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About thomas_meighan

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  1. Your opinion of C.B. might change if you see THE CHEAT (1915), THE GOLDEN CHANCE (1916), THE WHISPERING CHORUS (1918), OLD WIVES FOR NEW (1918), DON'T CHANGE YOUR HUSBAND (1919) or any number of others. And before dismissing his work in toto, you really should read CECIL B. DEMILLE'S HOLLYWOOD by Robert S. Birchard--you'll gain a much clearer understanding of the traditions DeMille worked from and come to realize that he can't be pigeonholed as easily as some would like to believe. Money doesn't mean everything when it comes to making good pictures--there are little things called (and capi
  2. More information on Jack Mulhall, the leading man of "Show Girl in Hollywood", can be found here: http://latimesblogs.latimes.com/thedailymirror/2009/05/movie-star-mystery-photo.html I *love* that photo of him with Madge Kennedy.
  3. Look at all the jewels that Paramount released in '32: Blonde Venus Broken Lullaby A Farewell to Arms Horse Feathers If I Had a Million Love Me Tonight Make Me a Star Million Dollar Legs Movie Crazy One Hour With You Shanghai Express The Sign of the Cross This Is the Night Trouble in Paradise They had some impressive directorial talents under contract that year too: Ernst Lubitsch, Rouben Mamoulian, Josef von Sternberg, an up-and-coming Henry Hathaway, the neglected and under-rated Stephen Roberts and Frank Tuttle--and (after a seven year absence from the studio) C. B. DeM
  4. Here's an article from 1923 detailing the average salaries that most major stars and featured players received at that time: http://www.cinemaweb.com/silentfilm/bookshelf/2_earn3.htm
  5. Well, I've got to step in and defend Loretta Young. I love her in early talkies; she knows how to play off her leading man and the other actors; she doesn't take herself all that seriously and she always seems to be having fun. She's very good in PLATINUM BLONDE, WEEK-END MARRIAGE, TAXI!, MAN'S CASTLE, THE LIFE OF JIMMY DOLAN, ZOO IN BUDAPEST and MIDNIGHT MARY--they all display her casual charm and un-self conscious sensuality. I won't claim to be as familiar with her later work, but I also liked her in A NIGHT TO REMEMBER. Van Heflin might not be the most riveting leading man ever, but d
  6. The biggest obstacle to having Clara Bow as star of the month is that relatively few of her silents have broadcast-quality video transfers with prepared scores. Down to the Sea in Ships, Parisian Love, The Plastic Age, It and Wings are about the only ones that do, and it would require a fair amount of money to create video masters (and scores) for the others. Her films would *all* require licensing from non-Turner sources, adding to the potential cost of having Clara as star of the month (much as I'd like to see that happen). Colleen Moore's films face the same problem: all of her work (ot
  7. Behind the Scenes (1914) Tess of the Storm Country (1914) Chimmie Fadden Out West (1915) The Heart of Nora Flynn (1916) The Golden Fetter (1917) The Haunted Pajamas (1917) A Tale of Two Cities (1917) Till I Come Back to You (1918) For Better, for Worse (1919) Conrad in Quest of His Youth (1920) Something to Think About (1920) Saturday Night (1922) The World's Champion (1922) Secrets (1924) Wine of Youth (1924) A Kiss for Cinderella (1925) Learning to Love (1925) The Canadian (1926) So This is Paris (1926) Upstream (1927) Lonesome (1928) Broadway (1929) The Sh
  8. Probably not worthwhile to respond to, but.... Drug and alcohol abuse killed Wallace Reid and Alma Rubens; it certainly contributed to the deaths of Barbara La Marr and John Gilbert. Had modern rehabilitation techniques existed in those days, there's a chance that all of them would've reached 40. One notable example of someone who conquered her alcohol dependency and lived the rest of her life trying to help others conquer theirs was Lillian Roth (who may qualify as a "great star of yesterday"). Would you call her a "rehab sissy" to her face just because she received help from AA?
  9. For Samuel Goldwyn, add -Ronald Colman, who worked in Goldwyn's productions from Tarnish in 1924 to The Masquerader in 1933 and was certainly his most important star during those years. -Vilma Banky, a star for Goldwyn from 1925-29 and frequently partnered with Colman. -Joel McCrea, who appeared in four Goldwyns from 1935-39. -Belle Bennett, who made several films for Goldwyn in the mid 20s. For United Artists, add -Douglas Fairbanks, one of UA's founders. -Gloria Swanson, at UA from The Loves of Sunya to A Perfect Understanding (1927-33). -Norma Talmadge made her las
  10. Valerie Hobson, John Boles, Gloria Stuart, even Tom Mix for a while in the early 30s.
  11. You?re probably getting pretty sick of my replying to your posts ;-). Anyway, I?ve done a bit of research on Paramount and can add the following stars, along with their tenure at the studio. Silent performers are included if they were still making films for the studio in 1930. Jack Holt (1917-30; evidently had a split contract with Columbia from 1927-30) Mary Brian (1924-31 + occasional work through ?36) Neil Hamilton (1924-30) Richard Arlen (1925-34) George Bancroft (1925-32 + occasional later work) Evelyn Brent (1926-30) James Hall (1926-30) Charles ?Buddy? Rogers (1926-32
  12. Also Sally Eilers, Jane Withers, Victor McLaglen and Edmund Lowe. Marian Nixon appeared in 8 films for the studio from 1923-25, 1 in 1927 and 9 more in 1932-33. Additional silent and early sound contract performers at Fox: Theda Bara, George Walsh, Peggy Hyland, Madlaine Traverse, Al Ray, Gladys Brockwell, Dustin & William Farnum, Virginia Pearson, Tom Mix, Buck Jones, William Russell, Eileen Percy, Madge Bellamy, Virginia Valli, John Gilbert, Olive Borden, Sally Phipps, David Rollins, Sue Carol, Lola Lane, Lois Moran, Mary Astor, June Collyer, Barry Norton, Elissa Landi, Nick Stua
  13. According to the AFI books, the '29 was based on a Gene Markey novel, Stepping High, while the '42 was apparently written directly for the screen. In theory, though, someone might have bought up rights to the Markey book and/or the earlier film for the title or any ancillary plot elements that were considered for the script. Young Donovan's Kid is another mystery. It's marked "not viewed" in the AFI catalogue, has never been screened at a festival that I'm aware of, and also doesn't seem to have been on TV. But it also doesn't appear on any lists of lost talkies that I've consulted, nor do
  14. I wonder what the situation is with the 1929 Syncopation. It does survive complete (or essentially so) at LOC, but to the best of my knowledge it's never been on TV.
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