gagman66

Any news of THE LOVES OF PHARAOH Maybe that was only being released in Europe?

filmlover, Don't get me wrong, I'm excited about the restored *WINGS,* and the Silent *ALL QUIET ON THE WESTERN FRONT.* But where is *THE BIG PARADE?* Frankly, Neither film would have ever been made if *THE BIG PARADE* hadn't come first. To me it is a superior picture to them both. I just Pre-ordered the Blu-Ray of *WINGS* a few hours ago. Wish I could be Pre-ordering the restored *THE BIG PARADE.* I have waited for going on 8 years for the new restoration to debut on TCM or hit DVD.

Wendy, Yeah, I would rather find that on my House Top than Rudolph! :^0 Whoops, I posted the same photo twice in this thread. I'll look for a different one. OK, here is the one with her trying to shave Rasputin. Err, I mean Tom Moore.Sort of grainy, but a fun pic.

Wendy, Wow! ! 9 and 10 are spectacular. Especially the 8th one. Great photos. I posted a couple Betty's you might have missed a few weeks ago those other two threads. Go back a couple pages to see those. I also posted some Esther Ralston pics. *Betty-"Up On The Roof Top"*

Wendy, Welcome back. Hope you had a nice Holiday. be sure to check the other thread. Lots of new stuff in there put up while you were gone. . I'm going to re-post the Christmas Swanson's from last year. I can't find them in either thread. So they must have been uploaded in some other buried thread in December of 2010. Have a simply gorgeous photo of Mary Nolan, but you can see straight through her blouse as if were not even there. No under garments. Not sure I should post that here. It seems like that She, Greta Nissen and Alice White were all frequently photographed in next to nothings. No wonder Nolan had such a bad reputation. And than there was Toby Wing. My Goodness me! This probably belongs in the Pre-Code section. However, TW did start out her career in Silents. So it still works. Cough, Cough.... *Toby Wing-"World's Best Hike!"*

Hi, I would strongly suggest that you post your question on Nitrateville.com you more extensive advice. They will be able to provide significantly more insight with what course of action to take. Good luck. Hope the films find a home soon.

Robert, Ed, It's interesting I used the Russian Rag for one of my scores. I think this exact same recording. I don't recall which film it was for though? It does seem to work well with the scene.

Yeah, I mentioned in another thread what a terrific job I felt she did. Seemed to have more zest and enthusiasm than so many of the other. Plus the best legs of any guest host!

Wendy, I had another very nice Clara Bow photo to post. Unfortunately, it is gigantic in size. I will need to go back and shrink the graphic and try again,. Didn't realize that it was that large. In the meantime, here is another very pretty portrait of another Silent Crush. *Jacqueline Logan-"Exquisite Beauty"*

ugaarate, Here is a mystery still taken on the set of THE COSSACKS. Renee Adoree and??? Now sure who that is with her. It certainly isn't either of her Co-Stars John Gilbert nor Nils Asther. Possibly the guy that played the valet to Asther's Prince Olinon. Probably murdered that name. Can't think off hand who that was?

ugaarate, I'm not exactly sure if it is Dorothy or Lillian? Originally I had the photo labeled as Lillian, but several people told me they thought it looked more like Dorothy. The image had been in my slave drive for many months, and was simply tagged as "Gish". Yeah, that's the same Turkey Harold win's in the Rafle during HOT WATER (1924). Which was released right around Thanksgiving and topped the Box-Office. The swaddling cloth around the birds neck is Harold's Neck-Tie. And it should be more gold to standout. Just doesn't look right. This is one of the funniest Lloyd features in my opinion. My late Mother just loved it. I was not happy how this photo turned out at all. I goofed on the second Mae Murray, the tie of the shash on her shoulder should be Blue like the rest of it, not pink. Unfortunately, it was to late to edit the post. Yeah, the Dorothy Sebastian looks so pretty she probably had the fellows lining up around the camp to be scalped. Ha, Ha! The Holiday pic of Richard Arlen in Western Attire and Mary Brian in front of the tree, is missing a chunk out of the blue wallpaper. I fixed this, but again to late to edit the post. It's really bothering me. Yes, the Greta Garbo turned out really well. She is so far in the distance thought that it is difficult to tell that is even her. Here is a wonderful photo of Leatrice Joy. Lo! The Ex-Mrs.John Gilbert looks like a Pre-Mature "Sweater Girl" here. Some 9 or 10 years before anyone had coined that phrase. She seems very healthy and happy. You'd never know that divorce didn't agree with her. *Leatrice Joy-"Shapely The Flapper"-1928*

Scottman, Some early Rex Ingram stuff was screened during a festival, I believe at UCLA earler this year. Unfortunately, I do not remeber much about it. Wasn't *THE ARAB (1924)* scheduled to be restored about a year ago? Not sure of the current situation. I like *THE CONQUERING POWER (1921)* allot. I worked on a score for a Grapevine release over a year ago, but nothing has scome of it. Would be nice to see *THE FOUR HORSEMEN OF THE APOCALYPSE* issued through Warner Archive.

Woof! Wow-Wee, Look At Me!!! *Nita Naldi-"Queen Of Vanity!"-From LAWFUL LARCENY (1923)*

*Mae Murray-"Slippin' Around The Floor"* *Mae-"Magical Make-up Box"* *Dorothy Gish-"Opps A Blemish!"* *Garbo On Horseback-1926*

Robert, Thanks for another eluminating post. Hope you had a nice Thanksgiving. I sent you an E-mail response last week. Not sure that you received it?

She is wonderful. Terrific personality and I think they should have her as the regular guest host, or even the weekend host if Ben is leaving.

*Betty Compson-"Maid To Fiddle"*

Happy Thanksgiving to one and all! *Dorothy Sebastian-"Boys? Me Gonna Scalp 'Em!"* *Harold Lloyd- "Now Don't Look At Me Like That!"*

*Greta Nissen-in Costume For THE POPULAR SIN (1926)* *Pauline Starke in Oriental Robe* *Pauline Starke with Short Dark Hair Close-up* *Greta Nissen- "Slip Out In Front"*

Jack Hardy's Grapevine Video label has issued a new upgradged print transfer on DVD-R over his previous release of Rudolph Valentino's *MONSIEUR BEACAIRE (1924).* The film boosts and impressive supporting cast with Bebe Daniels, Lois Wilson, Lowell Shearman, and Doris Kenyon. Here is more information. http://grapevinevideo.com/new_releases.html

*"Clara Bow And Fuzzy Friend"*

*Jean Arthur and Lillian Roth-"Muskets and Drumsticks"*

Joanna, I found a really good Veidt photo that I will work on for you. In the meantime, You might like this one as well. Happy Turkey Day! *Richard Arlen and Mary Brian-"Yuletide On The Range"* *Johnny Mach Brown and Joan Crawford*

Dear Moderators, Please note, Very sorry to say that this is the worse performing forum I have ever seen anywhere on the web. I had edited this last post about 20 times, and it still does not turn out right. No matter what the preview shows, that is not the results you get when posted! I am totally frustrated with the extremely poor performance of this forum. Please get these boards fixed and in good working order. I am losing total patience. Adding the Rich Text was a terrible idea, because it keeps switching back and forth from Plain Text to Rich and vice-versa and bold and normal, without any prompting what so ever. As if the system had a mind of it's own. This board has never worked very good, but it is about as bad as it ever has been right now. I just am pulling my hair out. The margin's are another huge problem here. I should not have to hit the space bar 30 to 50 times to achieve a couple spaces between one paragraph, or one photo and another. Yet often I do. Especially, after an edit. Keeps on hopping back up there. Just ridiculous people! I want to know if everyone is having as much trouble as I am. If so, how the devil can you stand it? No wonder members have departed in droves. Repair the system already!!!

WHAT PRICE GLORY? is definitely nowhere near as good as WINGS, and especially THE BIG PARADE, which I think is much, much better than WINGS is. It's also not even close to being as good as THE PATENT LEATHER KID or LILAC TIME either. And I love FOUR SONS too. That being said, I very much enjoyed seeing WPG on TCM for the first time last night. Granted,I would have much rather seen TCM debut LILAC TIME than WHAT PRICE GLORY? That is many, many years overdue. This being said, I very much enjoyed seeing WPG on TCM for the first time last night.+ You probably missed the first battle sequence which is pretty powerful. And hey, allot of people died in it too, and it shows a bunch of bodies being buried. With striking images. Not sure what you were looking at as bodies were dropping like files all over the battlefield. In the earlier fight scene you misses they report that only 80 men survived from the entire unit. So they brought in reinforcements to take the fallen's place. *Here is a fabulous review of the film written by Richard Roberts after a screening some years ago. He seems somewhere in the middle on his opinion of the film. Most either love it or hate it straight up. But read his review for a better understanding of the production.*+* *"I didn't catch it on TCM, but here's what I wrote about WHAT PRICE GLORY for a Cinevent showing a few years ago:* *Laurence Stallings had served as a Marine in the First World War and had been at Belleau Wood where he?d lost a leg and was decorated with the Croix De Guerre by the French for bravery. After the Armistice, he became a newspaperman working for the New York World as reporter and entertainment editor. In the early 1920?s, he wrote his first novel about the War, entitled PLUMES. Stallings fascination and expertise about the Great War (only a working title, later changed due to sequels) led him to co-writing with Maxwell Anderson the play WHAT PRICE GLORY?, which opened on Broadway at the Plymouth Theater on September 3, 1924. The play?s raucous and blunt language, coupled with a then suprising lack of respect for the Military by it?s subordinates shocked it?s first-night audiences and the critics (you know the legend: two old ladies departing from a matinee? performance, the first one turns to the other and says,? C?mon Marge, lets get the hell out of here.?, and the other replies, ?Wait until I find my God-Damned glasses!?).* *In typical fashion with things of an honest nature, immediate attempts were made to suppress the play and stop the production, but WHAT PRICE GLORY confounded its detractors and became a massive hit. Apart from the removal of a few of the more intense profanities, the play went on to a year-long run and into Broadway history.* *It seems to take about five years after a major war before society digests its consequences and really begins to deal emotionally with it. The surviving soldiers come home and try to rebuild their lives, the politicians who perpetrated it move beyond the reach and wrath of what they have wrought, until finally, the public is really ready to try and make sense of it all, and the media figures out a way to make a buck out of it. Check more recent memory and recall that the films about Vietnam like COMING HOME (1978), APOCALYPSE NOW (1979) and such all hit around that five-year mark. WHAT PRICE GLORY ?s success came just at the time the public had experienced enough breather to know for sure just how they felt about being ?over there?, and it?s success sent Laurence Stalling to Hollywood where his war and writing credentials earned him a gig at MGM who had decided the time was right for another war movie.* *Fox had already snared the film rights to WHAT PRICE GLORY, so Stallings was set to work with Director King Vidor on a new story. Vidor and Stallings took the latter?s memories of Belleau Wood and turned them into THE BIG PARADE (1925) , which made John Gilbert a superstar and made war films top-dollar boxoffice again.* *Perfect lead-in for Fox, who had to wait for WHAT PRICE GLORY ?s Broadway run to end before it could release it?s own film version. Raoul Walsh was assigned to direct, and Louis Wolheim was slated to recreate his role of Captain Flagg from the Broadway production. However, up and coming half-Scotch, half-Irish actor Victor McLaglen was harassing and petitioning Walsh for the part, and finally, Wolheim was sent packing, he?d have to wait for his war-film immortality in Lewis Milestone?s ALL QUIET ON THE WESTERN FRONT five years later.* *Victor McLaglen?s movie career had been in upswing since he had received acclaim supporting Lon Chaney as one of THE UNHOLY THREE (1925), and he was determined to have the part. A distinguished British War veteran, he had served in the Mesopotamian campaign and had become provost marshal of Bagdad (a job begging for applicants these days) and had no problem convincing Walsh he could play an American Marine better than anyone. WHAT PRICE GLORY would cement his stardom in what would be a long career indeed* *Cast alongside McLaglen as Flagg?s eternal nemesis/buddy Quirt was the already veteran actor Edmund Lowe. Lowe had already been in silents for a decade, and WHAT PRICE GLORY gave his career as equal a boost as it did his co-star. In fact, the good chemistry they display, cursing silently under the cleaned-up subtitles made them an unofficial team. Twice more they would play Flagg and Quirt in Fox?s two talkie sequels (THE-EYED WORLD (1929) and WOMEN OF ALL NATIONS (1931)), and would continue to appear together in pictures form time to time all through the 1930?s until their last starring film together, CALL OUT THE MARINES (RKO 1942) and a final cameo appearance together in AROUND THE WORLD IN 80 DAYS (1956).* *Unfortunately the film version of WHAT PRICE GLORY prunes the original play?s truly pacifistic message. Raoul Walsh found himself more fascinated with the cussing, drinking, and womanizing than making much of any comment on the futility of war, tipping the scales big-time in favor of the cussing, drinking, and womanizing. Walsh later commented that WHAT PRICE GLORY was the best recruiting film the Marines ever had, and that he was frequently accosted by various Marine Officers over the years that would say to him, ?You bastard---you got me into this thing!"* *Part of Walsh?s fascination with GLORY ?s womanizing stemmed from his off-camera fascination with his eighteen-year old exotic leading lady, Delores Del Rio, about to break into major stardom and on the verge of becoming the incredible beauty she would become. Walsh delightfully breaks as many Hays codes as he can get away with in presenting Del Rio?s enticing Charmaine, and indicating the implied triangle she carries on between Flagg and Quirt. She sparkles with sensual frankness in a way only a latino playing a Frenchwoman could. Tasty.* *And after a lot of cussing, drinking, and womanizing, oh yeah, we do manage to get a few minutes of the ?war is hell? part in some very well-done battle scenes shot at Fox Hills in West wood where trenches had already been dug for Fox?s previous war epic, HAVOC (1925), which Rowland V. Lee had made the previous year from a play that had opened on Broadway the same week as WHAT PRICE GLORY. Walsh remembered the nearby residents of Beverly Hills complaining about the bombs exploding during the night scenes. ?We had to get a different assistant director every night.?, Walsh recalled, ? The explosions broke windows in the bungalows, and the Sheriff would drive up and say ?who?s in charge here?? and the assistant would say ?I am?. They?d put him in a car and take him away, and I?d start again.?* *The battle scenes carry an amazing degree of reality, especially considering what comes before, and even had a little help from fellow Fox director John Ford, who handled some second-unit shots. Ford later made his own remake of WHAT PRICE GLORY in 1952 with James Cagney and Dan Dailey in what was planned and shot as a musical then recut into one of Ford?s most disappointing films.* *WHAT PRICE GLORY was finally released in November 1926, the delay allowing it to be the first Fox feature with a Movietone musical track, which will be heard at this Cinevent presentation. It hit big with audiences, and along with Paramount?s BEHIND THE FRONT with Wallace Beery and Raymond Hatton cemented the seemingly unstoppable genre of the military/buddy flick. Ah heck, let someone else tell you war is hell, in Hollywood, it?s the cussin, drinkin? and broads that matter. We?ll just have to have another war to figure it out for ourselves??..* *RICHARD M ROBERTS*