gagman66
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Posts posted by gagman66
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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?
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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
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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.*
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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.*
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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?
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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!
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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.
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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!
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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.
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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.
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Kate,
Yeah, They should have Harold Lloyd action figures too! Did you order the Flicker Alley Fairbanks set yet?
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Ed,
True, but there are Not hundreds of Silents that are already in a broadcast format without scores. These dozen or so that she mentioned, not by name are not just on film. They are ready to be aired in what ever format they run them in. They just do not have recorded scores yet.
Putting this in perspective, Barrymore's WHEN A MAN LOVES (Warner's, 1927) was restored by UCLA in 1997, but didn't debut on TCM until late 2006! And this film has a Vita-phone score too! So what took so long for this feature to finally make it on the air? That's Nine years???
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*John Gilbert And Aileen Pringle From King Vidor's HIS HOUR (1924)*
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Ed,
There is no reason whatsoever we should not see HER WILD OAT, and in the near future too. The film is fully restored, and the restoration was digital in 2006. The fim is on TCM's radar. All it needs is a score. Same with the new restoraion of THE BIG PARADE too. I am getting tired of waiting. It makes no since to have these films painstakingly restored, then stuck back on the shelf for another 4 or 5 years. None of any kind!
According to a lady on Nitrateville, Warner's presently has about a dozen Silent's that are basically ready to be broadcast on TCM, but have no scores recorded yet. That is to say they are already in a broadcast format. The musical tracks just have to be added. Besides THE MOCKERY, I wish I knew what they were? The choice of THE MOCKERY is pretty much being frowned on too. Apparently it is not very good at all.
HIS HOUR on the other hand has not been restored at all! It still has Czech title-cards for crying out loud though found about 15 yerars ago! Again Warner's does not have this film. The Museum Of Moden Art does.
At least maybe Photo-play productions can get the re-mastered Thames HOLLYWOOD on TCM, if not on DVD? That would be a very positive step.
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Aaron,
The choice of THE MOCKERY as the next MGM Silent to be scored, is being Booed on Nitrateville. Apparently this film is not very good. The picture might be complete, where as WHILE THE CITY SLEEPS isn't? So that may have had some influence on the decision? I don't know?
Despite what you told me many months ago, Gilbert's TWELVE MILES OUT does survive in 35 millimeter, and in it's entirety. Because of the presence of Joan Crawford, we are much more likely to see this on TCM sooner, than either MAN, WOMAN & SIN or THE COSSACKS.
I mean they selected SPRING FEVER, obviously due to Crawford, when it made much more sense if they were going with a William Haines feature to score BROWN OF HARVARD, or SLIDE KELLY SLIDE. And SPRING FEVER had a great deal of chemical decomposition. Having seen the other two titles, I know that's not the case with either of them.
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Ed,
I still don't understand why HIS HOUR (1924) would not be as least as important as BARDELYS THE MAGNIFICENT was? It was in-fact HIS HOUR that firmly established Gilbert's "Great Lover" image. Why hasn't this film been restored? Why does the lone surviving print, lost for many years until the mid 90's still have only Czech title cards, that have never been translated to English?
Here is a link to a thread on Nitrateville started by me about FORBIDDEN HOURS, with allot on HIS HOUR. Please tell Kevin Brownlow about this.
http://nitrateville.com/viewtopic.php?t=2232
*John Gilbert And Aileen Pringle From King Vidor's HIS HOUR (1924)*
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Gatsbygirl,
Yes, TCM has aired at least a couple of these before, and probably all of them? I have lots of photos of Suzy Parker that I could post here. She was very pretty. Would like to see KISS THEM FOR ME (1957) myself.
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Gatsbygirl,
Hey, I like your user name by the way. Really neat. Charles Tabesh is TCM's chief programmer. He is not the overall boss of the network, but He is pretty high up there on the list. He has acquired lots of long unseen films over the past year and is working on many more. Like some of the major Paramount Betty Hutton comedies of the 40's. Such as INCENDIARY BLONDE (1945) for example.
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Hey Scottman!!! I just responded to your other post a few minutes ago.
I didn't ask about THAT CERTAIN THING at all. I asked about THE BLOOD SHIP (1927) which was recently restored, and has run at a few festivals. I wondered if Sony still ownerd this film?
I have also been told that Sony has a good print of STELLA DALLAS (1925) which I thought was released by MGM, why would Sony have it?
Here is a link for THE BLOOD SHIP, although it was at anotyher festival just a few months ago. This is from a screening last year.
http://www.oscars.org/events/past/2007/triumph_bloodship/index.html
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Scottman,
It took a couple weeks, but they managed to track THE BLACK BIRD down in July. And it is clearly THE BLACKBIRD, and not THE BLACK BIRD. So TCM should make the change of title in their Movie Data-Base.
Don't forget they are also airing the Photo-play productions verions restoration of ORPHANS OF THE STORM this months. And THE GODLESS GIRL come September. As far as I know, I was the first to mention either of these back in the Spring of 2007. I was very impressed that Charles Tabesh inked a contract for the rights to them both! Although it took over a year, He still signed the deal and got it done! That says allot!
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Scottman,
According to the November 15th 1926 issue of Exhibtors Herald THE VANISHING AMERICAN was the forth most popular film of that year, though actually a 1925 release. Who would have thought this? It's quite clear that Richard Dix was a giant name during the 20's in films, and well into the sound era, he maintained his vast popularity.
Yes THAT CERTAIN THING is a Columbia feature Directed by Capra. This was a Sunrise silents release some months ago. Speaking of Columbia Silents, I am desperate to see THE BLOOD SHIP (1927) with Hobart Bosworth, Jacqueline Logan, and Richard Arlen. The film has been recently restored, and from what I understand, looks great? Who would have the rights to this film though? It is Sony??? And what does that mean where TCM is concerned? Anything at all? Would you know???
Incidentally, a couple nights ago, I watched SKINNERS DRESS SUIT (Universal, 1926). It was very funny. This is the first I have ever seen of Reginald Denny in a Silent film. Laura La Plante is just adorable as "Honey" his perky spouse. One of the cutest actresses ever in movies!
This is a brand new release from Sunrise Silents, it has only been out about a month or so. The print though scratchy has very good contrast. It is Multi-tinted, sharp and clear. The score is no great shakes, I will probably dub my own eventually. Still I'm glad I picked this up while on Sale.
Denny was very popular during the 20's, but his films have been forgotten. SKINNERS is a delightful little movie. Though the motto of the story seems to be "Never level with your wife, things may eventually turn out OK regardless?" LOL!!!! Denny and La Plante made several films together, but this may be the only one that is still around? I hope that there is more of them.
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Two of the biggest films of 1926. MGM's BARDELYS THE MAGNIFICENT, and Paramount's TIN GODS.
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Ed,
Eleanor Boardman must have had a very big 1925? There was Vidor's PROUD FLESH, AN EXCHANGE OF WIVES, with it's all star cast. As well as Frank Borzage's THE CIRCLE. And all three of these films still survive today. Tod Browning's THE DAY OF FAITH Meantime, appeares to be lost.
Eleanor was certainly a very beautiful woman. Never looking more stunning than in BARDELYS, but don't forget SOULS FOR SALE (1923), and WINE OF YOUTH (1924) where she is very lovely too.
Roy D'Arcy was also iin FORBIDDEN HOURS in 1928. Was Vidor Married to Eleanor, or Florence for longer? According to Christine, this Coppola, is no realtion of any kind. He definitely isn't William Perry, but overall I thought that the score was quite good.
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Mark,
Well, in the meantime I have my own version that I made up on DVD-R last April or so. To be honest, I doubt if it looks much different than this will. It is from a official region 2 DVD release. It had no menu, so I added one. What's more there is no conceivable way that Fox DVD menu will be better than Mine is! They won't spend nearly as much time on it. My menu is a whopping 20 pages long!!! I have tinted backgound stills, cool fonts motion thumbs, and music.
Even more excited about STREET ANGEL, and LUCKY STAR! I have never seen a really good prints of these films anyplace before. Can't wait to have restored versions! Although I do have a beautiful copy of Murna's CITY GIRL already. Yes, I am pretty disappointed that apparently they are not marketing all the films individually? What's up with that???
SEVENTH HEAVEN is one of the best films ever made. But this DVD has been sitting around for at least the past four years unleased. The Commentary track was recorded clear back in 2003 or 2004! I'm not kidding!
Lonely Wives (1931)
in Pre-Code Films
Posted
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!