gagman66

calvinnme, Kate, I haven't seen a list of which Talmadge Sisters films survive and which ones do not? The Doris group actually has a handful of them, and some of the titles like KIKI, and HER SISTER FROM PARIS have even been recently restored.

calvinnme, No, The Photo-play Productions ORPHANS OF THE STORM is not on DVD, and has never been broadcast in the States before. I do not know who the score is by? I don't think that it is Carl Davis though? The Photo-play Productions edition of THE GODLESS GIRL does have the awesome Carl Davis score as Scottman mentioned. This is just from 2007, and hasn't been aired in this Country at all either. I have a recording from Film4 in England. The version is not on DVD yet either. With respect, I'm sick to death of hearing lame excuses about the economy being to blame for the MGM Silent's not being on DVD. I don't buy into that for a minute! Fox after-all is finally releasing the Borzage-Murnau set next month. There is no excuse what so ever that THE BIG PARADE is not on DVD, other than that they still didn't record the vintage Axt-Mendoza score back in 2005 when they had the chance. At the time Robert Israel and His orchestra were touring with it performing at live screenings of the new restoration. If THE BIG PARADE isn't released in 2009 for MGM's 85 Anniversary Celebration, than it will never get an official release! I'm more concerned with it just running on TCM again, than I am an actual DVD! I have waited plenty long enough to see the new restoration already. I understand the improvement in the print over the older Thames version is Jaw-dropping! In 1983 Kevin Brownlow didn't have the original camera negative to draw from, but in 2004 they did. A side bar, TWO ARABIAN KNIGHTS (1927) is one of my favorite films ever! Matter of fact, If I was introducing people to Silent's for the first time, this is what I would show them! This is the first time it has been run on Silent Sunday Nights. All previous 4 broadcast's since November 2004, where at other times, and on different days. I'm glad to see it finally airing on the program. Just Like THE RACKET, and THE MATING CALL, TWO ARABIAN KNIGHTS is not on DVD yet, because the Hughes Heir's don't have a clue, and will not provide the needed consent. Instead of taking pride in these three great restorations, they continue to withhold them from the public. Just plain dumb.

nosound, Wow that's Great! Thanks much for telling us! TILLIE THE TOILER is high up on both our most wanted lists! Don't worry about there being no music. I can add a score that will be be very good later. I'll E-mail Ed shortly with the good news! Here is a rare production still from the movie!

calvinnme, Glad that you got to see THE BLACKBIRD (listed erroneously on the TCM Movie Data Base as THE BLACK BIRD). Did you vote for a DVD release? While not MGM, or Warner Brothers Silents, don't forget that TCM will be running the Photo-play restorations of both Griffith's THE ORPHANS OF THE STORM later this month, and De Mille's THE GODLESS GIRL in December! Those were major pick-up's by TCM programmer! The latter is a Masterpiece. I have never seen the Kevin Brownlow restoration of ORPHANS. Most anxious too. One big plus, Fox is finally putting out Frank Borzage's SEVENTH HEAVEN, and STREET ANGEL. I sure hope TCM will run these. I'm disappointed that they are not scheduled to air during 31 days of Oscar. The situation with THE BIG PARADE has gotten beyond ludicrous. Fully restored from the original camera negative in 2004, and here it is going to be 2009, and there is still no DVD. Even worse than no DVD, is that the film isn't on TCM anymore either. Only a few live screenings since 2005. If this movies reputation has slipped, no wonder it is way to difficult to see it in recent years. In my opinion THE BIG PARADE belongs on every Top 10 list, not just Silent films! They used to run the older Thames version frequently up until Memorial Day 2004. That was the last time any version of the film has appeared on TCM! Charles Tabesh has been holding out for the new master, which I can understand, setting up a big Prime-time premier, but who knows when, or if that will be ready for broadcast? Maybe He should re-think this? I see no reason not to run the Thames version in the meantime? Even if it was produced clear back in 1983, and is admittedly not ideal resolution for today's television sets. Another thing that gripes me is there are no clips in the TCM Media Room of THE BIG PARADE at all! Hopefully, they will add some before to long now. That would definitely be a positive development. *AMPAS promtional for the March 2005 screening of the 2004 restoration of King Vidor's Masterpiece THE BIG PARADE in L. A.*

ugaarte, Say, good to see you here again. You may want to go back a page or two, maybe more. I think you missed quite a few previous posts in the thread? I posted allot about FORBIDDEN HOURS not being a lost film! For years I had been told that it was. I am happy that TCM is having James Schafer score Chaney's THE MOCKERY. Yet also fearful that this could be the final hold-over from the Young Film Composers Competition? Part of the prize was the chance to score two Silents not just one as Schafer won on BEAU BRUMMEL last year. Sure hope that I am wrong, and TCM/Warner's will contine to have more of the MGM/Warner Brothers/First National Silent's scored. Especially. Colleen Moore's recently restored HER WILD OAT (1927). Disappointing that the contest is obviously not returning in 2009. The movie you are talking about is "THE CAT'S MEOW" released only a few years ago. Must admit I have never seen it. Don't really think that Kristine Dundst (if that is how you spell her name) looked much like Marion Davies? I am always looking for good Renee Adoree photos. Sadly the lady passed away at a very young age in 1933 of TB. Just tragic. She was such a lovely woman, and a wonderful actress. She should be better remembered. Sure would help if THE BIG PARADE were out on DVD certainly! As well as THE MATING CALL, and a few others. Renee was in so many excellent films during the 20's. Did you happen catch THE BLACKBIRD a couple weeks ago, I hope? I had been talking about it since back in July. I honestly don't recall if I have posted this before or not? A very nice poster for the part Technicolor feature THE FLAMING FOREST (1926) with Renee and Antonio Mereno. This is not a lost film, so just perhaps it might pop-up again sometime? Sure hope so! I would dearly love to see it!

Here is a some miscellaneous material I worked on recently. *Marion Davies, Maiden Entering The Castle!* *Fay Wray, with Short Brown Hair-1928* *Jacqueline Logan, Slightly Puzzled Expression* *Clara Bow, Tomboy on The Run!* *Billie Dove, Free Spirit!!!*

calvinnme, Among the Silents don't forget Ernst Lubitsch OLD HEIDELBERG (1927) or the STUDENT PRINCE is you prefer. With Ramon Novarro, Norma Shearer, and Jean Hersholt. This is another of the Essential MGM Silents. As well as King Vidor's SHOW PEOPLE (1928) with Marion Davies, and William Haines. Back in July, I was told by Charles Tabesh that THE BIG PARADE would almost certainly be forth-coming in 2009 for MGM's 85th Anniversary celebration. So I will be very disappointed if it does not happen. I have already been waiting nearly 5 years to see the brand new restoration! While the set looks impressive. I concur that I have all this stuff on DVD already! Put out a greatest of the Silents set to go along with it, and I will be elated!

Fred, Great stuff! Thanks for the links! Here is a some miscellaneous material I worked on recently. *Marion Davies, Maiden Entering The Castle!* *Fay Wray, with Short Brown Hair-1928* *Jacqueline Logan, Slightly Puzzled Expression* *Clara Bow, Tomboy on The Run!* *Billie Dove, Free Spirit!!!*

*Renee Adoree And Her Faithful Pooches* *Renee Adoree, Animal Lover. On the Set Of ROSE MARIE* *Renee, John Gilbert And Company Making Merry On The Set Of THE COSSACKS (1928)* *Renee, King Vidor, and Gilbert on the Set Of THE BIG PARADE (1925)*

Irving Thalberg, and Renee Adoree. So What's going on here??? *"Boot Mousier, Aren't you Engaged to Mss' Shearer?" "Eh, Norma Who.....???*"

Here are several wonderful Renee Adoree photos. Some really nice stuff in this group. These images are not very easy to find. *Renee Adoree And Ramon Novarro From FORBIDDEN HOURS (1928)* *Renee Adoree With Her Faithful Pooches.* *Renee Adoree, as the Gypsy Lover From TIN GODS (1926)* *Renee Adoree with a collapsed Thomas Meighan From TIN GODS* *Renee, Vidor, and Gilbert on the set of THE BIG PARADE (1925)* *Renee Adoree, Animal Lover. On the set of ROSE MARIE* *Renee, Gilbert and Company. On The Set Of THE COSSACKS (1928)* *Renee Adoree, Just Fiddling Around. From MAN AND MAID (1925)*

Scottman, Whoops half of this review hadn't posted. I guess I indented a few times, and this board does not like indenting! Now it is all here. Yes, it was Roan DVD. What else have these guys released?

Could it be Edythe Marrenner? This was Susan Hayward's real name, before it was changed. Plus she did test for the part of Scarlet O'Hara.

johnbabe, OK, While I greatly admire your passion for Garbo, haven't you ever seen anybody else? I am honestly starting to wonder about this? No offense intended, but personally I would take Colleen Moore or Clara Bow over Garbo any day. And both were way more popular in the late Silent period than Greta was too. According to Exhibitors Herald Magazine a major trade publication among theater owners, for the year ending November 1928, Garbo only ranked twelfth most popular female Star in films for the past year. Not even making the Top 10. Just barely nudged out for the top of the second 10 by Janet Gaynor. Clara Bow was a solid number one easily outdistancing everyone else, male or female, by a wide margin. Colleen Moore meantime had second place all to herself. Third on the list was Billy Dove! While Garbo was huge in the big cities, Bow and Moore were loved all over America! In the Smaller towns their movies did allot more business. Simply must mention Renee Adoree, who makes a far greater impression on me than Garbo ever has. Watch THE BIG PARADE, and tell me that Garbo could have been anywhere near as effective as Adoree in the "Jimmy Leaves For The Front sequence"? Not a chance! It's also interesting to note that in the top 5 screen couples poll in the same edition of Exhibitors Herald John Gilbert and Renee Adoree were listed in the top 5 most popular combinations, while Gilbert and Garbo were not! In addition, to me Corinne Griffith is far and away the most beautiful Silent Star! Gloria Swanson thought that Corinne was the most beautiful Woman she had ever seen. Though it's not well remembered today, Griffith was generally considered the greatest screen beauty of her day.

Thanks to fellow SSO member Fernando, I got to see a rare Pre-code with a three some of Silent film lovelies. LONELY WIVES (1931) features the delightful triumvirate of Patsy Ruth Miller, Esther Ralston, and Laura La Plante all in the same production! Who would believe Edward Evertt Horton as a famed Philandering Lawyer named Richard Smith! It's true. And He hires a vaudevillian impersonator Mr. Zero to take his place, so He can step out with his Secretary (Kelly), and her best friend (La Plante). Unbeknownst to Mr. Smith, Laura is also Mrs. Zero! In the midst of these escapades, Richard's Wify-poo Madeleine (Ralston) returns home unexpectedly from a trip abroad, and what's more she's feeling frisky too! Oh, oh! The film is allot of fun. Horton is typically hilarious, the supporting cast is good. There is jealousy and suspicion abound, and repeated mistaken identity, that runs through much of the picture. Ralston, and Miller are both virtually unrecognizable with very short hair. La Plante looks about the same. Never heard of this one before, but it is a fine early screwball comedy. This type of thing was actually done over and over again in Silent's with ladies such as Constance Talmadge, Marion Davies, Marie Prevost, Virginia Lee Corbin, and Colleen Moore just to name a few. So there was really nothing new about it, but the dialogue is Snappy and three prominent Silent actresses all give wonderful performances, handling their lines superbly. All and all great fun, and I must say a very nice print too! Thanks much Fernando! I really enjoyed this one. That last line by the Mother-In-law was the real killer! Boy I am still laughing, and I watched this last night!

Just browsing around last night, I came across this astonishing revelation regarding Frank Borzage's SEVENTH HEAVEN. Apparently the only 2 prints I have ever seen, 1998 Critics Choice VHS, and the 2003 Region 2 DVD release, are both missing about 15 minutes of footage? I had never heard this before. I wonder if this will be re-instated into the new Fox DVD release? I sure hope so. This is one of my favorite movies ever. So it would be wonderful to see extra sequences that I have never viewed before. Take a look at this astonishing quote from J. D. Heise: "One caveat: I hope the pre-print of 7TH HEAVEN is complete. The print I've seen from Fox twice before is missing about 15 minutes of footage (mostly the first time the lovers communicate with each other after being separated by war and most of the war footage), so I hope they have fixed this or have gotten MOMA's archival print for this set. I'm crossing my fingers. . ." This is quite staggering news to me! Boy, I hope that the extra footage turns up! I still am in total disbelief that SEVENTH HEAVEN is making it to official DVD ahead of THE BIG PARADE! I never would have thought that would happen. Still with any luck, just maybe it will lead to Warner's finally getting something going again themselves? Let's hope so anyway. Once more 2009 does mark the 85th Anniversary of MGM, so I fully anticipate seeing at least a few long awaited releases. How about a nice King Vidor box set?

Everyone, More from Robert Israel! Take a gander! He actually sent me some musical tracks which he composed for LA ROUE too! What a great guy! Dear Jeffrey, Thank you very much for sending me the two Juan Carlos Cobian selections: they are very lovely compositions! I can understand your having used them with THE COSSACKS in that there almost appears a taste of something "Slavic." But, I must admit that both selections do strike me as inherently Latin. I think that because "Visiones de La Pampa" is in a minor key, does provide something relevant to a Russian tableau: it is rather romantic and almost hints at Slavic style waltzes I have heard. I think it is very good that you have taken the time to assemble music of your own choosing to accompany some of the silent films that you enjoy. These days, we have the benefit of looking at either DVDs or video tape, and then also having recorded music in large quantities to help us do this task. During the peak of the 1920s, musicians relied upon the printed page and 35mm projection to help them through the process of synchronizing scores. To use a modern terminology (often misused), it was a "labor intensive" project in the largest theatres in that, you had a very large work force to accomplish the musical scoring of a program. The musical director (and possibly an assistant) would take notes on the film program. He and the projection staff would agree upon film speed, technical cues and so forth. The librarian would be given the notes of the musical director (at the Capitol Theatre, William Axt and David Mendoza worked in tandem) and would pull the selections that had been determined: this being done after the individual cues (a two hour feature could have more than 150 cues!) had been synchronized. The selections would then be turned over to the orchestra copyists so that parts could be prepared for live performance. And then finally, the orchestra (anywhere from 50 to 75 musicians) might get a chance to rehearse one time with the film before the public presentation. Of course, during the run of a film, the music director could make further changes and improvements to their score. These days, I have to be responsible for all facets of a live or recorded presentation. Thank goodness for Espresso! This does not take into account the severe limits of time to prepare such musical programs. Do not forget that in the 1920s, in the best theatres, you could expect a stage show to go along with the feature presentation. And in this case, the music director was responsible for preparing that part of the program as well as the film! I think that the general public today is missing out on something truly magnificent. However, I also think that people made more time for entertainment in those days: life was possibly less frenetic in its pace than it is today. It is true that the demands of composing, arranging and conducting are difficult to imagine, but work is work. There are very long hours of struggle and frustration associated with composing, but there are also times where the excitement and joy is a reward in itself. In the case of the Abel Gance films, J'ACCUSE and LA ROUE (I know that LA ROUE is not one of your favorite scores of mine, but I regard it as the best work I have done to date), I spent almost eleven months working on both features: composing, orchestrating, producing the recordings, and supervising the audio mastering of the scores. Sometimes artistic representations are enigmatic and can be easily misunderstood. In such cases, it is more likely to be dismissive or "turned-off" to something because the meaning is unclear. There is nothing wrong with this, but then accepting this as a possible challenge can yield surprising results. The challenge being this: to discover what thing or things provoke you. In my personal experience, I have discovered that when I feel that I understand a work more clearly (whether it be literature, music, sculpture, dance, painting, or any number of cultural things), I feel much more interested in that artwork, and that it is possible to develop a more personal connection with the work of which I have questions and reservations. This is never an easy process and thus the term "art appreciation" is something more than perfunctory. I am sending you a few selections from LA ROUE. Attached are the "Title Music," "Love Theme," "The Anniversary of Elie's Death," "The Rose of the Rail" and "Norma's Name Day." The last four compositions are derived from motives stated in the "Title Music." (Granted, this style of writing may not be your usual cup of tea, but the first taste of beer is hardly the miracle many of us come to feel about beer!). So, in other words, all these pieces are intimately related with one another. In fact, the construction of this score was something that I planned very carefully, and as I wrote this music (in a classical style) I was very cognizant of every moment and every detail within the film. It is not an easy film to experience, nor is it meant to be fun entertainment, but rather a moving emotional experience. I will admit to you that I did not like this film very much when I saw the long version for the first time. But, as I spent more and more time with it, even at times disliking the film intensely, I began to discover something extraordinary: that this long version (despite that it is still missing many sequences) was very carefully crafted and constructed, and that I began to see the depth of its remarkable beauty and that I finally was connecting with something very special. This sometimes is an artist's goal and dream. What a gift! The pacing of the film is very deliberate and one truly needs to exercise great patience, but in the end, it is possible to develop an affinity with LA ROUE. Yes, please do send me more music and I would be very happy to receive some of your video representations. Thank you, again, for your thoughtful letter and I look forward to hearing from you soon. Yours most truly, Robert

Here are several more wonderful Renee Adoree photos. Some really nice stuff in this group. These images are not very easy to find. *Renee Adoree And Ramon Novarro From FORBIDDEN HOURS (1928)* *Renee Adoree With Her Faithful Pooches.* *Renee Adoree, as the Gypsy Lover "Carita" From TIN GODS (1926)* *Renee Adoree with a collapsed Thomas Meighan From TIN GODS* *Renee, Vidor, and Gilbert on the set of THE BIG PARADE (1925)* *Renee Adoree, Animal Lover. On the set of ROSE MARIE* *Renee, Gilbert and Company. On The Set Of THE COSSACKS (1928)* *Renee Adoree, Just Fiddling Around. From MAN AND MAID (1925)* *Renee Adoree, Is a Siren Of Dance In "BANDELERO"* *Renee With Antonio Mereno. From THE FLAMING FOREST (1926)* *Renee And Hubby William Gill from 1928.*

Here are several more wonderful Renee Adoree photos. Some really nice stuff in this group. These images are not very easy to find. *Renee Adoree And Ramon Novarro From FORBIDDEN HOURS (1928)* *Renee Adoree With Her Faithful Pooches.* *Renee Adoree, as the Gypsy Lover "Caritia" From TIN GODS (1926)* *Renee Adoree with a collapsed Thomas Meighan From TIN GODS* *Renee, Vidor, and Gilbert on the set of THE BIG PARADE (1925)* *Renee Adoree, Animal Lover. On the set of ROSE MARIE* *Renee, Gilbert and Company. On The Set Of THE COSSACKS (1928)* *Renee Adoree, Just Fiddling Around. From MAN AND MAID (1925)* *Renee Adoree, Is a Siren Of Dance In BANDELERO* *Renee Adoree with Antonio Mereno. From THE FLAMING FOREST (1926)* *Renee With Director William "Wild Bill" Wellman in 1925.*

Film_Fatale, TWO ARABIAN KNIGHTS was on during Oscar month in 2006 I think? I believe that was when I got my first recording. I missed a chunk of the broadcast in November or December of 2004, when it debuted on TCM in Prime-time! I was recording with the ATI card, but somehow the recorder got shut off for about 20 minutes right in the middle of the movie. I was so frustrated. Especially, since I got all of THE RACKET, and THE MATING CALL right afterwards, and both were fantastic. They ran finally ran KNIGHTS again in the wee hours of the morning in very early 2006. I was so pleased to finally have the entire film. TWO ARABIAN KNIGHTS is one of my favorite movies ever. Matter of fact, if I was introducing a person to Silents for the very first time this is what I would show them! It has been aired twice more since then. A couple times in 2007. However, it has never been on Silent Sunday Nights before, until this month. I'm really glad that they are finally running it! I really like THE RACKET, and THE MATING CALL allot too. If the Hughes heir's only had a Clue. Obviously they don't! They should be immensely proud of these outstanding restorations by Flicker Alley company, instead of suppressing them! Just plain dumb! These projects could have been out years ago, given the proper consent. All thet remains is to press a few DVD's. Everything else is done, and has been since mid 2004! Just who are the Hughes Heir's anyway??? Does anybody know?

Aaron, Yeah, I would love to see TWELVE MILES OUT too. Though I rather doubt that it's as good as THE COSSACKS. I have no idea if the film is even on the ducat or not? I hope that it is. And MAN, WOMAN & SIN is only half a movie after Jeanne Eagels was fired! The second half was never even made. They just tacked on a very rushed ending, after careful build-up, from several out-takes. Such a pity, since it might have been great! Anyway the new restoration of THE BIG PARADE is long. long over-due! So it takes priority, or at least it should over everything else in my book!

Well, I think they need to seriously re-think their not showing the Thames Silents version of THE BIG PARADE again. As I said, who knows when or even if, the new version will be ready??? Another reason the Thames version is not running, hasn't run at all since Memorial day 2004, could be, that it appears as a soft-transfer on today's TV set's. When produced in 1983 for Thames Television in Britain, broadcast standards were much different than they are today. 325 lines of Horizontal resolution was the Maximum broadcast standard. Today it's way more than that. I'm not even getting into HD and all that. I'm just talking regular broadcast standards. Much higher than standard commercial DVD which is 480 lines. Here are a couple of interesting links from the old HL forum on the restored THE BIG PARADE from 2004-2005 http://theharoldlloydcommunity.yuku.com/topic/1298 http://theharoldlloydcommunity.yuku.com/topic/948 Speaking of which DR. JACK is on Tonight. One of Lloyd's most underrated features. I love this movie.

Sorry, I can't agree with Garbo either. Although I am a fan, I have at least 15 to 20 other Silent film actresses rated ahead of her in terms of looks. And quite a few in terms of talent as well. I know lots of people that are crazy mad over Garbo, but I just don't see it. She could be extremely attractive at times, and somewhat frumpy at others. That's just the way that I feel. And the Silent Stars in general are not getting anywhere near enough credit and attention here. Corinne Griffith, Jacqueline Logan, Esther Ralston, Betty Bronson, Laura La Plante, Marion Davies, Etc. These ladies rank with the great beauties of any era, including the 40's and 50's! Not one of you has mentioned them so far. Also remember that Pancake make-up that really helped to make so many of the great beauties of that era look so good, hadn't even been invented yet during the 1920's. Taking that in to account some of these girls would have looked almost mind-bogglingly beautiful had it been!

Unfortunately, I have no information that HER WILD OAT has been scored yet. That would be great if it where. I'm inclined to doubt it. What you are talking about "with each passing year" exemplifies my utter frustration that THE BIG PARADE has all but vanished for the better part of this decade. In total limbo on TCM, until the new restoration has a recorded score, and it is getting beyond ridiculous by now! The film is restored has been for some 4 plus years, so let's see it! even if they have to re-edited the Carl Davis score, or add a couple extra tracks, to cover the new footage. It is not that damned demanding! We will probably never get a reproduction of the original score anyway. Sure I can understand where Charles Tabesh would like to make the restored version a big premier event, but there is still no reason that they can't run the Thames edition in the meantime, until the other is finally ready for broadcast. It should be running this month in-fact for the 90th Anniversary of the Armistice.

Ed, What I mean is simple. They are not just on 35 millimeter reels. Rather, these are transfers in a professional digital broadcst format of some sort. All they need is the music to be added to them. Where talking about a dozen, maybe a couple dozen titles or so, that have been pre-selected to be scored. Most of them, probably several years ago. They just haven't gotten to those yet.