WHAT SILENTS & PRE-CODES HAVE YOU SEEN LATELY?
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charliechaplinfan
- Posts: 9040
- Joined: January 15th, 2008, 9:49 am
Yes, Clara made It. I had a problem with why Clara would be attracted to Antonio Moreno, he seems too old and too stuffy and that lets the film down. He doesn't have the lightness of touch that Clara had. I terms of the whole package I prefer My Best Girl, the chemistry works much better. However no one had what Clara had, I wish she had been given better material and I wish more of her films would get official release. She is one of the most important stars of the silent era.
Failure is unimportant. It takes courage to make a fool of yourself - Charlie Chaplin
Christine,
"IT" basically was totally forgotten. This film only exisists today because Paul Killiam rescued a lone nitrate print that survived from the trash heap after Paramount literally threw it away back in the Mid '60's. It's reputation was resurrected by Blackhawk films in the 70's, and it has been a cult favorite ever since.
Myrna,
Don't know which version you saw? Was it the Thames one? Did it have the Carl Davis score? Makes a big difference. This version is out on DVD from Milestone. And that is take take nothing away from the Bill Perry score on the Kino release. I always admired Mr. Perry greatly.
Kyle,
I disagree that Clara never looked as cute again. I have seen films where I thought she looked better than she did in "IT".
Alison,
Antonio Mereno was a wash with me too. I haven't really liked the guy in anything I have seen him in. Even NARE NOSTRUM. That doesn't mean that I am not desperate to see THE FLAMING FOREST with it's technicolor footage, if only because of Renee Adoree. 
"IT" basically was totally forgotten. This film only exisists today because Paul Killiam rescued a lone nitrate print that survived from the trash heap after Paramount literally threw it away back in the Mid '60's. It's reputation was resurrected by Blackhawk films in the 70's, and it has been a cult favorite ever since. Myrna,
Don't know which version you saw? Was it the Thames one? Did it have the Carl Davis score? Makes a big difference. This version is out on DVD from Milestone. And that is take take nothing away from the Bill Perry score on the Kino release. I always admired Mr. Perry greatly. Kyle,
I disagree that Clara never looked as cute again. I have seen films where I thought she looked better than she did in "IT". Alison,
Antonio Mereno was a wash with me too. I haven't really liked the guy in anything I have seen him in. Even NARE NOSTRUM. That doesn't mean that I am not desperate to see THE FLAMING FOREST with it's technicolor footage, if only because of Renee Adoree. -
drednm
I hated MARE NOSTRUM, it was slow and dull.
But I watched tonight the fantastic LONESOME (thank you, Donna!) and was amazed by this French print (with English subtitles). The camera work was amazing and even with minor stars Glenn Tryon and Barbara Kent, the story of 2 lonely people who find each other at Coney Island and then lose each other in the crowds was simple and incredibly touching.
I loved it. This film makes my Top 100 Silent films!
But I watched tonight the fantastic LONESOME (thank you, Donna!) and was amazed by this French print (with English subtitles). The camera work was amazing and even with minor stars Glenn Tryon and Barbara Kent, the story of 2 lonely people who find each other at Coney Island and then lose each other in the crowds was simple and incredibly touching.
I loved it. This film makes my Top 100 Silent films!
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Ann Harding
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Yesterday I saw No Greater Glory (1934), a Frank Borzage I have always wanted to see. It's based on a Ferenc Molnar book and shows a group of kids in Budapest who fights another group for possession of a derelict building site. The little Nemecsek who belongs to the Paul Street Kids would like to be considered like the other worthy to be an 'officer'. He will go to any length to be considered courageous...
The military-like kids gangs we see in the film are obviously reminiscent of the Hitler Youth groups that were formed around that time. But somehow, the film is more complex. The prologue is an unmitigated condemnation of war. The kids are just playing at war and mimicking adult behaviour. The last scene shows how dangerous and mad their fighting was leading to a loss of life. A very interesting film about kids in a par with Wellman's Wild Boys of the Road. Thanks Jeffrey!
The military-like kids gangs we see in the film are obviously reminiscent of the Hitler Youth groups that were formed around that time. But somehow, the film is more complex. The prologue is an unmitigated condemnation of war. The kids are just playing at war and mimicking adult behaviour. The last scene shows how dangerous and mad their fighting was leading to a loss of life. A very interesting film about kids in a par with Wellman's Wild Boys of the Road. Thanks Jeffrey!
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charliechaplinfan
- Posts: 9040
- Joined: January 15th, 2008, 9:49 am
I liked Antonio Moreno in Mare Nostrum and The Temptress, stills exist from The Temptress showing him without his moustache, he looks far better for it.
When searching for his details on imdb there are 20 actors with the same name, none listed as a silent actor. He was listed as an actor in the Searchers.
When searching for his details on imdb there are 20 actors with the same name, none listed as a silent actor. He was listed as an actor in the Searchers.
Failure is unimportant. It takes courage to make a fool of yourself - Charlie Chaplin
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feaito
Today I watched "The Lost World" (1925), which has landmark special effects (by Willis O'Brien) for its time. It's an exciting adventure film with a plot that holds up your interest. Bessie Love, Lewis Stone and Wallace Beery are good in it.
I also saw (thanks to Alison) Alberto Cavalcanti's swashbuckler "Le Capitaine Fracasse" (1929) in which Pierre Blanchar stars as an impoverished nobleman who joins a troupe of actors, under the reign of Louis XIII. Charles Boyer plays a villainous Duke. The story reminded in a way of Scaramouche. I was particularly impressed by Blanchar's acting skills and by Pola Illéry's bewitching allure. The leading lady is beautiful Lien Deyers. Legendary actress Marguerite Moreno is also in the cast.
I also saw (thanks to Alison) Alberto Cavalcanti's swashbuckler "Le Capitaine Fracasse" (1929) in which Pierre Blanchar stars as an impoverished nobleman who joins a troupe of actors, under the reign of Louis XIII. Charles Boyer plays a villainous Duke. The story reminded in a way of Scaramouche. I was particularly impressed by Blanchar's acting skills and by Pola Illéry's bewitching allure. The leading lady is beautiful Lien Deyers. Legendary actress Marguerite Moreno is also in the cast.
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myrnaloyisdope
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Gagman, it was the Kino version of It that I watched.
Here's what I watched this week:
I finally got around to watching my copy of Ernst Lubitsch's So, This Is Paris, and despite the Italian intertitles, I really enjoyed the film. It's a fun little sex farce, that really deserves a place alongside The Marriage Circle in terms of reputation. There's some really interesting camerawork, notably a great sequence where Patsy Ruth Miller's character browbeats her Monte Blue as her husband, and Blue literally shrinks on-screen and walks out of the room. I'd never seen anything quite like it in a Hollywood silent, it was something out of the Melies' playbook. There was also a great musical sequence with Monte Blue and Lilyan Tashman at a lively Parisian party/Charleston contest. There's some great energetic montages and the sequence is almost on-par with the Foxtrot scene in The Oyster Princess. I was very impressed by Tashman, I'd never seen her before, but she's a good looking gal, and had a lot of charisma in the film. I'm intrigued to see more of her. On the Myrna Loy front, well the film was disappointment, as she is pretty much unrecognizable in several brief scenes as a maid.
I also watched Sinner's Holiday from 1930, which is best known for being the film debut of both James Cagney and Joan Blondell. I really wasn't expecting much, but was pleasantly surprised as the story was pretty strong, and the film featured plenty of Joan and Jimmy. Grant Withers stars as Angel, an ex-con working in a Penny Arcade for the Delano family, with Evelyn Knapp as his love interest, and Cagney as her brother. Cagney is mixed up with racketeers including Warren Hymer doing his usual slimeball schtick. Joan is fun as a tough talking floozy who is dating Cagney, though it's awful strange seeing her as a brunette. Overall it's a pretty strong debut for both.
Thanks to Christine I got to see Topaze, with John Barrymore as the naive school teacher turned unknowing shill for a pharmaceutical magnate (Reginald Mason). Myrna Loy plays the Mason's mistress, who ends up falling for Barrymore. Barrymore is wonderful as the school-teacher, I had never seen play a role like that before, with such naivete. But aside from his performance I was disappointed by the film. Myrna doesn't get much to do, and the film doesn't really do enough to take advantage of Barrymore's performance. It's not funny enough to be comedy, and not dramatic enough to pass as melodrama. So what you have is a brilliant performance by Barrymore, and nothing else to compliment it.
I also just watched Bud's Recruit which is King Vidor's oldest surviving film. I was really impressed by the film, despite it being disconcertingly propagandistic. The film revolves around the young teenager, Bud, a fervently patriotic boy who spends his days performing mock military drills with the neighborhood kids. He has WWI posters on his wall, and salutes a portrait of George Washington that hangs in his bedroom. Bud's older brother, Reggie is the complete opposite, thanking his lucky stars that he is not likely to get drafted, and attending pacifist meetings. He even sports a pair of Harold Lloyd glasses, and has a moustache confirming his unmanliness. Bud gets the great idea to impersonate his brother and enlist.
It's a cute little film, and Vidor's talents are quite evident early on, as the film is nicely paced, and has some interesting shots, one that struck me was one where Bud looks in a mirror to see both his reflection and that of his sleeping brother. Also for a 2 reeler it manages to squeeze a lot in.
Here's what I watched this week:
I finally got around to watching my copy of Ernst Lubitsch's So, This Is Paris, and despite the Italian intertitles, I really enjoyed the film. It's a fun little sex farce, that really deserves a place alongside The Marriage Circle in terms of reputation. There's some really interesting camerawork, notably a great sequence where Patsy Ruth Miller's character browbeats her Monte Blue as her husband, and Blue literally shrinks on-screen and walks out of the room. I'd never seen anything quite like it in a Hollywood silent, it was something out of the Melies' playbook. There was also a great musical sequence with Monte Blue and Lilyan Tashman at a lively Parisian party/Charleston contest. There's some great energetic montages and the sequence is almost on-par with the Foxtrot scene in The Oyster Princess. I was very impressed by Tashman, I'd never seen her before, but she's a good looking gal, and had a lot of charisma in the film. I'm intrigued to see more of her. On the Myrna Loy front, well the film was disappointment, as she is pretty much unrecognizable in several brief scenes as a maid.
I also watched Sinner's Holiday from 1930, which is best known for being the film debut of both James Cagney and Joan Blondell. I really wasn't expecting much, but was pleasantly surprised as the story was pretty strong, and the film featured plenty of Joan and Jimmy. Grant Withers stars as Angel, an ex-con working in a Penny Arcade for the Delano family, with Evelyn Knapp as his love interest, and Cagney as her brother. Cagney is mixed up with racketeers including Warren Hymer doing his usual slimeball schtick. Joan is fun as a tough talking floozy who is dating Cagney, though it's awful strange seeing her as a brunette. Overall it's a pretty strong debut for both.
Thanks to Christine I got to see Topaze, with John Barrymore as the naive school teacher turned unknowing shill for a pharmaceutical magnate (Reginald Mason). Myrna Loy plays the Mason's mistress, who ends up falling for Barrymore. Barrymore is wonderful as the school-teacher, I had never seen play a role like that before, with such naivete. But aside from his performance I was disappointed by the film. Myrna doesn't get much to do, and the film doesn't really do enough to take advantage of Barrymore's performance. It's not funny enough to be comedy, and not dramatic enough to pass as melodrama. So what you have is a brilliant performance by Barrymore, and nothing else to compliment it.
I also just watched Bud's Recruit which is King Vidor's oldest surviving film. I was really impressed by the film, despite it being disconcertingly propagandistic. The film revolves around the young teenager, Bud, a fervently patriotic boy who spends his days performing mock military drills with the neighborhood kids. He has WWI posters on his wall, and salutes a portrait of George Washington that hangs in his bedroom. Bud's older brother, Reggie is the complete opposite, thanking his lucky stars that he is not likely to get drafted, and attending pacifist meetings. He even sports a pair of Harold Lloyd glasses, and has a moustache confirming his unmanliness. Bud gets the great idea to impersonate his brother and enlist.
It's a cute little film, and Vidor's talents are quite evident early on, as the film is nicely paced, and has some interesting shots, one that struck me was one where Bud looks in a mirror to see both his reflection and that of his sleeping brother. Also for a 2 reeler it manages to squeeze a lot in.
"Do you think it's dangerous to have Busby Berkeley dreams?" - The Magnetic Fields
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Ann Harding
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MLid: The problem with Topaze is that the original play by Marcel Pagnol (which was filmed several times in France) was a lot sharper than the watered down Ben Hecht version filmed in 1933. Nevertheless, Barrymore is on top form.
I have been watching quite a large variety of silents recently.
Les Misérables (1925) by Henri Fescourt is a brilliant -and very faithful- silent version of Victor Hugo's novel shot on locations. It lasts a wooping 7h!
I saw the first 2 parts some weeks ago on a big screen. I couldn't attend the last 2 parts due to a nasty flu. But now, I have managed to catch the last 2 parts at the Forum des Images where the film can be seen on a video screen. The film has a brilliant cinematography. (And recently, the original negative was found and the film is under restoration.) The cast is top-notch with Gabriel Gabrio, a big giant of man as Jean Valjean, Sandra Milowanoff as a superb Fantine and also as the adult Cosette. Some scenes are breathtaking, particularly when little Cosette goes during the night to fetch some water. The trees extend their branches like arms and seem to have eyes glowing in the dark. It's exactly the scene from Disney's Snow White, but made 12 years beforehand! The film is definitely on a par with the superb 1934 talkie version by Raymond Bernard (available on the Eclipse label). I hope it will get released on DVD like the Fescourt's Monte-Cristo. 
The Girl with The Hatbox (1927) by Boris Barnet with Anna Sten. This Russian comedy was delightful boasting a very young looking (and dark haired) Anna Sten as a hatmaker who carries her hats to Moscow. She helps a young man who is homeless to get a room and runs foul of her nasty employer. The film was quite slapsticky and it was reinforced by the soundtrack (made in the 60s) which made the film run at 24 fps (Keystone cop like!). The film allowed us to see the very dire living conditions of people in Soviet Russia in the 20s. But, it kept a brisk pacing and never commiserate. Anna Sten was very resourceful and opiniated. She really had charisma and personality. It's such a shame Goldwyn misused her...
The Iron Mask (1929) by Allan Dwan with Douglas Fairbanks.
This adaptation of Dumas allows Doug to play D'Artagnan again. It's gorgeous looking on the Kino DVD. Henry Sharp's cinematography is fantastic. It's the only film where Doug dies at the end. The film is really the landmark of the end of an era... Brilliant Carl Davis score. A must see.
I have been watching quite a large variety of silents recently.
Les Misérables (1925) by Henri Fescourt is a brilliant -and very faithful- silent version of Victor Hugo's novel shot on locations. It lasts a wooping 7h!
I saw the first 2 parts some weeks ago on a big screen. I couldn't attend the last 2 parts due to a nasty flu. But now, I have managed to catch the last 2 parts at the Forum des Images where the film can be seen on a video screen. The film has a brilliant cinematography. (And recently, the original negative was found and the film is under restoration.) The cast is top-notch with Gabriel Gabrio, a big giant of man as Jean Valjean, Sandra Milowanoff as a superb Fantine and also as the adult Cosette. Some scenes are breathtaking, particularly when little Cosette goes during the night to fetch some water. The trees extend their branches like arms and seem to have eyes glowing in the dark. It's exactly the scene from Disney's Snow White, but made 12 years beforehand! The film is definitely on a par with the superb 1934 talkie version by Raymond Bernard (available on the Eclipse label). I hope it will get released on DVD like the Fescourt's Monte-Cristo. The Girl with The Hatbox (1927) by Boris Barnet with Anna Sten. This Russian comedy was delightful boasting a very young looking (and dark haired) Anna Sten as a hatmaker who carries her hats to Moscow. She helps a young man who is homeless to get a room and runs foul of her nasty employer. The film was quite slapsticky and it was reinforced by the soundtrack (made in the 60s) which made the film run at 24 fps (Keystone cop like!). The film allowed us to see the very dire living conditions of people in Soviet Russia in the 20s. But, it kept a brisk pacing and never commiserate. Anna Sten was very resourceful and opiniated. She really had charisma and personality. It's such a shame Goldwyn misused her...
The Iron Mask (1929) by Allan Dwan with Douglas Fairbanks.
This adaptation of Dumas allows Doug to play D'Artagnan again. It's gorgeous looking on the Kino DVD. Henry Sharp's cinematography is fantastic. It's the only film where Doug dies at the end. The film is really the landmark of the end of an era... Brilliant Carl Davis score. A must see.
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drednm
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charliechaplinfan
- Posts: 9040
- Joined: January 15th, 2008, 9:49 am
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drednm
THE IRON MASK was terrific: great sets and a super performance by Douglas Fairbanks. I also liked William Bakewell in the dual role of the king and "the other one." Also of note Belle Bennett as the Queen Mother, Marguerite De la Motte as Constance, and Nigel de Brulier as Richelieu.
I think I had read that Fairbanks knew this 1929 film would be his final silent film (and possibly his final film) and that's why he dies in the end (only film he dies in) as a symbolic gesture to an era ended.
Also of note, and something I had not known before, Fairbanks speaks a prologue to the first half of the film and then returns with a short speech to introduce the 2nd half. Whether this was planned or added on as a nod toward talkies I do not know.....
I think I had read that Fairbanks knew this 1929 film would be his final silent film (and possibly his final film) and that's why he dies in the end (only film he dies in) as a symbolic gesture to an era ended.
Also of note, and something I had not known before, Fairbanks speaks a prologue to the first half of the film and then returns with a short speech to introduce the 2nd half. Whether this was planned or added on as a nod toward talkies I do not know.....
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feaito
Thanks to Alison I watched the excellent Pre-Code "Red Dust" (1932) which in my opinion is much better than Ford's "Mogambo", notwithstanding the entertainment value of the remake. The characters are best developed in the Victor Fleming picture and its storyline is much bolder in relation with the Astor-Gable-Harlow triangle. Great film! Harlow rocks! Astor's wonderful and Gable is in top-form. Thank heavens the P. Code had not been enforced in 1932!
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Ann Harding
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Absolutely right, Fernando! Mogambo is terribly watered down remake of the superb Red Dust. 
Yesterday I saw (thanks MLID!) So This is Paris (1926, E. Lubitsch). The print is the kind of evil dupe that circulates in Italy. Nevertheless, I was very interested by this lovely comedy based on Le réveillon, a French play which was the basis of Strauss' Die Fledermaus. You can sum it up by saying: a French doctor goes out with a former flirt without telling his wife while she herself is having a nice evening with another man... The best aspect is certainly the very nice editing job on the sequence described by MLID. It is actually featured in the Hollywood documentary as an example of sharp editing. Lilyan Tashman is already a favourite of mine, especially in Girls About Town (1931) and Bulldog Drummond (1929). I would really like to see a better print of this film.
After this short silent, I watched a fast-moving Pre-Code with Jimmy Cagney and Loretta Young: Taxi! (1932, R. Del Ruth). It proved absolutely charming with a very tough Cagney as a NY taxi driver. His scenes with Loretta were sparkling. They had excellent chemistry on screen. I really loved the fox-trot competition: the Cagney-Young pair lost to George Raft!!!
Yesterday I saw (thanks MLID!) So This is Paris (1926, E. Lubitsch). The print is the kind of evil dupe that circulates in Italy. Nevertheless, I was very interested by this lovely comedy based on Le réveillon, a French play which was the basis of Strauss' Die Fledermaus. You can sum it up by saying: a French doctor goes out with a former flirt without telling his wife while she herself is having a nice evening with another man... The best aspect is certainly the very nice editing job on the sequence described by MLID. It is actually featured in the Hollywood documentary as an example of sharp editing. Lilyan Tashman is already a favourite of mine, especially in Girls About Town (1931) and Bulldog Drummond (1929).
I would really like to see a better print of this film.After this short silent, I watched a fast-moving Pre-Code with Jimmy Cagney and Loretta Young: Taxi! (1932, R. Del Ruth). It proved absolutely charming with a very tough Cagney as a NY taxi driver. His scenes with Loretta were sparkling. They had excellent chemistry on screen. I really loved the fox-trot competition: the Cagney-Young pair lost to George Raft!!!