gagman66
-
Posts
7,494 -
Joined
-
Last visited
Posts posted by gagman66
-
-
Hold on, if the person I refer to wanted everything kept entirely under wraps, than They would have never mentioned it On-line in the first place. Even setting up a temporary clip for download some months ago. I see nothing wrong, with anything I posted.
I only even brought this matter up in the first place because another fan had mentioned THE COSSACKS (1928), earlier in the thread. I never identified any one person by name. In any event, no offense was intended. Just the opposite, Hey I praised the effort, and said I felt was a great endeavor. Now what's wrong with that?
I think that you have must have been reading to much of the bickering that has been going on back and forth on these boards lately, and decided to join in? I certainly wasn't trying to insult people! Can you say the same?
-
I actually know of a collector who has not only seen, but personally restored a print of Clarence Brown's THE COSSACKS (1928), starring Gilbert, Adoree, and Nils Asther, from 16 millimeter!
Not kidding here, they used an expensive software program, and cleaned and sharpened it up frame by frame! Adding color tinting and a vintage oriented score to boot. Just one of several such projects mind you!
That takes some real dedication and fortitude! Hey, I like repairing old photo's, enjoy adding chapters to DVD-R's and such, but I simply can't imagine trying to restore a complete feature film? I'll admit, I probably couldn't do it? At least not all by my lonesome!
As I understand it it took some six months to finish the project! Unfortunately, this person is very reluctant to share their painstaking efforts with so many of those other fans, who would dearly love to see this film.
We have never met, but I was pre-maturely judged as unfit to deal with. Not to be trusted, for whatever reason? Even though they Designed there own lashishly produced DVD-R program of the film, regrettably they refused to let me see it, or even sell me a copy.
I can understand the trepidation evolved, as this individual does not want her hard work, turning up on Ebay, or someplace, being peddled by bootleggers. I wouldn't either, for that matter. They felt they needed to be cautious and selective when dealing with anyone. Which I can accept.
None the less, I would just have enjoyed the opportunity to at least have a peak at this project! Maybe someday, but I definitely won't count on it? Who knows when or if, TCM will ever get around to draging this picture out of the vault?
-
I wrote a big review of TWO ARABIAN KNIGHTS (1927), on another forum several months ago. I really love this movie, in-fact it has become one of my favorite Silent films! I hope it will pop up on official DVD later this year.
Here is most of my review. Though portions now, seem to be missing. I don't think I have posted it here before?
TWO ARABIAN KNIGHTS (1927) : ("Boyd and Wolheim are Hilarious!" Astor is "Hubba, Hubba!" )
1927 was a gigantic year in the movies! Some of the finest, and most enduring films of the decade where released during that year.
Chances are, even the most rabid Silent film fan may not be familiar with TWO ARABIAN KNIGHTS, however. The primary reason for this being that the filmed was believed to be lost for decades! Then Miraculously in 2000, a print was uncovered stashed away in Co-producer the legendary Howard Hughes vault! A significant find!
Flicker Ally Company, with funding from Turner Classic Movies, set out to restore as much of the film as they could. The results for the most part where impressive, and they reveal to us a forgotten classic rescued from the ravages of time!
While about 65 percent of the restoration is pristine looking, the remainder is filled with various signs of chemical decomposition! Some of it is quite minimal, while other portions appear pretty severe!
While, It's unfortunate that the entire picture, could not be fully restored, I'm sure that they did the very best they could with the existing elements? This movie was actually nominated for an Oscar in the first year of the Academy Awards. It is easy now to see why!
The film stars William Boyd, best known two and three decades later as Hop?A Long Cassidy, mostly on TV during the 1950's. Long before that, Boyd, actually had a solid, if not spectacular Silent film career. Enjoying noteworthy success with films such as THE YANKEE CLIPPER (also 1927), and this one.
In TWO ARABIAN KNIGHTS, Boyd plays William Dangerfield Phelps The Third, a Wealthy playboy who is not enjoying his time at all as an American Soldier during World War One! A homely and brutish Sergeant ?Taxi Cab? ?Pete O? Gaffney? (Louis Wolheim) has made Phelps time in the infantry all the more unpleasant for him!
When these two bitter rivals find themselves "Out In The Middle Of ?No Man?s Land?, they would rather tackle each other, than the converging Germans! Although, once taken prisoner by the Hun?s, they soon develop a respectful camaraderie between one another.
Directed by the great Lewis Milestone, every one of his Silent's I have seen such as THE GARDEN OF EDEN (1928), and THE RACKET (1928) are outstanding! While A fantastic Orchestral score by Robert Israel, one of his finest efforts ever, compliments the completed restoration!
I thought this was going to be another drama? Instead It is a rousing knockout comedy! Much like WHAT PRICE GLORY (1926), it doesn't even try to take itself seriously. as a war, film I certainly never expected anything remotely so funny! This movie really had me rolling, at times! What a revelation!
Boyd, and Wolheim, retain their tenuous hate-love relationship, as two reluctant war buddies. in the classic "Monk" Mayfair, "Ham" Brooks mold! After fleeing the German prison camp, and stowing away from the War on a freighter, they rescue a beautiful Arab Princess (Mary Astor), from drowning.
This adds increased tension to their uneasy union. Again just like "Blodgett", and "Theodore Marley", both are big time wolves, who fancy themselves as quite the ladies men! This unlikely pairing is transformed into a top flight comedy team, by Milestone!
Mary Astor was arrestingly beautiful at this stage of her career. Oddly She is somewhat underutilized in this picture. Not making her first appearance until the film is nearly half over.
The two determined Romeo's both try their best to romance the lovely Princess Mirza. All the time under the totally false impression that She is unable to understand a single word that they are saying to her! Before long The Princess not surprisingly loses her heart to the significantly better looking of the persistent twosome.
Soon it?s revealed that She is already Betrothed to another man! The handsome, and charming Shevket. (Ian Keith), Who likewise happens to be a real Stinker, personally selected for Her by Mirza?s powerful Emir of a Father!
The dastardly Fianc?e arrives in a motor boat to take his ?Bride To Be? back home. Just then, William, and Pete beat a hasty retreat from the Captain of the ship! They owe him the doe for their entire voyage, and He intends to collect! Regrettably, these guys are woefully devoid of funds at the moment!
Now the fun really begins! Mirza?s dad The Emir, is horrified to hear that his pride and Joy was seen fraternizing with two unidentified American servicemen while on the boat! Even worse, He is informed that the Princess even ?Lifted Her Vial For One Of Them!? A dreaded No, No!
Upon receiving word, The Emir immediately orders both their deaths! Not good, for you see the duo is headed straight for The Palace and is fully expecting not only to be welcomed with open arms, but a big reward, for saving Mirza?s life! Won?t give the rest of this one away!
Tentatively scheduled to have been released by Flicker Ally on DVD, last year, this has yet to happen? Perhaps it and the other two newly discovered and restored Howard Hughes produced Silent Features of the 1920's, THE RACKET (1928), and THE MATING CALL (also, 1928), will still be released before the end of the year, or in early 2007?
With any luck, it is only a matter of time before these three excellent films, are introduced to Silent film fans everywhere!
-
Birthday tributes to both Charlie Chaplin, on the 16th, and Harold Lloyd on the 20th. A Marion Davies debut, THE RED MILL (1926), which was actually Directed by Roscoe "Fatty' Arbuckle! All be it under an assumed name. Glad to see TCM finally dusting off some of the long unseen Davies Silent's of the 20's. Especially this one!
At long last, the TCM premier of COVER GIRL (1944)! They used to air this film on the old AMC frequently, but I have never seen it on TCM before! This is the picture that actually made Rita Hayworth a sensation, two years prior to GILDA (1946). Before now TCM acted like it didn't even exist?
I'm happy to see this picture finely turning up. As it's a Columbia release, TCM should have the broadcast right's to all the Rita Hayworth starring features made by that studio now? Isn't Columbia owned by Sony today?
-
Hey, I waited a couple years for TCM to air this film again. I was very happy to get it all recorded from start to finish this time. When it was on before, I caught it right in the middle. Thanks so much TCM, for re-airing this movie at last!
Commenting on the film itself, THE MYSTERIOUS ISLAND (1929), is absolutely nothing like the 1961 remake? Likewise it bares little resemblance to the Jules Verne novel either! That surprised me a little. As a silent film, it was fast paced and involving. As a talkie, not so much.
It would have been great as a pure Silent. The lengthy dialogue sequence that opens the picture, takes forever to get the point across. In a Silent film, the same thing could have been expressed in 4 to 5 title cards.
I have seen this with other films from 1928, and '29. Producers seemed reluctant to release a true Silent film. They added some dialogue, because it was deemed a necessity at the time. Michael Curtiz, NOAH'S ARK (1928), with Delores Costello, and George O'Brien, and William Wyler's THE LOVE TRAP (1929) with Lara La Plante. Are two superbly entertaining Silent films, thus spoiled by a few very poorly done dialogue sequences seemingly tossed in for no reason?
For those who have not seen it, "The Great Flood" sequence in NOAH'S ARK, is one of the most astonishing and elaborate sequences of any kind ever filmed! Apparently, a few people actually died during it! They were drowned! The scene is truly of Epic scope! Even by today's standards it is astounding!
Where was I we were talking about THE MYSTERIOUS ISLAND. I was wondering if the Two-strip Technicolor sequences, are lost, or if they only survive in Black and White today?
I guess I was slightly disappointed that the "Pollywog People" never rose from the depths? Although, it seems to be inferred that they must have? Maybe that portion no longer exists, and was part of the Technicolor footage?
Than again perhaps those critters were not amphibian after-all. So they wouldn't have lasted long out of the water. Who knows? Why is it that they re-minded me of THE CREATURE FROM THE BLACK LAGOON?, or maybe even Gray's? Spooky!
-
"The Show"
in Silent
I wrote a short review of this film, in another thread, but it seems those who were contributing to writing this one must not have seen it? I will reiterate some of my thoughts here.
As I stated in the General Discussions thread, I enjoyed THE SHOW (1927), more than some of the others did. The score was OK, definitely not up to the standard of the past two TCM Young Film Composer's Contest winners. But better than what some of you are implying it was.
Interestingly enough, I really loved the end title theme, I thought it was great. Where was that melody at the rest of the Movie? It should have been used far more? Why wasn't is employed as the Main title theme? Individual character themes were hard to determine, assuming their were some?
Any gripes aside, It would have been very difficult for most anybody to have come up with as good a score as Marcus Sjowell did last year for SOUL'S FOR SALE (1923). Michael Picmon's score for THE TEMPTRESS (1926), in 2005, was also outstanding. Keep those boys around!
I honestly felt Darryl Rabby's score for THE SHOW, was just as good as any of the other previous winners of the competition, besides those two. As I said earlier, I have heard several modern Silent film scores that are just plain awful!
This one was actually rather good by comparison.
All and all, I felt this kid showed allot of promise. As I understand it He had entered the contest each of the past four years, and finished runner up last time. That means the guy really wanted to do a score, and he probably deserved to win!
I would roughly equate Rabby's effort, to that of Scott Salinas work a few years ago, on LAUGH CLOWN LAUGH (1928). I believe that TCM has employed Salinas a hand-full of times since, to score other projects. I certainly hope they call on the previous two winners as well. As I mentioned I thought Sjowell, and Picmon's scoring was quite impressive.
Gilbert as the Carney barker Robin has had a unhappy love affair with Salome (Renee Adoree). She still loves him, but He has an eye for a plethora of other ladies, and they obviously have an eye for him.
Robin is a devious scoundrel and is hard to think much of him. Only the fact that Lionel Barrymore's character is far worse by comparison is any credit to the Gilbert character at all! Barrymore is despicable, at one point even plotting Robin's decapitation!
I thought Renee Adoree was great in this picture. She is the best thing about the movie. She has really stood out in every film in which I have seen her to date.
I would like to know just how complete this movie was? Is some key footage lost? It would appear to be? It seems like part of the story is just not there? We are never informed why the old guy's son is in Jail? Nor or we told who murdered The Sheepherder either? I don't think?
Maybe the son was accused of the crime? Though nothing bares this out? So was it really Lionel Barrymore's character who committed the murder, or what was the deal? I just didn't get that part of it? Could someone help me with this?
That business with the poisoness leaping Iguana who plays a fairly heavy role in the film, might seem silly today? However, in 1926, it's very possible that this animal and it's nature, was not all that well known in this country? While I don't believe Iguana's are really poisoness, I' m pretty sure that no-one would actually enjoy being bitten by one either!
As noted, I felt the pictorial quality, was very good. No color tinting, as with several of the other winners in the past, but a nice sharp, clear Monochrome print. In better shape, than some of the late 20's Garbo's such as THE MYSTERIOUS LADY (1928), and THE SINGLE STANDARD (1929).
I look forward to seeing the end product of the Young Film Composers competition each year. To bad, we now have to wait a full 12 months to watch BEAU BRUMMEL (1924). That should be intriguing viewing!
-
Darrell Rabby's score was not as good in my view as the past two TCM Young Film Composer contest winners. But it was not as bad as some of the reviews I now see being posted either.
I think the SOUL'S FOR SALE (1923) score from last year, would have been pretty tough for anyone to top. An outstanding effort, by the young winner. Blast, can't recall his name, off the top of my head? I have the broadcast on DVD-R though.
For those who missed it, Gilbert as the Carney barker Robin has had a unhappy love affair with Salome (Renee Adoree). She still loves him, but He has quite an eye for a plethora of other ladies, and they obviously have an eye for him to boot!
Robin is a devious scoundrel, and is hard to think much of him. Only the fact that Lionel Barrymore's character is far worse by comparison is any credit to the Gilbert character at all! I thought Renee Adoree was great in this picture. She is the best thing about the movie.
It seems like part of the story is just not there? We are never informed why the old guy's son is in Jail? Nor or we told who murdered The Sheepherder either? I don't think? Maybe the son was accused, of the crime but nothing bares this out? So was it really Lionel Barrymore's character who committed the murder, or what was the deal? I just didn't get that part of it?
The business with the poisoness leaping Iguana who plays a fairly heavy role in the film, might seem silly today. However, in 1926, it's very possible that this animal and it's nature, was not all that well known in this country? While I don't believe Iguana's are really poisoness, I don't think anyone would actually enjoy being bitten by one either? Correct?
-
I have the original recording of this song. It was made on February 7th, 1928. Preformed by Frank Munn (Vocalist), and The Regent Club Orchestra.
You can find it on the terrific FAVORITES OF THE ROARING TWENTIES CD, released by TAKE TWO RECORDS. The two disc set has 39 other vintage tunes on it. It's easy to find online at YESTERMUSIC.COM.
-
I actually felt that some of the score was a sincere effort. I have definitely heard far worse modern scores for Silent films in the past. THE PENALTY, and BEYOND THE ROCKS, both come quickly to mind.
To be fair, their was one decent melody in the BEYOND THE ROCKS score. I don't recall any in the Kino score to THE PENALTY! It was simply dreadful! Not a fan of the ALLOY ORCHESTRA either. Their score to THE GENERAL is a true abomination!
As for the film itself, I personally thought THE SHOW was better than what goldensilents had indicated. Some of it I found quite moving. So what did others think?
For the guy who found it depressing, Hey, it's a Tod Browing movie, so surely you can't be expecting all smiles and huggs? I guess you haven't seen MERRY GO ROUND (1923)? That's what I call depressing!
-
I have to be honest with you when I say that I have not heard a whole lot of Al Jolson recordings.
I have about 150 tunes, all original recordings from the 1920's in my Hard-drive as we speak. The only Jolson recording I have among them is Irving Berlin's LAZY from 1924.
BLUE SKIES another Berlin composition, is generally thought of as an Al Jolson tune, but it was first recorded by Harry Richman, not Jolson.
Not to sure that Jolson was the first to record "Sitting On To Of The World" either? (Or is it Rollin' Along'? ) Although, he did croon this melody in THE SINGING FOOL (1928). It was the enormous success of that movie the follow up to THE JAZZ SINGER, that really led to the downfall of Silent films. It's to bad it couldn't have been delayed for at least a few more years. Silent film was at it's absolute Zenith in the late 1920's. It ended much to soon.
I could be wrong, but to my knowledge THE SINGING FOOL, has never been shown on TCM? I am quite sure that it still exists.
-
Better watch NUMBER PLEASE (1920) again. This is one of the funniest two-reelers ever made. How can you not laugh uproariously at Harold's failed efforts to get a simple phone call out to "Mother"? Simply brilliant stuff, milked to the absolute hilt.
Than there is the labored effort to dispose of the purse, that Harold hasn't stolen. but He knows He will be blamed for! How about that silly dog, that's just trying to be helpful? Harold just can't seem to shake the keen eyed pooch! All the time completely oblivious to the fact that the very same purse he has struggled to un-load belongs to his would be girl too! Positively hilarious!
Granted NEVER WAKEN (1921), Harold's last Three-reeler, takes a little longer to hit it's stride, but many consider this among the very best Silent comedy shorts ever made. It really takes off when Harold decides He can't live anymore without Mildred!
As for THE KID BROTHER (1927), many people now consider this to be Lloyd's finest feature film. Though personally I have never thought of it as highly as I do either GIRL SHY (1924), or THE FRESHMAN (1925). You could probably toss a coin between those two as to which is my favorite. Generally I would say it's THE FRESHMAN.
-
Huh, "NO LONGER FIT FOR VIEWING"? You have got to be kidding? To me, that pretty much should describe about 90% of what is currently airing on Cable and Satellite Television these days! Plus what's in Theaters as well!
TV is a sad, often shocking state of affairs! Good solid entertainment is solely lacking! The current generation is being raised on horrendously trashy garbage, and actually thinks it's quality viewing? Why, because many people honestly just don't know any damn better? "NO LONGER FIT FOR VIEWING"? Yah, right?
-
Norma Shearer was also Ramon Novarro's leading lady in Ernst Lubitsch OLD HEIDELBERG (1927). TCM has aired this film in the past. I am fortunate to have this title on DVD-R, with one of Carl Davis finest scores. The have also run LADY OF CHANCE (1928).
However, the vast majority of Norma Shearer's Silent films, have not been seen much at all in 75 to 80 some odd years! I have to believe that TCM has some titles tucked away in it's vault, that have no musical scores at this time.
As for Crawford, in addition to Harry Langdon's TRAMP, TRAMP. TRAMP (1925), I am fortunate to have quality DVD-R's of the memorable WEST POINT (1927), with William Haines, and OUR DANCING DAUGHTERS (1928)/OUR MODERN MAIDENS (1929), with Anita Paige in my collection.
Is there anyone else on this forum who has seen Crawford in WEST POINT? She probably looks better in that movie, than in any of her other Silent films. For what ever reason, TCM hasn't aired this fine feature in years! They gave it a superb Orchestral score by David Davidson too.
Crawford was also in the MGM comedy THE BOOB (1926), which TCM has aired. Although, she appears just in a supporting role.
-
TCM has aired MALE AND FEMALE, BEYOND THE ROCKS, THE AFFAIRS OF ANATOL, SADIE THOMPSON, and QUEEN KELLY, in the past. But to my immediate recollections those are about the only Silent's of Gloria's that they have ever aired?
I don't think TCM is sitting on anything. They may have a contract to show some of the other films that Kino, or Image has released over the years? I don't know? It's unlikely that you will see any of Swanson's Paramount features such as ZAZA, or MANHANDLED, or STAGE STRUCK, on TCM, unless those films are all public domain?
TCM rarely airs any of the Paramount Silent's. Some rare exceptions would be PETER PAN (1924), THE KING OF KINGS (1927), TWO ARABIAN KNIGHTS (1927), THE RACKET (1928), and THE MATING CALL (1928). Though I don't believe that Paramount themselves, had much if anything to do with the restoration of these films?
This is not TCM's fault certainly. Blame Paramount for letting such important classics as THE COVERED WAGON (1923), MANTRAP (1926), OLD IRONSIDES (1926), BARBED WIRE (1927), THE LAST COMMAND (1929), THE DOCKS OF NEW YORK (1928), UNDERWORLD (1928), THE WEDDING MARCH (1928), even WINGS (1927), just rot away into dust in some smelly old vault someplace! Pretty pathetic, how they seem to have no interest in saving these movies?
I am a little bit surprised however, that TCM has yet to air the beautiful restoration of DeMille's THE TEN COMMANDMENTS (1923)? Since Paramount finally did put this one out on DVD last year? Maybe they will run it in the near future, who knows?
-
Yes, the version of Fritz Lang's METROPOLIS (1927), which re-aired last Sunday is the exact same one Kino released on DVD, and TCM debuted in Prime Time a few years back. If you already have the Kino DVD, it is the very best quality and most complete print of the film you can find anywhere.
-
Hey, those are three excellent films. One of Chaplin's finest. One Of Harold Lloyd's best, and a vastly underrated feature starring William Boyd, Louis Wolheim, and Mary Astor.
Produced by Howard Hughes, and Directed by the great Lewis Milestone, TWO ARABIAN KNIGHTS (1927), has in-fact become one of my favorite Silent features! Long considered lost, even many long time Silent Film enthusiasts may not be familiar with this picture? Though, nominated, for an Oscar, in the very first year of the Academy Awards, it is still virtually unknown today, and has yet to be released on commercial DVD!
This TCM/Flicker Ally restoration, boast's one of Robert Israel's finest Orchestral scores ever! If you have not seen this terrific movie before, what ever you do, make sure you don't miss it next month! Be sure to set your Tivo, or DVD recorder by all means!
-
11hazel,
Blast! The "Private Messages" don't seem to be working for some reason right now? I didn't even receive the copy I sent to myself!
Anyway, I have both THE BIG PARADE, and THE CROWD on DVD-R, along with dozens of other rare Silent features. These are fully authored programs, with menu's thumbnails, and tinted background stills. Both of the King Vidor classics are Thames Photo-play production versions, so they have the great Carl Davis scores! Neither film has aired on TCM, since at least 2004! A link to my E-mail is provided if you look. Should you be interested, I would love to hear from you?
-
I'm sure that this is a Fox Silent. Unfortunately, apart from SUNRISE (1927), TCM never airs any other Fox Silent's! They have to lease the rights to this movie as is, since it is not part of the Turner Library. Are you sure that a print of THE JOHNSTOWN FLOOD still exists today?
By the way, if this movie is from 1926, than it is not the debut of Janet Gaynor? I am fortunate to have two of her earlier movies in my collection from 1924, and 1925, THE SHAMROCK HANDICAP, and THE BLUE EAGLE respectively. Both of these features were Directed by John Ford.
-
11hazel,
Hello, Please note, I just left you a private message, a few minutes ago.
-
TCM airs the 1942 sound re-release of THE GOLD RUSH, because it is the only version of the film who's rights are controlled by the Chaplin Estate. Their's is the best print quality available, but it is far from full-length. In-fact, much of what made this film such a classic was removed from the 1942 edition!
The original ending is not to be found! As well, as one of the major plot twist's in the entire film. In addition the emotional impact, of several other scenes is severely lessened by poor re-editing! Put very simply, "THIS IS NOT THE GOLD RUSH!"
The original 1925 version of THE GOLD RUSH, fell into the public domain in 1953. Just one year after Chaplin was booted out, or at least barred from re-entering the country. Chaplin let the copy-right lapse. He probably was not even aware of it until was to late. This was tragic. Since that time, the movie has only been seen in widely varying degrees of print quality, and completeness. Although, little has been said about it, undoubtedly at least some sequences have been lost to time!
For the life of me I simply can not believe that the original film, which is much, much, better than this poorly re-edited 1942 re-issue, has yet to be fully restored, and given a representative musical score!
Actually, it looked like this was going to happen about 7 or 8 years ago. Kevin Brownlow, David Gill, and Photo-play productions restored the film to some extent, mostly just cleaning up The Killiam Shows/Blackhawk films, print which had been the most complete version available for many years. Brownlow, and Gill hired the great Carl Davis, to put together an orchestral score that was still mostly derived from the 1942 re-release, and Chaplin's selections for it. This print was seen during special showings in the early part of this decade, all over the world. With Davis conducting live Orchestra.
Unfortunately, Mr. Davis score was passed over for a very cheap sounding Piano recording by Neil Brand, when Warner released a Two-disc set of the film a couple years back. The older William Perry Piano score, which had accompanied the Blackhawk print, recorded back in 1970, was quite brilliant! If they were going to stick with sole Piano, they should have just cleaned that up and re-mastered Perry's wonderful effort. Instead it to was ignored.
But here is the real kicker! In 1991, the entire original score of the film (portions of which may have been composed by Chaplin, was uncovered intact, in Charlie's vault! This was the very score that accompanied the New York premier of the film back when it debuted in 1925, Chaplin had even conducted the orchestra on that occasion. Well, In 1991, the discoverery was hailed as a major find. So how is it that we are still sitting here in 2007, and apparently nothing has been done to restore the film as close as possible to it's initial length and condition, with a brand new recording of this once lost original musical score? It practically defies belief!
-
Sergei,
STELLA DALLAS (1925), is on my wish list. I just spoke to another collector about this movie a couple days ago. I was hoping He had a copy. He has more Silent's than anyone I know. Unfortunately, He doesn't have this one. He too is quite interested in the Sunrise Silents version though.
I have no information pertaining to print quality I fear. But I can tell you that while the print of MANTRAP (1926), made from a 16 millimeter, or maybe even Super 8 millimeter reduction print, was mediocre at best, the Sunrise Silent's print of SMOULDERING FIRES, was signifcantly better. In addition, I know of other fan's who have recommended the company highly.
The music provided is no great shakes, the scores, are rather odd, with strange choice of instrumentation. The themes seem to stay rather sprightly and up tempo, no matter how dramatic the situation is in the sequence. They used a decidedly off-beat rendition of AIN'T MISBEHAVIN' as the main title theme for MANTRAP, apparently preformed on a Xylophone? Actually, this song was not even introduced until 1929. So it could not possibly have been heard in Movie Theaters as accompaniment for this film back in 1926.
-
Sergei,
Thanks again for all the information. I know of Reel Classics, but I have never ordered anything from them. I guess I did not notice that they had ELLA CINDERS before? It has been awhile since I last visited their web-site. I have ordered from SUNRISE SILENT'S, a couple times, and they have a few additional Colleen Moore titles in there collection.
I picked up SMOULDERING FIRES (1925), with Pauline Frederick, Malcolm McGregor, and beautiful Laura La Plante, from Sunrise Silents, a few months back. A nice sharp print. This is a very good forgotten Silent Classic that merits an official release by Kino, or Image one of these days.
Also picked up a copy of MANTRAP (1926), starring Clara Bow, and Ernest Torrence, and Directed by the great Victor Fleming! Sadly, this film is probably still under-copyright by Paramount? I don't know if an official DVD, release will ever see the light of day?
-
Sergei,
By golly that's right, I actually do have ALIAS JIMMY VALENTINE. As for ELLA CINDERS (1926), I sure wish that I did have a copy! This is one that I have been on the hunt for, quite awhile. Based on the popular comic-strip of the day, this movie was one of Colleen Moore's most popular First National features of the 1920's. Unfortunately, I do not believe that complete prints survive? It may only still be around in a somewhat truncated form?
-
fuzzgirl,
Well, they just showed A PERIOD OF ADJUSTMENT (1963), and last Sunday they aired a TCM debut, THEY SHOOT HORSES DON'T THEY (1969), with Robert Redford.
That being said, it is true that they used to air among others both SUNDAY IN NEW YORK (1964), and CAT BALOU (1965), at least once every other month! I could be mistaken, but surprisingly I have not seen either one of those two films on TCM in years?
I'm not real sure that TCM has the rights to BARE FOOT IN THE PARK (1968), or not? BARBARELLA (1967), could pop up on TCM Underground's Cult list one of these days?
Should silents be shown if they don't have a score?
in General Discussions
Posted
As I have said before, the idea of the lone Piano player for Silent films is largely a historic inaccuracy. During the Nickelodeon days up until about 1914 yes, but only in the very smallest theaters after that.
As Kevin Brownlow stated, even the cheapest Theater could afford both a Piano player and a Violinist, and many had small house bands of about 6 to 8 players. By 1919, this was becoming the standard.
THE BIRTH OF A NATION was the first film to have a full symphony orchestra score during it's premier in 1915. In the case of METROPOLIS, the score you hear on TCM, and the Kino DVD, is a re-recording of the actual original 1927 Orchestral score that accompanied it's premier.
Chaplin's THE GOLD RUSH World Premiered in 1925 with a orchestral score, that was even found in 1991 stashed away in a vault on his estate.
In some cases, complete scores where provided to the bigger theaters with orchestra. THE BIG PARADE, had a full score of sheet music by William Axt, and Glen Mendoza, in 1925.
Harold Lloyd always said that He personally disliked lone Piano, and did not recall ever seeing his films screened that way!
Studios generally provided suggestions for Photo-play mood music, and this was the most common accompaniment of Silent films. weather a full Orchestra was performing or a Theater organist.
Selections of the Photo-play themes wee made up from popular tunes of the day and classical melodies. There was a theme for each lead character, the Hero, the Heroine, the Villain, and what have you. Some theater musicians followed these scores, while many others prepared scoring by choosing their own musical selections.
The music was considered quite important to the overall presentation. The industry of movie music, and theater musicians, really grew during the early 1920's, when "The Motion Picture Palaces" flourished.