gagman66
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Posts posted by gagman66
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Wendy,
I'm afraid that I didn't get to see it. What day was it on? Here is a new photo of Renee with Tom's Brother Owen Moore you may like.
*Renee Adoree and Owen Moore from THE BLACKBIRD (1926)*
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*THE BARKER* is mostly a Silent film, with maybe a couple brief talking scenes. Depending upon where this was playing. Allot of places it would have been screened as a Silent with live music. I would like to see it on TCM as well. Here is a vintage poster.
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*Old Heidelberg-"Catching Kathi By The Tail"*
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calvinme,
No, THE FIRE BRIGADE with Charles Ray and May McAvoy has never been shown on TCM before. At least not so far. The film does exist, you wouldn't be seeing a clip if it didn't. But the complete film was just screened at one of the big Annual Silent film festivals last year. I would love to see it myself, the clips from Thames HOLLYWOOD look spectacular. This film was considered something of a come back for Charles Ray, and apparently did very good business. I have a couple of Lobby-cards and a trade ad for the picture in here someplace. It is just one of dozens, and dozens of MGM Silents without recorded music scores that TCM has yet to broadcast. It is also probably not available in a broadcast master at this time.
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*Betty Bronson-"Cinderella Coach"*
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Interestingly enough, Elinor Glyn's original IT Girl was not Clara Bow. The first actress miss Glyn called the personification of the term IT, was actually Norwegian Blonde Bombshell import Greta Nissen in 1925
*Greta Nissen and Ben Lyon*
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*Bebe Daniels And Richard Dix-SINNERS IN HEAVEN (1924)*
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Disappointing that *SPARTACUS* was scheduled opposite *THE MERRY WIDOW* on the same day and the same hours of the festival. What was up with that? Glad that there was better attendance at *THE CAMERAMAN.* Thanks for letting us know about these screenings. I just wish more people had got to see them.
I have a spectacular orchestral score for *THE MERRY WIDOW* recorded in 2004, but I don't know who the conductor, composer or arranger are. Nor what Orchestra is even playing. It was sent to me as an audio file about a year and a half ago. I also have the Vince Giordano and the Nighthawks score to Keaton's *SHERLOCK JUNIOR,* which was not included among the options on the new Kino Blu-ray edition.
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kingrat
Thanks for letting us know about these screenings. I just wish more people got to see them. I have a spectacular orchestral score for *THE MERRY WIDOW* recorded in 2004, but I don't know who the conductor, composer or arranger are. Nor what Orchestra is playing. It was sent to me as an audio file about a very and a half ago. I also have the Vince Giordano and the Nighthawks score to Keaton's *SHERLOCK JUNIOR,* which was not included among the options on the new Kino Blu-ray edition.
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Wendy,
I'm not real sure what the story is here? I think it is supposed to be a vision in the scene, or maybe just symbolic of something. I assume that the sequence was in some versions of the film in 1928? Maybe the Road Show edition? I'll try to get more information. TCM basically shows the 1928 Silent cut of the film, rather than the altered 1929 Goat-gland version with music and effects tracks, tacked on dialogue footage, and a completely different ending. I just think the still looks very impressive.
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Take a gander at this! Wow! Looks pretty incredible. To bad the scene pictured in this still is not found in the surviving film.
*"The Descending Modonna" from The Godless Girl (1928)*
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They did run SUNNY SIDE UP, but not in the restored version seen at the festival. It was however, and improved studio print in March from what we saw in December. Disappointing that SPARTACUS was scheduled opposite THE MERRY WIDOW on the same day and the same hours of the festival. Hope there was better attendance at THE CAMERAMAN.
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So far I have heard a big fat Zip about any of these three screenings during the Classic Film Festival. Are we going to get some sort of a report or not??? Please tell us a little something if you were there? Thanks.
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*Marion Davies-"Spring Bonnet"*
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Wendy,
I have a copy of HUMORESQUE (1920), directed by Frank Borzage. But it isn't very good quality. The actual print is quite good, but the recording is very sub-par. I have never really watched it before.
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Scottman,
Tremendous line-up! Wow! *BEAU GESTE* on the big screen! And I am assume that this is the 2004 restored version of *THE BIG PARADE* that we have yet to see hide nor hair of on TCM? And of course I love *7 TH HEAVEN.* Didn't realize that *FOUR SONS* won the Photoplay Award as the best film of 1928? It was passed over by the Academy for a nomination. Just not the same film without the fabulous original Erno Rappee'-Lew Pollack Movie-tone score.
Burned out on *THE GENERAL.* I think it's screened way to often and is much more famous than it deserves to be. Would be nice if they ran something else rarely seen. Like *BEVERLY OF GRAUSTARK* or *LILAC TIME* maybe. If they have to stick with Keaton, even *SEVEN CHANCES* would be a big improvement. It's fallen into relative obscurity, and never shown on TCM.
Just Maybe they can get something rolling toward getting the 1926 *BEAU GESTE* on TCM, since it is unlikely to see a DVD or Blu-ray release ever. TCM is about our only chance of seeing a restored version. Unless, it was unexpectedly leased out to Criterion.
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Wendy,
There is not a whole lot left of Gilbert Roland in Silent films. What remains is largely not available. I think THE DOVE exists, portions of the 1926 CAMILLE. Not sure the entire film survives. Of course A WOMAN DISPUTED. He is in THE PLASTIC AGE, but the print on the Image DVD release leaves allot to be desired. Fortunately, this film was just restored in 35 Millimeter by UCLA. So maybe we well get a better transfer on DVD sometime. THE LOVE MARKET with Billi Dove is considered to be lost.
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During the segments with fans from the TCM Classic Film Festival, there have been people anxious to see Keaton's *THE CAMERAMAN,* accompanied live by the great Vince Giordano and his Nighthawks Orchestra. And there was one Woman who said she got hooked on Classic films when she saw Marion Davies *THE PATSY* on TCM. An interesting quote from Robert Osborne is this one, He said that *"you know for many years they sat in vaults, and no one got to see them".* Speaking of these Silent films. Well, I found that so ironic, since Marion's Silent films, for the most part continue to sit in vaults. Unseen and largely unknown. While TCM has aired *THE RED MILL, THE PATSY,* and *SHOW PEOPLE,* there are at least 9 or 10 other Silent features made at Goldwyn and mainly for MGM that TCM would have the rights to, they have never aired before.
Where are any of the following?:
*LITTLE OLD NEW YORK (Goldwyn, 1923)*
*JANICE MEREDITH (Metro Goldwyn, 1924)*
*YOLANDA (MGM, 1924)*
*ZANDER THE GREAT (1925)*
*THE LIGHTS OF OLD BROADWAY (MGM, 1925)*
*BEVERLY OF GRAUSTARK (MGM, 1926)*
*TILLIE THE TOILER (MGM, 1927)*
*QUALITY STREET (MGM, 1927)*
*THE FAIR CO-ED (MGM, 1927)*
*THE CARDBOARD LOVER (MGM, 1928)*
At least Marion has fared far better than Colleen Moore, despite most of her surviving Starring 1920's features being technically Warner's property, none of them have to date aired on TCM. Vince Giordano and the Nighthawks were mentioned back in 2006 as being strongly considered to replicate the music that would have been found on the missing Vitaphone discs of Colleen's *SYNTHETIC SIN (1928).* Half of the original discs have been found I believe, but not all of them.
Sadly, it is now almost the middle of 2011, and the restoration of *SYNTHETIC SIN* has yet to get underway. But *HER WILD OAT (1927)* was restored back in 2006, and needs a score to be broadcast on TCM. I would hope that Giordano and the Nighthawks would be approached for this assignment. I think it's important to get at least one of Colleen Moore's long lost features in rotation on TCM. Giordano and the Nighthawks did wonderful work scoring Keaton's *SHERLOCK JUNIOR* back in the 90's. Sadly this version is not currently available. And they also put together excellent scores for the Harold Lloyd Two-Reeler's *GET OUT AND GET UNDER* and *HIGH AND DIZZY.* I can envision them rendering a magical score for Colleen's *HER WILD OAT* and I have been waiting year after year for a TCM debut.
I'm pleased with enthusiastic response to the Silents, and I think this is another example of why we need the Young Film Composers Competition to return. I realize that the poor state of the economy was responsible for curtailing the annual (up till 2007), event. But hopefully it will yet return in the next year or two after a lengthy hiatus.
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I agree that WILD ORCHIDS is one of Garbo's better Silent features,. And she looks her most beautiful in this picture of any film I can think of, other than THE SINGLE STANDARD. Greta also gets to show that she had very pretty legs. That is not obvious in very many of her other films.
Handsome Nils Asther is somewhat menacing as the Prince, used to having his own way. Hubby Lewis Stone is to preoccupied with business, even while on vacation to notice his Wife my be slipping away from him. Haven't seen this in awhile, but it's a very well made feature with a fine original vintage music score.
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Wendy,
I'm glad that you like this one. As it just got tore down on Nitrateville. You can't please everyone. This was originally tinted sort of a yellow, so it was not easy to work with. Mary Astor and Gilbert Roland's skin-tone is not the same. His is actually a bit darker, and tanner.Nevertheless, I was told that the Skin-tone is all wrong, and that the shade of the vest was terrible.
It's interesting that many fans probably do not know that Mary Astor was considered to be one of the great beauties of the Silent Screen during the 20's. In a 1925 Photoplay Magazine poll Mary Astor was chosen as the 2nd most beautiful female Star in Hollywood, behind only Pola Negri. And ahead of Corinne Griffith at number 4. I'll have to check who was number 3. I have not seen the list in some time. I just got *"OH DOCTOR!"* a Reginald Denny comedy from 1925 a couple months ago. Astor is the leading lady, and she is stunning. This is a terrific comedy by the way, and I highly recommend it. Very nice print from Grapevine too.
*ROSE OF THE GOLDEN WEST* is rare, but apparently not lost. The Czech Archive has a 35 Millimeter print. Also the name Gilbert Roland was a combination of the two biggest Romantic leading men of the day. John Gilbert, and Ronald Colman. Of course Roland ended up having a remarkable career that lasted for decades.
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*Gilbert Roland and Mary Astor-Rose Of The Golden West (1927)*
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*Colleen Moore and Virginia Lee Corbin-1929*
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Mark,
Blast, I missed this. Was it on? The movie has Alice White and Blanche Sweet. It hasn't been shown in years. I have a recording. But Alice White movies don't turn up much on the schedule anymore.
Sure wish they would show the 1930 *GOOD NEWS* again with Bessie Love and Penny Singleton. My recording is from more than a decade ago, and is from VHS.
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OK. so is anyone at the screening of Erich Von Stroheim's *THE MERRY WIDOW (1925)* this evening with Mae Murray and John Gilbert? Featuring the North American debut of Danish Composer/Arranger/ Musician, Maud Nelissen's brand new Orchestral score. Not sure if this is a recent restoration or not? It was in France last year. Print was mastered from elements found in an Austrian Archive, restoring the original tints and tones, but not the Technicolor footage. Anyway, I sure hope that we will get a report after the screening. Also anxious to hear about Vince Giordano's new score for Keaton's *THE CAMERAMAN*. The Nighthawks are among the best groups around at this sort of thing.
I really wish that Vince and his Nighthawks Orchestra would be kept around by TCM to score Colleen Moore's *HER WILD OAT (1927),* but I am assuming they are to expensive? Also would be great to see Ms. Neilssen score Marion Davies *BEVERLY OF GRAUSTARK (1926)* as well. She did score Marion's *THE PATSY* previously for Photoplay Productions, though that is not the version of the film that TCM airs, or was released through Warner Archive. Would gladly settle for Mont Alto Motion Picture Orchestra. Rodney Sauer has expressed a good deal of interest in *HER WILD OAT,* mentioning that Mont Alto has yet to score a Colleen Moore movie.
silent film crushes
in Silent
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*Corinne Griffith in SINGLE WIVES*