gagman66
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Posts posted by gagman66
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Some fairly rough stuff there.
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Karin,
I'm pretty sure that there are much better surviving elements and print materials of the original 1924 Silent version of *THE ENCHANTED COTTAGE* that exist somewhere. As a First National/Inspirational Pictures Silent, it is probably technically owned by Warner Brothers. I will try to get more information. Will be looking forward to reading your review.
The Bartthelmess Silent I really would most like to see TCM debut is Alfred Santell's *THE PATENT LEATHER KID (1927).* Richard was nominated for a Academy Award as Best Acor. The film is very powerful and the Road Show edition was restored in 35 Millimeter in 2005. Here is a pick of Richard that you might not have seen.
*The Little Shepard Of Kingdom Come (1928)*
I just found out that at Cinefest last week, they ran *THE FLAMING FOREST (1926)* with the original Technicolor scenes reinstated. So I really hope that this will be shown on TCM soon. Here is a quote:
*"Reginald Barker solidly directed this melodrama of the Canadian North, an action-packed saga of settlers terrorized by a Metis uprising, starring Renee Adoree and Antonio Moreno. Two brief Technicolor sequences were printed in black and white, but we got to see their impressive two-color glory the same night in a video transfer scanned from the original film just the previous week!"*
*Christopher Jacobs*
And here is another comment about the *FLAMING YOUTH* fragment that we will see on TCM this Sunday during the Fragments-Rarely Seen Treasures" Prime-time Broadcast:
*FLAMING YOUTH (1923) fragments This brief chunk of Colleen Moore's most famous lost film, showing her preparing for a big party, and later at the party talking with Milton Sills as the others strip and jump into the pool, really makes one hope the entire feature is someday discovered (especially after seeing this clip at least three or four times in the past year).*
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Karin,
Good to find you back on the boards again! I'm so glad that you got to see *NOAH'S ARK* as well. I was worried that you might miss it. Last nights presentation did not have an overture or closing music. I have been told that the brand new Warner Archive DVD-R release does.
I can just imagine what Johnbabe would have to say about that guy, who said that Dolores Costello makes Garbo looked like second hand left overs after seeing this film. He would want to hurl darts, if not spears! Ha, Ha, Ha! Anyway, you haven't written much about the movie here yet. Are you going to post a complete review on the Union?
Next Sunday, TCM is airing rare fragments in Prime-time from lost films Silents, and early talkies. Including footage from Colleen Moore's *FLAMING YOUTH,* and Clara Bow in Color from *RED HAIR!* Even Chaney's *THE MIRACLE MAN.* This is really exciting. After that is Unseen Cinema and the North American premier of *LIALA.*
Here is a new another new still.
*"Sentenced To Death!"*
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Scottman,
Here is a still I just worked on this afternoon.
*Dolores Costello-"Beautiful Sacrifice"*
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Don't forget to watch *NOAH'S ARK* tonight! Less than two hours away!
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> {quote:title=Im4movies2 wrote:}{quote}
"Throw in modern rap and gospel music you'd have a terrific picture."
Im4movies2,
*UHG!!!!!!!!!!!!!*
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I'm very gratified that TCM is airing the surviving fragment of FLAMING YOUTH next Sunday. Finally, at least a hint of Colleen Moore on TCM. But when are we going to get a premier of HER WILD OAT, or LILAC TIME?
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Well I can say this, in 2003 when TV Guide ran a story on AMC going all commercials, the guy being interviewed from AMC complained that they had to rent all their movies, while TCM had a whole vast library of films that the owned and didn't have to rent. Now that was stressed several times in TV guide.
People on Nitrateville and numerous other boards routinely still talk about the films that is their understanding TCM still owns. Basically what I am saying, if this is no longer true, than most people think that it is.
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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.
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I was hoping that the competition would return by now. Unfortunately, it hasn't. I'm surprised that this section is still here. The fact that it is provides some glimmer of hope. Still I hope that TCM will keep issuing scores for long unseen works. I just saw the 1925 Marion Davies feature *ZANDER THE GREAT.* It was wonderful, and now this film has moved near the front of the ranks among my most wanted Silents for a restoration and a new score. Maybe the guy who scored *THE WHITE SISTER* could work on this one? We haven't gotten a new MGM Silent debut since *THE MAGICIAN* a full year ago.
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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.
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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.
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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!
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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.
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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:
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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.
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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.
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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/
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I'm not sure that I still have CNN HEADLINE NEWS? They should have something on SHOWBIZ TODAY this evening I would think.
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OK, I have the channel, but haven't watched it in years. I agree that society is in decline and has been for decades. And yes, what passed for Entertainment these days is roughly equatable to Coliseum crowds cheering as the Christian's were fed to the Lions in Ancient Rome. We are surrounded by better technology today, but intellectually speaking, people are just not very bright.
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The show was probably recorded yesterday. Have to be honest I have never heard of HLN, so I don't even know what that stands for? I assume that allot of people have no idea what you are talking about.
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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.
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One Sweetheart to many! But who's complaining?
*Marion Nixon, Raymond Griffith, and Virginia Lee Corbin-HANDS UP! (Paramount, 1926)*
P 2 of Silent Film Tribute
in General Discussions
Posted
Thank you for paying homage to the magnificence of the Silents. Don't forget this Sunday TCM is running a program called FRAGMENTS: RARELY SEEN GEMS" Two hours of never before broadcast footage of lost Silent films and early talkies in Prime-time! Including such famous features as Chaney's THE MIRACLE MAN (1921), Colleen Moore's FLAMING YOUTH (1923), and Clara Bow in Color from RED HAIR (1928)