70 minutes) is likable enough but is an obvious copy of the Jolson smash. Jessel sings "My Mother's Eyes" about a dozen times!
SECRETS (1924) was a big hit for Norma Talmadge. About 2 thirds of the film survives although the story is still easy to follow. This was remade by Mary Pickford in 1933 and was her final film appearance. The story is basically the same but the locales all different with Talmadge starting out in England and ending up in Scotland. Talmadge was one of the biggest stars of the silent era and is more famous now for her failure in talkies, although her NEW YORK NIGHTS is quite good.
George Jessel made a huge mistake in turning down Warners' THE JAZZ SINGER in 1927. In 1928 he tried to right things and get his film career on track with LUCKY BOY. The story is very similar even down to the mother, but Jessel just didn't have the dynamic personality or singing talent of Jolson (or Eddie Cantor for that matter). The film (about 70 minutes) is likable enough but is an obvious copy of the Jolson smash. Jessel sings "My Mother's Eyes" about a dozen times!
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Moraldo Rubini
- Posts: 1094
- Joined: April 19th, 2007, 11:37 am
- Location: San Francisco
- Contact:
I went to a swell lecture today on early Hollywood sound films that were made in German (and French, Spanish and Italian). We saw extensive clips of Edward G. Robinson and Vilma Banky in A Lady to Love. The English-language version featured a handsome Robert Ames as Buck; the German version had a less impressive fellow in the role. [Anyone know Robert Ames' story? I understand he was married to a young Vivienne Segal(!); how did he come to die so young?]
I'd seen the two Anna Christies before, but since I'd never watched them back-to-back and hadn't realized the many differences (both technical and aesthetic) between them.
We also saw various versions of The Big Trail. Most startling perhaps, was the German prologue (Die Grosse Fahrt) which declared it was a story of the importance of German immigrants' pioneering spirit in crossing and developing the land that would become the USA!
A Laurel and Hardy feature Der Spuk um Mitternacht/Murder Case that we saw in three languages featured an interesting change in dialogue:
Spanish version (all said in halting American-accented Spanish):
H: Don't you have an uncle name 'Laurel'?
L: Sure I have.
H: Where is he?
L: He's at the Medical University in Barcelona.
H: He's a doctor?
L: No, he's in a speciman jar.
English version:
H: Don't you have an uncle name 'Laurel'?
L: Sure I have.
H: Where is he?
L: He fell through a trap door and broke his neck.
H: Was he building a house?
L: No, they were hanging him.
Both dark, both startling, but quite different.
It was delightful to see a young Charlotte Greenwood playing with Buster Keaton in Parlor, Bedroom and Bath, even though she paled in grace next to the German version's (Casanova wider Willen) Marion Lessing.
It was amusing to see Joan Crawford and John Gilbert struggling with their german in Wir schalten um auf Hollywood, though Adolph Menjou was so adept at it, it seems odd he wasn't used in Hollywood's German exports.
We also saw scenes from The Big House juxtaposed with its french and german versions. Egon von Jordan was impressive in the Robert Montgomery role. It was fun to see Charles Boyer in the Chester Morris part.
I'd seen the two Anna Christies before, but since I'd never watched them back-to-back and hadn't realized the many differences (both technical and aesthetic) between them.
We also saw various versions of The Big Trail. Most startling perhaps, was the German prologue (Die Grosse Fahrt) which declared it was a story of the importance of German immigrants' pioneering spirit in crossing and developing the land that would become the USA!
A Laurel and Hardy feature Der Spuk um Mitternacht/Murder Case that we saw in three languages featured an interesting change in dialogue:
Spanish version (all said in halting American-accented Spanish):
H: Don't you have an uncle name 'Laurel'?
L: Sure I have.
H: Where is he?
L: He's at the Medical University in Barcelona.
H: He's a doctor?
L: No, he's in a speciman jar.
English version:
H: Don't you have an uncle name 'Laurel'?
L: Sure I have.
H: Where is he?
L: He fell through a trap door and broke his neck.
H: Was he building a house?
L: No, they were hanging him.
Both dark, both startling, but quite different.
It was delightful to see a young Charlotte Greenwood playing with Buster Keaton in Parlor, Bedroom and Bath, even though she paled in grace next to the German version's (Casanova wider Willen) Marion Lessing.
It was amusing to see Joan Crawford and John Gilbert struggling with their german in Wir schalten um auf Hollywood, though Adolph Menjou was so adept at it, it seems odd he wasn't used in Hollywood's German exports.
We also saw scenes from The Big House juxtaposed with its french and german versions. Egon von Jordan was impressive in the Robert Montgomery role. It was fun to see Charles Boyer in the Chester Morris part.
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drednm
I have the American version of A LADY TO LOVE and it's not a bad film at all.... I'm reading Edward G. Robinson's autobiography and he has nice things to say about Vilma Banky. Oddly he also claims the film did well although legend has it that the film flopped and sent Banky back to Europe.... I thought she was very good and sounded very much like Garbo.