gagman66
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Posts posted by gagman66
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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.
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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
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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???
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*Harlow-"Glitzy and Glamorous"*
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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.
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I loved BOMBSHELL it was one of the best. RIFF-RATH was good. My favorite was probably THREE WISE GIRLS. I have seen WIFE VS SECRETARY, as well as LIBELED LADY numerous times, and have the latter on DVD.
Here is one of the best Harlow photos that I have. She looks pretty Smouldering in this great still.
*Jean Harlow-"Glitzy And Glamorous"*
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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"*
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*Colleen Moore By Witzel-"Extremely Overdressed"*
*Colleen Moore-Rare Glamor Portrait 1922*
*Colleen with Hubby John McComick 1923*
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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.
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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.
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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.
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*Harold And Mildred-His Royal Slyness (1920)*
*Harold And Mildred-A SAILOR MADE MAN (1921)*
*Gloria, Charlie, And Marion*
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*Jetta-Salome Of The Tenements (1925)*
*Jetta Goudal 1923 Portrait*
*Nita Naldi-"Enchantress"*
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Please note, I am unable to post any photos in General Discussions so I am posting them here. Just need to post something or will go crazy!!!
*Colleen Moore by Witzel-"Extremely Overdressed"*
*Colleen Moore-Rare Glamor Portrait-1922*
*Colleen and Hubby John McCormick-1923*
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Lynn, filmlover.
OK, thanks for letting me know. But hasn't Mongo still been successfully posting photos? How does he do this? This board should not have been updated, until it was fully upgraded. Not half an upgrade now, and the other half later on sometime.
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Hey, now I am not able to post any photos all of a sudden. And there is no visible preview either. What the devil is going on here?
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> {quote:title=jamesjazzguitar wrote:}{quote}
> Well we can agree to disagree here. You say 'Her beauty is obvious'. I don't think that is the case at all. I don't say that just to knock her but really I just don't see it.
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> Now I do agree that her 'mannerisms, walking etc. were natural and were well-suited to her personality'.
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> The thing is it is a personality I just don't like. Give me an Audrey Hepburn!
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> My guess is that Harlow, like Monroe is more well know today not so much for what she did on screen but because she died young.
Harlow's looks have never done much for me either. But I have been enjoying the month of her films. However, the crack though about 'By 2011 Standards" won't jell with me. because I don't know what standards you refer too? Who is big right now? *Snookie?* To me she is flat out homely! Why anyone would find her all that attractive is beyond me. Most of the actresses and female celebrities today look incredibly fake and cheap.
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Here is a potential quick schedule for a *"Great Screen Ladies of The 20's"* event. There are allot of debuts in here and it probably isn't very realistic overall. Undoubtedly, several actresses would be left out too.
I haven't mentioned people like Lillian Gish and Mary Pickford because they are more associated with the Teen's, than the 20's. Anyway, both deserve there own Stars of the month tributes. I have allot of OR's in here, for alternate selections. Other gals who merit a mention would include Nita Naldi, Marie Prevost, Phyllis Haver, Leatrice Joy, Eleanor Boardman, Betty Bronson, Jetta Goudal, Anna Q Nilsson, Dolores Del Rio, and the list goes on and on.
Talmadge Sisters:
Constance-THE LOVE EXPERT (1920), or EAST IS WEST (1922). HER NIGHT OF ROMANCE (1924), HER SISTER FROM PARIS (1924), THE DUCHESS OF BUFFALO (1926).
Norma-SMILIN THROUGH (1922), SECRETS (1924), KIK (1926), THE WOMAN DISPUTED (1928).
Gloria Swanson-STAGE STRUCK (1925), FINE MANNERS (1926), SADIE THOMPSON (1928), QUEEN KELLY (1929).
Pola Negri-WILDCAT (1920) or FORBIDDEN PARADISE (1924), HOTEL IMPERIAL (1926), BARBED WIRE (1927)
Clara Bow- POSIONED PARADISE (1924) or THE PLASTIC AGE (1925, New 35 Millimeter UCLA restorations), IT (1927), WINGS (1927), CHILDREN OF DIVORCE (1927)
Colleen Moore-BROKEN CHAINS (1922), IRENE (1926) or TWINKLETOES (1926), HER WILD OAT (1927), LILAC TIME (1928)
Marion Davies-LITTLE OLD NEW YORK (1923), THE LIGHTS OF OLD BROADWAY (1925), or BEVERLY OF GRAUSTARK (1926), THE RED MILL (1927), THE PATSY (1928), SHOW PEOPLE (1928), or THE CARDBOARD LOVER (1928)
Renee Adoree-THE BIG PARADE (1925), THE BLACKBIRD (1926), THE SHOW (1927), FORBIDDEN HOURS (1928) or THE COSSACKS (1928).
Laura La Plante- BUTTERFLY (1924), THE CAT AND THE CANARY (1927), THE LOVE TRAP (1929), THE LAST WARNING (1929).
Corinne Griffith- BLACK OXEN (1923), THE OUTCAST (1928), THE GARDEN OF EDEN (1928), THE DIVINE LADY (1929).
Vilma Banky-THE EAGLE (1925), THE WINNING OF BARBARA WORTH (1926), SON OF THE SHEIK (1926), THE NIGHT OF LOVE (1927).
Janet Gaynor-THE JOHNSTOWN FLOOD (1926), 7TH HEAVEN (1927), STREET ANGEL (1928), LUCKY STAR (1929)
Olive Borden-THREE BAD MEN (1926), FIG LEAVES (1926), THE JOY GIRL (1927), or THE MONKEY TALKS (1927).
Dolores Costello- THE SEA BEAST (1926), WHEN A MAN LOVES (1927), OLD SAN FRANCISCO (1927), NOAH'S ARK (1928).
BETTY COMPSON- THE ENEMY SEX (1923), TWELVE MILES OUT (1927), THE DOCKS OF NEW YORK (1928), THE BARKER (1928).
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> {quote:title=filmlover wrote:}{quote}
> Here's one a curiousity from Flicker Alley coming April 12:
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> Laila, 1929's epically scaled Norwegian feature comes from Danish-German director and noted cinematographer George Schneevoigt, who brings every exotic corner of on-location Scandinavia to the forefront in a decades-spanning romantic adventure.
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> Resurrected and digitally restored by the Norwegian Film institute in 2006, we proudly present this new edition with the kind cooperation of the film archive at the National Library of Norway.
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> http://www.classicflix.com/laila-p-11005.html
While I am anxious to see LAILA, I almost wish that TCM were debuting CHICAGO on the 3rd instead. I think it ties in much better with the FRAGMENTS presentation earlier in the evening. Plus the film has gotten allot of requests on the TCM boards. I plan to order LAILA this weekend. I have heard great things about the movie.
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thomas-meighan,
Unfortunately, most of the Grapevine Colleen Moore titles that were on DVD-R, are no longer available. I assume that Warner's pulled the plug on them. This happened a good 9 months ago or so. The ones that still are being sold LITTLE ORPHANT' ANNIE, THE BUSHER (with different footage absent from the Kino release) and BROKEN HEARTS OF BROADWAY are all within the Public -Domain.
The fairly recently restored HER WILD OAT should have a broadcast quality master, but still lacks a recorded musical score. That's were they should engage Vince Giordano and the Nighthawks who are playing live for Keaton's THE CAMERAMAN at the TCM Classic Film Festival next month.Anything to finally get Colleen Moore on TCM.
LILAC TIME is years, and years over due for a TCM premiere, and has a vintage scoring track that was re-instated in 2003. TWINKLETOES is being screened at the British Silent Film Festival in April as well. Apparently, in a restored 35 Millimeter print.
I would be happy with any Colleen Moore film. THE DEVILS CLAIM, BROKEN CHAINS, IRENE, ORCHIDS AND ERMINE. Or what ever TCM can get it's hands on. Sunrise Silents released a beautiful transfer of ELLA CINDERS a year an a half ago. Though the film is incomplete, missing two reels. Only the 5 reel Kodascope (Tinted Amber), seems to survive.
I'm still waiting for word of the preservation work getting under way on both SYNTHETIC SIN and WHY BE GOOD? before it is to late save these long lost films. Already they have been sitting around on Nitrate only for another 7 or 8 years after having been found.
Regarding Clara Bow, Sunrise Silents has beautiful transfers of MANTRAP and HULA released about at the same time as ELLA CINDERS less than 2 years ago. They are very comparable to the Milestone DVD of IT, which is the Thames/Photoplay version that TCM shows. The Eddie Cantor Society also has a very nice transfer of KID BOOTS.
Also want to put a plug in for Billie Dove. TCM and Warner's have done very little or actually nothing with her surviving First National Silents. A couple of the Talkies have turned up in only so-so condition. Maybe a month devoted to the "Great Ladies of The 20's" with several premiere's would be more workable. Including the Talmadge Sisters. How about it?
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Jayo,
Please note, "Suggest A Movie" is being updated and will return in the coming weeks. At least, that is what we were told in another thread. Don't know what is taking so long. Hopefully, it won't be to much longer before the feature pops up again. I didn't often suggest anything, but I always checked to see what films that other people were requesting.
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Lynn,
No need to apologize. Everyone has been mistakenly calling this movie *REDHEAD* on several forums. However the title was *"RED HAIR."* Need to find a Lobby-card or poster. I have a few of them here someplace.
I never thought I would get to see the surviving reel of *FLAMING YOUTH.* In the 60's the complete film still existed. All 9 reels. Colleen Moore gave this and a bunch of her Starring features to The Museum Of Modern Art for preservation, and they ended up being ignored by them, and Warner's. Way to many of her movies are lost today.
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Lynn,
Clara Bow was indeed a Redhead, but the film was called *RED HAIR.* For that matter Colleen Moore was also a Redhead. People think of her as having dark hair, but it was actually Reddish Brown. Still holding out hope for *HER WILD OAT* later this year. Or *LILAC TIME.* Incidentally, I didn't realize that Colleen was almost got the title role of Herbert Brenon's *PETER PAN* in 1924. She was just barely edged out by Betty Bronson. Even though that was probably the top grossing film of the year, many fans expressed their extreme disappointment that Colleen did not get the part. They believed that she would have been perfect for the choice.
Here is an article about the Fragments broadcast. No mention of Colleen Moore. Not surprising at all, as she is repeatedly overlooked and I'm getting tired of it. But I saw the Now Playing The Show For April and the reel of *FLAMING YOUTH* is definitely being featured.
http://news.turner.com/article_display.cfm?article_id=5593
Turner Classic Movies Treats Movie Fans to Rarely Seen Cinematic Gems Sunday, April 3
Lineup Includes Fragments: Surviving Pieces of Lost Films and 10th Anniversary Presentation of Unseen Cinema: Early American Avant Garde Film 1894-1941
Turner Classic Movies (TCM) will take viewers on an eye-opening cinematic journey with a night of rarely seen gems on Sunday, April 3. The evening will open with Fragments: Surviving Pieces of Lost Films, a two-hour program of segments from films that have otherwise been lost to history, as well as interviews with people involved in making and preserving these films. Then, a special 10th anniversary presentation of Unseen Cinema: Early American Avant Garde Film 1894-1941 will mesmerize viewers with a 2 ?-hour collection of 16 experimental, mind-bending works from the early days of cinema. Both collections feature work by well-known filmmakers and performers, including director John Ford and a teen-age Charlton Heston.
?This night of rare movie treasures is the latest demonstration of TCM?s commitment to film preservation and to showcase the efforts of the world?s leading film archives,? said TCM host Robert Osborne. ?With as many as 80% of all pre-1930 films lost or damaged beyond repair, Fragments stands as a testament to cinematic treasures that have been claimed by the ravages of time. And celebrating its 10th anniversary this year, Unseen Cinema provides a look at some of early film?s most imaginative visions, most of which have never been presented in a major public forum.?
Fragments: Surviving Pieces of Lost Films, which was inspired by a similar presentation at last year?s TCM Classic Film Festival, opens the April 3 lineup at 8 p.m. (ET). Produced by Flicker Alley, the two-hour showcase features nine thematically arranged segments and case studies of clips preserved by some of the leading film archives in the country, including the Academy Film Archive, the UCLA Film & Television Archive and the Library of Congress Packard Campus for Audio Visual Conservation.
Among the pieces featured in Fragments are the final reel of John Ford?s The Village Blacksmith (1922) and a glimpse at Emil Jannings in The Way of All Flesh (1927), the only Oscar?-winning performance in a lost film. Fragments also features clips from such lost films as Cleopatra (1917), starring Theda Bara; The Miracle Man (1919), with Lon Chaney; He Comes Up Smiling (1918), starring Douglas Fairbanks; an early lost sound film, Gold Diggers of Broadway (1929), filmed in early Technicolor?, and the only color footage of silent star Clara Bow, Red Hair (1928). The program is rounded out with interviews of film preservationists involved in identifying and restoring these films. Also featured is a new interview with Diana Serra Cary, best known as ?Baby Peggy,? one of the major American child stars of the silent era, who discusses one of the featured fragments, Darling of New York (1923).
At 10 p.m. (ET), Unseen Cinema: Early American Avant Garde Film 1894-1941 will salute the rich ? but often unheralded ? artistry of avant garde and experimental filmmakers during cinema?s formative years. TCM?s presentation includes 16 titles hand-chosen by archivists Bruce Posner and David Shepard from their world-renowned 175-film retrospective, which premiered in Moscow in June 2001. Posner and Shepard also selected material from the acclaimed Unseen Cinema seven-disc DVD collection, released in 2005.
TCM?s Unseen Cinema showcase features such intriguing works as a pagan dance sequence from Peer Gynt (1941), starring a 17-year-old Charlton Heston; Annabell Dances and Dances (1894-97), a pioneering attempt to capture dance on film; a dream sequence from Beggar on Horseback (1925), featuring popular character actor Edward Everett Horton; Carousel ? Animal Opera (c.1938), a visual symphony by artist and sculptor Joseph Cornell; and Ballet m?canique (1923-24), Fernand L?ger and Dudley Murphy?s abstract collage of machines, objects and shapes set to a radical George Antheils score reconstructed by Paul Lehrman.
About Flicker Alley, LLC
Flicker Alley, LLC was founded in 2002 with the goal of bringing film history to new audiences by offering an ever-expanding selection of new digital editions of cinema classics and rare works, many being presented for the first time. Flicker Alley has partnered with Turner Classic Movies on several historic cable broadcasts including three previously unavailable silent films produced by Howard Hughes, three rarely seen Rudolph Valentino films and brand new digital editions two masterpieces by Abel Gance, of J?Accuse and La Roue.
The Flicker Alley publishing brand has grown to enjoy national and international critical acclaim and is regularly featured in annual ?Best Of? lists. In 2009 and 2011, the company has been a Heritage Award recipient by the National Society of Film Critics. The company has also been honored twice with the prestigious Il Cinema Ritrovato Award: In 2008 for George Melies - First Wizard of Cinema, and again in 2009 for Douglas Fairbanks - A Modern Musketeer.
About Unseen Cinema
Unseen Cinema is a collaborative film preservation project sponsored by Anthology Film Archives, New York; Deutsches Filmmuseum, Frankfurt am Main; and 60 of the world?s leading film archives, with generous underwriting by Cineric, Inc. The innovative programming has been hailed a milestone in film history. It received the 2005 Film Heritage Award from the National Society of Film Critics and a 2005 Special Citation from the Los Angeles Film Critics Association. Additional information is available at http://www.unseen-cinema.com.
About Turner Classic Movies (TCM)
Turner Classic Movies is a Peabody Award-winning network that presents great films, uncut and commercial-free, from the largest film libraries in the world. Currently seen in more than 85 million homes, TCM features the insights of veteran primetime host Robert Osborne and weekend daytime host Ben Mankiewicz, plus interviews with a wide range of special guests. As the foremost authority in classic films, TCM offers critically acclaimed original documentaries and specials, along with regular programming events that include The Essentials, 31 Days of Oscar and Summer Under the Stars. TCM also stages special events and screenings, such as the TCM Classic Film Festival in Hollywood; produces a wide range of media about classic film, including books and DVDs; and hosts a wealth of materials at its Web site, www.tcm.com. TCM is part of Turner Broadcasting System, Inc., a Time Warner company.
Turner Broadcasting System, Inc., a Time Warner company, creates and programs branded news, entertainment, animation and young adult media environments on television and other platforms for consumers around the world.
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Mark, Everyone,
Believe me I would do a double back flip if Clara Bow or especially Colleen Moore could be honored as Star of the Month! This isn't likely to happen anytime in the near future. Getting a long awaited premiere of Colleen's HER WILD OAT would be a step in the right direction.
With Silent films you still have to have recorded scores and few of these movies have one. However, I do think that they are pretty close to having enough films ready to go for Renee Adoree to be featured as Star of The Month. They already have enough Marion Davies. Though mostly sound films. Her Silents have been largely ignored. Only three have shown up on TCM to date.
Really excited about the Fragments presentation in Prime-time April 3rd!
Can't Suggest a Movie
in PROBLEMS with TCM.com
Posted
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.