• Content count

  • Joined

  • Last visited

Everything posted by drednm

  1. drednm

    Marion Davies & Leslie Howard

    His daughter Leslie Ruth Howard made one film appearance as an actress. She also appears in Tom's documentary.
  2. MARION DAVIES personally selected LESLIE HOWARD as her leading man for FIVE AND TEN (1931) after seeing him in "Berkeley Square" on Broadway. The story is loosely based on Barbara Hutton (the Woolworth heiress) and the building of the Woolworth Tower in NYC. TCM is showing this on June 25 as part of Howard's Star of the Month salute. Here's a shot of Davies and Howard atop a city building.
  3. drednm

    Marion Davies & Leslie Howard

    Yup you got me on that one! Davies actually WAS a big movie star. Like a lot of other big movie stars of the era, we've forgotten what a star looks she was.
  4. drednm

    A STAR IS BORN (2018) trailer

    My guess is that this is a bomb in the making, much like Renee Zellweger's Judy Garland biopic. The audience for these kinds of films don't go to theaters all that often.
  5. drednm

    A STAR IS BORN (2018) trailer

    Is there an audience for this film? Any opinions?
  6. drednm

    Marion Davies & Leslie Howard

    While the Hungarian-born Leslie Howard specialized in playing British gentlemen (a lost breed in today's world, British or otherwise), his real life (and death) was anything but. Watch my friend Tom Hamilton's terrific documentary on Howard on June 18. You'll have a better appreciation of Leslie Howard.
  7. drednm

    A STAR IS BORN (2018) trailer

    Saying that a film is "dated" is like saying a Shakespeare play or a Stenbeck novel is "dated." Obviously so. You need to approach the work in its own context. A film made in 1937 was no more dated in its time than any film now playing is today.
  8. drednm

    A STAR IS BORN (2018) trailer

    I'll pass.
  9. drednm

    Marion Davies & Leslie Howard

    Seems unlikely since he and Warners were ready to snag Reinhardt for Davies in 1935. Reinhardt had made on a few silent films. He just didn't seem to like film. Even his 1935 was largely a filmed version of his staged presentation. Hearst certainly knew talent. He signed Reinhardt in 1924 after he and Davies had seen the Broadway production of "The Miracle," which had starred Diana Manners. Reinhardt was also a friend of Joseph Urban, whom Hearst had snagged in the early 1920s.
  10. drednm

    Marion Davies & Leslie Howard

    Funny, but I can't find anything on WHY Reinhardt apparently bailed on the contract in 1924.
  11. drednm

    Marion Davies & Leslie Howard

    Hearst has tried to snag MAX REINHARDT in the 1920s as well, but nothing came of it.
  12. drednm

    Marion Davies & Leslie Howard

    ... and speaking of MARION DAVIES and LESLIE HOWARD, Davies was announced by Warners to star in a production of TWELFTH NIGHT under the direction of Max Reinhardt, who had just wrapped A MIDSUMMER NIGHT'S DREAM. MGM had announced ROMEO AND JULIET and 20th Century Fox had announced AS YOU LIKE IT (bother of which tanked at the box office). Warners planned to star Davies as Viola and Howard was mentioned as Orsino. Reinhardt was coming off the (mostly) critically acclaimed film (which is stunning) which basically broke even. By December of 1936 all the Shakespeare projects in town were scrubbed. Reinhardt never made another film. This was a major disappointment for Davies. The cross-dressing role of Viola who disguises herself as Cesario would have been a romp for her, having cross-dressed in two silent hits: LITTLE OLD NEW YORK and BEVERLY OF GRAUSTARK.
  13. drednm

    Marion Davies & Leslie Howard

    Davies made 4 costume pictures. FOUR out of FOUR DOZEN. And one of those was a drawing room comedy.
  14. Here's the back cover for a DVD of ENCHANTMENT (1921) that perpetuates the same wrong information about the star and the movie. This is an old Kickstarter project of mine that has aired on TCM a couple times. I have nothing to do with this DVD release and it does not use the music score commissioned for my project. "Bed-hopping" aside, they get the basic plot right, but the info about MARION DAVIES contains wrong information. From all accounts, Davies was not raised in poverty in Brooklyn or anywhere else. Davies was NEVER a Ziegfeld Girl. She was a featured player in Ziegfeld's 1916 Follies. The term "Ziegfeld Girl" usually refers to show girls and chorus dancers. Davies was NOT discovered by a producer for her first film. Davies wrote the scenario for her first film, RUNAWAY ROMANY, and it was produced and directed by her brother-in-law, George Lederer (a noted producer/director of movies and stage shows). Davies was NOT in the serial BEATRICE FAIRFAX, which was released in 1916, not 1918. Davies never appeared in a serial. Davies would hardly have "gained a reputation as a comedienne" for this serial or her two 1918 films, THE BURDEN OF PROOF and CECILIA OF THE PINK ROSES since they were not comedies. Hearst's Cosmopolitan Pictures company and studio also produced films for stars like ALMA RUBENS. Davies appeared in only FOUR films that could be considered "elaborate costume dramas": WHEN KNIGHTHOOD WAS IN FLOWER, YOLANDA, JANICE MEREDITH, and the comedy/drama QUALITY STREET. The comment that Davies "divided her time between extravagant dramas she felt unsuited for and hosting parties" is as inaccurate as it is dismissive of Davies' substantial career in silent films. WHEN KNIGHTHOOD WAS IN FLOWER and LITTLE OLD NEW YORK were among the biggest hit films of 1922 and 1923, respectively, years that saw Davies as the #1 female box office star in the country. SHOW PEOPLE and THE PATSY rank among the best silent comedies, and Davies' versatility was showcased in films like BEVERLY OF GRAUSTARK, TILLIE THE TOILER, THE RED MILL, THE CARDBOARD LOVER, ZANDER THE GREAT, LIGHTS OF OLD BROADWAY, as well as earlier films like ENCHANTMENT, THE RESTLESS SEX, and THE BRIDE'S PLAY. MARION DAVIES was a major talent of the silent era (and well into the talkies). Her films showcase her talents in comedies, costume epics, and romantic dramas that also allowed her to indulge in a variety of impersonations, masquerades, and cross-dressing roles.
  15. Yes, Hearst was usually dismissive of Davies' comedies. He did not want her to make SHOW PEOPLE but King Vidor and MGM convinced him. Hearst also gave in for Davies to make the funny THE FAIR CO-ED, a modern-day college story directed by Sam Wood. Hearst dismissed Wood as a "B" director and referred to the film as "that cheap-looking comedy." To be fair, Hearst (and even D.W. Grifith) had rather Victorian tastes in all thing artistic. Hearst was born in 1863 (Griffith in 1875) so that helps explain Hearst's old-fashioned romantic vision. Was it at odds with his ruthless business persona? Yup. He was a fascinating bundle of contradictions and he's never really gotten his due as a film producer. I don't imagine Davies ever considered burial with Hearst. They had one of the most complex relationships in Hollywood history on every level, yet there were boundaries. Davies' family mausoleum accommodates 12, so it seems she never planned on joining Hearst.
  16. You got THAT right! If anything, the massive Hearst machine behind Davies probably hurt her more than it helped. Yet Davies remained a popular star (in Hollywood and with audiences) from the late teens on. In her nearly four dozen films over a 20-year period, she starred in comedies, costume epics, romantic dramas, and musicals. Davies was the #1 female box office star in 1922-23 (Rudolph Valentino was the male winner) and was so voted by the theater owners. Yet the old rumor that her films were flops is patently wrong. The vast majority of Davies' films made money and were popular at the box office. Even the urban legend that her four films for Warners at the end of her career were bombs is not true. Both Page Miss Glory and Cain and Mabel were hits. Anyway, I have no idea who wrote the blurb and yes I have contacted someone at Alpha. They slapped on a generic music track for this release of Enchantment and slapped on a blurb to match. And no, they will not update the blurb.
  17. drednm

    de niro's tony awards

    What a bizarre place for you right-winger loonies to vent about politics. As De Niro said, F**K TRUMP. He's not the first American to say it, and sure as hell won't be the last.
  18. The people who write these blurbs for Alpha have probably never watched the films they write about.
  19. drednm

    72nd annual Tony Awards

    Bravo to GLENDA JACKSON for winning the Tony on her fifth nomination!
  20. Here's my full rant! 😀 https://silentroomdotblog.wordpress.com/2018/06/09/marion-davies-and-the-urban-legends/
  21. To a degree, I agree with you. So far as I know, Grapevine is still planning a blu-ray release of this with the original music I commissioned. So far as I know....
  22. I always expect more....
  23. True. But you'd expect ... at least I would ... that they'd try a little harder on a product they're selling. Putting it in print just perpetuates the inaccuracies.
  24. drednm

    What has happened to your Programing?

    Basically all programming gimmicks have been used. It's all been done. They should just concentrate on showing good films and not ignoring the films of the 1920s and 1930s. in the rush toward showing "newer" stuff to attract younger audiences. I can't imagine how a day-long gimmick of showing films with the word "straw" or "salmon" (or whatever) in the title attracts anyone.
  25. It's a Wise Child (1931) stars Marion Davies and had great reviews as a comedy romp. The film is tied up in copyright issues and is the only Davies talkie never shown on TCM.

New Members:

Register Here

Learn more about the new message boards:


Having problems?

Contact Us