gagman66

Jonas, OK, Originally they had *THE GARDEN OF EDEN* scheduled? Or at least I thought that they did? Or is that coming up soon at another time? If they were preempting a long awaited premier of *ZANDER THE GREAT* or *HER WILD OAT,* I would really be upset. I'm sure that *THE CIRCUS* will be quickly rescheduled. On the other hand, you have a very good point that it would be the new transfer from Janis Films. I didn't think about that earlier.

Jonas, I think you are mistaken? They are not playing *THE DIVINE LADY* in May, but another Corinne Griffith film *THE GARDEN OF EDEN.* That hasn't been on TCM in about 4 years. And long out of print on DVD from Flicker Alley too. Don't begrudge Corinne please, she doesn't have that many films left. Hey, I love *THE CIRCUS*, but it is one of Chaplin's more frequently aired features.

Finally, at long last NOAH'S ARK returns to TCM for this week's Silent Sunday Nights presentation. After drifting on a long hiatus for some 7 years. The broadcast is scheduled to sail in from Mont Ararat at 12:15 AM EASTERN TIME, 11.15 Central MARCH 28. Truly an epic scale production that took around three years to complete. Though restored at UCLA in the late 80's and early 90's, roughly 25 to 30% of the movie is still considered lost today. I am thrilled to see the picture on TCM for the first time in the better part of a decade. The cast includes Mrs. John Barrymore, Dolores Costello, one of the most beautiful actress of the period. Affectionately dubbed as "The Silent Goddess" Handsome and rugged George O' Brien of THE IRON HORSE, and SUNRISE fame, who was nicknamed "The Chest" due to his Herculean physique untypical of the era. Along with Noah Beery (brother of Wallace), as the Villain of two era's. The magnificent sets are highly derivative of director Michael Curtiz earlier 1924 Epic, MOON OF ISRAEL, chronicling the story of Moses. Like that production, NOAH'S ARK was originally planned to be set all in Biblical times, with no Modern Parallel to the Great War. But the film was in an out of production for so long, that changed. The tacked on long after the fact goat-gland dialogue sequences, sadly spoil what could have been one of the great Silent Masterworks in my opinion. As a Silent, the film is riviting and fast paced, but the talking segments slow the plot down to a crawl and add nothing of consequence to the story. Personally, I contend that the highly paid Broadway based voice coach's of the day invading Hollywood deliberately attempted to derail many a successful movie actors career by making them look ridiculous. Dolores Costello's voice has obviously been sabotaged and exploited, because in reality she sounded almost nothing like that. Nevertheless, I am really pleased that TCM programmer Chuck Tabesh was able to finally get this picture back on the schedule. The Flood sequences are truly astonishing in any era of film making. Can't wait to read peoples comments later on. Be sure to set your DVD recorder, or DVR. In a related Note this film was unexpectedly released by Warner Archive on DVD-R only a few weeks ago, one of three long awaited Silent releases. Along with THE MERRY WIDOW (1925), and DON JUAN (1926) It is wonderful see these pictures made commercially available to collectors.

This movie hasn't been shown on TCM since at least 2004, and maybe 2003. Anyway it has been a good number of years. Though it was released by Warner Archive on DVD-R just a few weeks ago. Something that I never expected to happen at this time. The magnificent sets are highly derivative of Michael Curtiz earlier 1924 Epic, *MOON OF ISRAEL,* chronicling the story of Moses. Like that production, *NOAH'S ARK* was originally planned to be set all in Biblical times, with no Modern Parallel to the Great War. But the film was in an out of production for so long, that changed. The tacked on long after the fact goat-gland dialogue sequences, sadly spoil what could have been one of the great Silent Masterworks in my opinion. I personally believe that the highly paid Broadway based voice coach's deliberately attempted to derail many a successful movie actors career by making them look ridiculous. Dolores Costello's voice has obviously been sabotaged and exploited, because in reality she sounded nothing like that. Nevertheless, I am really pleased that Chuck Tabesh was able to finally get this picture back on the schedule. The Flood sequences are truly astonishing. Can't wait to read peoples comments later on. Blast, not able to post any Lobby-Cards here yet!

The great Marion Davies Stars in this rarely seen MGM Silent, directed by George Hill or *TELL IT TO THE MARINES* fame. When first introduced little Mamie is an unattractive overworked freckle-faced Orphan in her early Teen's. Treated like a slave and even beaten like one by sadistic social workers, and matron's. She view's her situation as utterly hopeless. Poor Mamie is unexpectedly rescued from her dire plight by a benefactor, Mr. Pepper (Richard Carle), who takes great pity on her. Taken out of the Orphanage the girl is placed in a loving home with a young married woman named Edith Caldwell (Hedda Hopper), who's husband Alexander Sr. has vanished in search of fortune leaving behind him an infant baby boy. Mamie loves the little feller who she calls Zander for short. A few years pass, and Mamie blossoms into a lovely young lady. But alas her guardian Mrs. Caldwell is now on her death bed, she has perilously clung to life holding on to hope that her beloved would one day return to her. A letter arrives from her husband, but the Wife is to weak to read it. Mamie enthusiastically opens the envelope, but is stunned to learn that Zander's Father will not be coming home. She improvises something more positive contents to give Mrs. Caldwell a sense of peace. With her last dying words Edith asks Mamie to please find Zander's Father. Mami's swears that she will as Mrs. Caldwell expires. As the Estate is being settled, the ruling is made that Zander must be sent to the same dreaded orphanage where Mamie was treated abominably years earlier. In desperation she makes a break for it with the child, taking along his cage of prized pet Rabbits. Pinching the family Ford from the garage, they speed off in a driving rainstorm. Bound for Arizona from whence the letter from the wayward Father originated The Rabbit Cage keeps getting more crowded and crowded along their weary trek. Mami remains steadfastly determined to find Zander's Dad, and fulfill her solemn promise to Mrs. Caldwell. The second half of the film is a dramatically different setting, as it turns into something of a Modern Western out in the middle of the Badlands. Stumbling in on an abandoned hacienda, which is also the hideout of illegal hooch smugglers, nicked named Texas (Harry Myers), and Good News (Harry Watson), the famished Mamie and Zander are given a chance to stay a spell, because she can Cook vittles. The patrons are tired of eating rancid meals. But when the third member of the group Dan Murchison (Harrison Ford) walks in, he spots the Ford outside and demands an explanation from his partners. He is ready to expel Mamie from the premise, when He learns Zander's full name. Obviously shaken, he doesn't not renege until the Sherrif (Hobart Bosworth), comes to investigate goings on. Hutchinson tell's Mimie that He is Alexander Senior. The man she has been endlessly searching for. Needing to have changed his name after running a fowl of the Law. Mamie is initially skeptical, but He knows that name of the deceased wife, and other convincing details. Alex Senior if that is who he really is convenientlly uses Mamie and the boy as a Red-herring to avoid arrest by the Sheriff. Soon Mamie proves her prowess as a Chef, and gives Texas and Good News A hair-cut and much needed shave. Despite the latter's protest's. "I'll be catching' A Helluva Cold with Me face all Naked!", He quips. Alexander Sr, or Murchison loses his heart to the thoughtful Mamie and vice-versa. But a naturally inquisitive nature gets the better of her, and she breaks into the off limits cellar while the three mean are gone. Discovering their illegal activities, she is determined to take Zander away from his Criminal Father, even though She loves him. A fearsome group of Mexican Bandits have been ravaging the badlands. As Hutchinson returns, concerned for Mamie Safety, she is caught hiding in the Cellar. The spunky girl razes him and says that she is going to the authorities. Maybe not a good idea, since she herself is technically considered a Kidnapper. A heated argument ensues, and Mamie attempts persuade Dan that she was only joking him. But put to the test, she fails, as she believes the Sheriff is riding in, but it is actually only their compatriot Juan Fernandez returning to base with another report. Uncertain what to do an wrestling with his emotions He locks Miami in a her room, while he and the others plot their next move. Suddenly, He decides He is through with smuggling the liquor and after smashing the barrel's, ashamed goes to free Mamie. But she has escaped out the rusted old window gate, into a hellish desert dust storm. Headed for Jaun's place where Zander is being held for safe keeping. She runs into members of the Bandit, but is tricked into thinking that they will give her a lift to Juan's Rancho. Instead they take her to the camp of the infamous Black Bart (George Siegmann) and his band of desperado's. A Prisoner and at his mercy! But again the resourceful young lady manages to give them the slip, on horseback. The Bandits, in hot pursuit and both headed for the Ranch. Meantime, the Sheriff informs Dan and the others that Black Bart and his cut-throats are headed for Juan's place. The climax is fast paced, and action packed. As a frantic Dan and the group race off to face them. Don't want to give away the ending. Let's just say that there is a rousing Gun-battle, and finally the mystery of what became of Zander's father is at last revealed. Davies is wonderful in this film. The first reel is played mostly for laughs, so we get to see her comedic side on display. But most of the rest of the picture is heart-felt melo-drama, with only brief bits of humor, scattered in. She handles both approaches with equal skill. The forgotten Harrison Ford as her leading man gives one of his best performances in a straight dramatic role. I had previously seen him only in comedies. Paired up with the likes of Constance Talmadge, Phyllis Haver, and Marie Prevost. Although, He had also Co-Starred in earlier film with Marion as well. *ZANDER THE GREAT* was Marion Davies third feature under her MGM Contract. Her previous two films in 1924 *JANICE MEREDITH,* also known as *THE BEAUTIFUL REBEL* an epic of the Revolutionary War, and *YOLANDA* where both far more expensive and elaborate productions, though for whatever reason *ZANDER* apparently proved to be far more successful with the viewing public. Really establishing Marion as a major draw at MGM. Interestingly enough, Davies only made one other film at MGM during the year of 1925. That being the ambitious *THE LIGHTS OF OLD BROADWAY* with Conrad Nagel, and directed by Monta Bell. In which Marion was cast in a duel-role. For some unknown reason she had just one film released by the studio in 1926, that being her biggest money-maker for the studio *BEVERLY OF GRAUSTARK* with Antonio Moreno. Although, *TILLIE THE TOILER* based on a popular Comic-Strip was certainly completed in time, it would not be released until early 1927. So many of Davies MGM, and even earlier Goldwyn and Paramount Silents are not as yet generally available. We should be thankful though that the survival rate of her films is quite excellent, and hopefully TCM will be premiering more of Marion's long unseen features in the near future.

I assume *DON JUAN* had the same processing error as with *THE MAGICIAN* and *PRISONER OF ZENDA.* What is up with that? After one goof, it first happened with *BEAU BRUMMEL*, you would think that they would get it right the next time? Apparently not? Here is a link to a A new interview with Mr Feltenstein on the occasion of WA's 2nd anniversary: http://tinyurl.com/66c2dh4

I would like to see the 1926 version with Norma Talmadge and Gilbert Roland. For that matter, I would also like to see the 1923 version of ANNA CRISTIE with Blanch Sweet as well.

Just saw a couple of really rare Marion Davies features from 1924 and 1925 respectively. JANICE MEREDITH and ZANDER THE GREAT. The former is an incredibly extravagant epic of the American Revolution. With staggering sets, costume's and epic battle scenes. The later is sort of a Western at least in the second half of the story, and the Climax is really action packed. This film established Marion as a top draw at MGM. Both pictures Co-Star the forgotten Harrison Ford. These are two films I didn't mention before, but both of them seem to survive in pretty nice condition. Would love to see them restored and well scored. Marion has so many superb features that have been little seen. I still would prefer LIGHTS OF OLD BROADWAY partly because of it's historical context and the Technicolor sequences. Ditto for BEVERLY OF GRAUSTRAK Davies biggest Silent Money-Maker at MGM. But certainly if TCM or Warner Archive were to give us either of the other two, I would be very excited. A Box set of Marion's rarely seen Silents from Warner Home Video, Including TILLIE THE TOILER, THE FAIR CO-ED, and THE CARDBOARD LOVER, will probably never happen, but we can dream.

Hey Jonas, Apparently, the 1923 THE TEN COMMANDMENTS will have a new score on Blu-Ray, not the same Gaylord Carter one, but I don't know who it is by? Hope it's good. No indication this will be the new Eastman House Restoration. I hoped that it would be, but never expected as much. http://www.dvdtalk.com/reviews/47531/ten-commandments-gift-set/

Well, THE SCARLET LETTER and THE WIND still have yet to have an official release. ANNIE LAURIE (1927) is another major MGM Silent that hasn't been shown on TCM. Neither has THE ENEMY. Among the earlier film, HEARTS OF THE WORLD needs a quality edition.

One Sweetheart to many! But who's complaining? *Marion Nixon, Raymond Griffith, and Virginia Lee Corbin-HANDS UP! (Paramount, 1926)*

I'm missing "Suggest A Movie" a whole lot. Keep checking to see if it has returned. Liked going through the list and reading what people were asking for daily. Seems strange not to be able to do this anymore.

Wendy, Colleen's eyebrows were all natural. It is said that she did not change them during her entire career. According to Rich Oliveri, the BFI also has a reel of *FLAMING YOUTH.* He doesn't know if it is the same one as the LOC or not? If it isn't, that would mean that at least a couple of reels remain.

Yipes! I don't know about Ernest Torrence character's intentions here? Sure looks like they may be something other than strictly honorable??? I had thought this still was from *BROKEN CHAINS,* which is not a Lost film. Screened at a couple of festivals last fall. Actually, it is from another 1922 feature called *COMMON PROPERTY.* And I guess poor Colleen looking allot like Lillian Gish here, is the property? I wonder if this movie survives? Some of the Goldwyn releases seem to be still around. *Colleen Moore as "COMMON PROPERTY"* Edited by: gagman66 on Mar 21, 2011 7:27 PM

PT 109 was one of my sisters favorite films when she was a kid. THE LAST DINOSAUR I haven't seen in over 25 or 30 years! What is THE SQUEEZE about and who is in it???

*Harlow-"Glitzy and Glamorous"*

It's to bad the Silent ABRAHAM LINCOLN which won Photoplay's Medal Of Honor as the Best Film of 1924 is considered lost. It was not made by Griffith. But it is obviously a major missing Silent Film.

Wendy, Wow-wee! Esther is so gorgeous in that portrait! No, I have not seen this postcard before. Thanks much. Did you see her along with Patsy Ruth Miller, and Laura La Plante in *LONELY WIVES* on Friday? To bad that they are not airing the recently discovered footage of *THE CASE OF LENA SMITH* during the *FRAGMENTS* special in Two-weeks. But I am so thrilled to see the surviving reel of Colleen's *FLAMING YOUTH,* and also the Color Test for Clara Bow's *RED HAIR (1928)* I can't believe it! Never thought that I would get to see either one of these. Can't thank TCM enough for this very special event in Prime-time! The Esther photo was not very easy to work with. But here you go.... *"Most Glamorous Creature"*

*Colleen Moore By Witzel-"Extremely Overdressed"* *Colleen Moore-Rare Glamor Portrait 1922* *Colleen with Hubby John McComick 1923*

Good Lord. I did basically have my own thread remember? But unfortunately it is buried in the General Discussions forum as well. So I still can't post anything there. Never thought there was a problem with using this one as long as the theme was fairly consistent in nature? There was no intention on my part to Hi-Jack anything.

Lynn, Not trying to be disrespectful. I have posted in this thread many times before and He never said anything about objecting. I was never under the impression that this was his own exclusive thread. I thought that anyone was allowed to contribute.

Lynn, All of these work pretty well as Candids. I have plenty of colorized photos from the 30's, 40's and 50's that I can post too. Even the the 60's.

*Harold And Mildred-His Royal Slyness (1920)* *Harold And Mildred-A SAILOR MADE MAN (1921)* *Gloria, Charlie, And Marion*

*Jetta-Salome Of The Tenements (1925)* *Jetta Goudal 1923 Portrait* *Nita Naldi-"Enchantress"*