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Found 7 results

  1. I restored this a few years ago and put it out on Blu-ray/DVD. It has more footage than has ever been seen and looks better than it's looked since 1926 (its last reissue). Sales have been dismal and few know I even did it. Since I'm now working on a new restoration, the part silent/part talkie The King of the Kongo (1929), I'd like to make sure I don't repeat the same mistakes. I'm turning to this community to help guide me in promoting and marketing this new restoration. I would like to keep doing these restorations, but I also need to break even on costs. I realize that silent films are a niche market and that even TCM see these titles as probably not worth airing (I offered them to Kanopy and was refused as well.) Some people, I realize, think that this particular film (Annie) is bad, but I don't think it is bad at all. In fact, I quite like it. I believe in doing restorations on things that no one else will tackle. I note that Annie has been out since late 2016 and has not even been reviewed here! That tells me something about my marketing skills! Any ideas you may have are welcome. Don't spare my feelings. If you need to be blunt, do so...
  2. I tried to share this news the other day, but the link apparently didn't work? Anyway, We have confirmation now that EYE Institute of Film Netherlands in Amsterdam Holland has 6 reels of the long lost Colleen Moore feature OH KAY! (1928). Does not state "Complete" on the LOC Silent Film Survival Data Base, just mentions the 6 presumably in-tact reels. When I checked on the site back in December with regards to this title, the page still read "No Holdings In Any Archive". I knew this was incorrect, since I had heard about a chunk of OH KAY! having been discovered at least 2 or 3 years ago. Just lacked details on the by who and where of the matter? Print appears to be tinted and in very good condition. Here is an actual capture frame. EYE has certainly been great about restoring films, but truly dreadful when it comes to getting them on Television or released on DVD/Blu-ray. Nevertheless, this title probably has a much better chance of being seen sooner then NAUGHTY BUT NICE (complete print in Barcelona Spain archive) does considering the archive location alone. These guys EYE have recovered literally dozens of films previously believed lost forever! They have been a Godsend. TCM justly needs to honor this organization like they have several of the other better known archives. A whole evening or even entire month of programming at some point is called for! I would consider the title a rather significant find. Based on a famous Broadway Musical, big name director, (Mervyn Leroy) and Colleen at the peak of her career. In addition, if there are any rabid Lawrence Gray or Ford Sterling fans out there, they are both in it too! With the recovery of OH KAY!, this means that only HAPPINESS AHEAD is still missing from Colleen's entire 1927-28 movie output. We do have an intriguing Trailer. Cross your fingers that picture might be located as well. Too expound on this even further with the exception of the 2 plus missing reels of ELLA CINDERS, only 2 of Colleen's films from 1926 -1928 are unaccounted for. The other being IT MUST BE LOVE (1926). The story is not so good for her 1924-'25 features. None of the 7 films she made during this period have been found as far as I know so far. That is save for the first 3 reels of THE PERFECT FLAPPER which does survive at the LOC.
  3. Historian and film preservationist Eric Grayson has been spearheading a massive Kickstarter campaign this month to restore, and score Colleen Moore's first Starring feature film. LITTLE ORPHANT' ANNIE (1918). Based on the famous James Whitcomb Riley poem, and the only film in which he himself actually appeared. This film has only been available in incomplete poor quality dupes of dupes for decades with several scenes out of the proper order. Grayson has access to three prints from the LOC and it is like a jigsaw puzzle putting the best materials together, and in the proper sequence once again. Anyone who helps back this project with a donation of $25.00 or more will receive a free DVD and a postcard. For a $50.00 donation you will get a free Blu-ray edition once ready providing the goal is met. If the project does not fund you lose nothing so there are no risks involved. Already over $6,000 has been pledged, but that leaves us well shy of the goal of $10,000 with just less then 9 full days remaining. If the specified goal is not reached no one's pledge will be charged. We could use your help. Time is running very short. If you are able to pledge and have not yet done so, please consider it. The film will be cleaned up frame by frame so this will be a top notch quality restoration with several professional involved in processing. It will be restored on both film and digital. Noted Silent film musician Ben Model has offered to score the picture. Colleen Moore Biographer Jeff Codori will provide an alternate commentary track on the DVD and Blu-ray editions. Eric Grayson has put together a fascinating video concerning the pending project. I have linked that here, as well as a fascinating thread from Nitraville.com discussing the project. Your donation would be greatly appreciated. With your considerate help, maybe we can enjoy seeing this film on TCM sometime in the future. Thank You! https://www.kickstar...nt-annie-silent http://nitrateville....php?f=1&t=22661
  4. Finally at long last, a Colleen Moore movie on TCM! And in Prime-time to boot! Monday at 8:00 PM Eastern. 7:00 Central. I already have the Warner Archive disc of the formally long lost WHY BE GOOD? (1929) which was released about a month shy of a year ago. However, I'm very anxious to hear Leonard Maltin's opening and closing comments as he is guest host for the evening. I would have been interested to hear Bob's take just as well. The nifty film is a fast paced delight from start to finish! Great fun! Maybe even one of the first films I would show to Silent Film Newbies. A nice introduction to the genre. I just wish there were a whole evening dedicated to Colleen, but we will certainly take what we can get. Especially given Colleen's general lack of visibility on TCM up to this point. Here's hoping that HER WILD OAT (1927), SYNTHETIC SIN (1929) or LILAC TIME (1928) might be in the works. In-fact, it would be a huge if we could maybe get a restored LILAC TIME (1928) or perhaps IRENE or TWINKLETOES (both from 1926), screening as part of next years TCM Classic Film Festival. Nonetheless, I still have to thank TCM's Charles Tabesh, and Leonard for at least putting WHY BE GOOD? on the schedule and Spotlighting it. Along with Warner's and the Vita-phone Project for the beautiful restoration work. It's a solid start. "A Little Moore Love!" (Colleen with Neil Hamilton in WHY BE GOOD?)
  5. Very surprised no one has mentioned this here. Colleen Moore's last Silent film the long lost WHY BE GOOD? (1929) has been added to the TCM Classic Film Festival schedule. I am so gratified to see this. I was hoping for maybe SYNTHETIC SIN or LILAC TIME since WHY BE GOOD? was released on DVD by Warner Archive late last October, while the other two are still not available. But at least it's a Colleen Moore film and as I have the DVD, it is Wonderful with a teriffic Vita-phone score. Print is outstanding quality. I hope this plays to a packed house. Though being scheduled for a 9:15 AM screening at the The Chinese Multiplex House 1, and going head to head with Doctor Zhivago isn't exactly ideal timing. The recently restored SYNTHETIC SIN (also 1929) playing in Scottland this weekend at the Pardone Festival has been sold out for weeks. It is also being screened at the final Cinefest in Syracuse NY at 8:50 PM Eastern Daylight time. I'm still holding out hope for an evening on TCM of Colleen Moore careers maybe later this year. It's been a long time coming, but I want to thank Warner Brothers, TCM and the Vitaphone project for the colborative effort in finally honoring the great Colleen Moore. This just a few weeks after her famous doll house in Chicago had it's restoration completed. I hope we might get a new and complete print of LILAC TIME at next years featival. That would definitely appeal not just to Colleen Moore and Silent films fans, but to Gary Cooper fans as well. Maybe TCM can get Colleen's granddughter Alice Hargrave as a special guest host? I wonder if she will be at the festival? Or maybe Hugh Monroe Neely who discovered the long lost HER WILD OAT (1927) in the Czech Archive at Prague. Still awiting a TCM debut of that picture and have been for the past 9 years.. Or perhaps Colleen's Biographer the enagmatic Jeff Codori. I figure that might be the reason that WHY BE GOOD? though released by Warner Archive hasn't been shown on TCM yet, as they plan to debut a few films at the same time. Sure would be nice if that were the case anyway. There was a very nice piece on restoration of Colleen's famed Fairy Princess Doll House on CBS this morning a couple weeks back. I like to think that she is finally getting some well deserved and long over due attention on the road to a major rediscovery. http://filmfestival.tcm.com/programs/films/why-be-good/
  6. Saturday, September 6, 2014 | 7:30 pm LACMA, Bing Theater in Los Angeles California! There will be additional screenings coming up throughout the Fall around the country. http://www.lacma.org/event/why-be-good Why Be Good? Saturday, September 6, 2014 | 7:30 pm U.S. Restoration Premiere 1929, 90 minutes, black and white, DCP | Directed by William A. Seiter; written by Carey Wilson; with Colleen Moore, Neil Hamilton, Bodil Rosing, John Sainpolis, Edward Martindel, Eddie Clayton, Lincoln Stedman. In her final silent film, Colleen Moore plays a wild flapper with a dubious reputation, who, after a vivacious night of dancing, finds herself romantically linked to her boss's son. Why Be Good? contains a Vitaphone soundtrack with sound effects and synchronized music, chiefly hot jazz and 1920s dance music played by such period greats as Jimmy Dorsey, Phil Napoleon, Joe Venuti, and Eddie Lang. The big-budgeted film, filled with beautiful art deco sets, features a young Jean Harlow as a prominent dress extra. Long believed to be a lost film, it was rediscovered though the perseverance of film historian Joseph Yranski and Ron Hutchinson, the founder of the Vitaphone Project. The search began when Yranski interviewed Moore, who told him that a copy of the film survived in an Italian film archive. Hutchinson was able to find the 16" Vitaphone discs containing the soundtrack, and the task of locating the missing picture began. Gian Luca Farinelli of Cineteca di Bologna contacted Matteo Pavesi of Cineteca Italiana di Milano, who graciously allowed access to the 35mm nitrate dupe negative for the restoration at L’Immagine Ritrovata in conjunction with Warner Bros. Presented as part of the Academy of Motion Picture Arts and Sciences' ongoing series at LACMA. LACMA, Bing Theater $3 Academy members, LACMA Film Club members, and students with valid ID | $5 general public Tickets: 323 857-6010 or purchase online. Plan Your Visit U.S. Restoration PremiereIn her final silent film, Colleen Moore plays a wild flapper with a dubious reputation, who, after a vivacious night of dancing, finds herself romantically linked to her boss’s son. Why Be Good? contains a Vitaphone soundtrack with sound effects and synchronized music, chiefly hot jazz and Twenties dance music played by such period greats as Jimmy Dorsey, Phil Napoleon, Joe Venuti and Eddie Lang. The big-budgeted film, filled with beautiful art deco sets, features a young Jean Harlow as a prominent dress extra. Collette Merton, Colleen Moore and an unidentified woman in WHY BE GOOD? (1929) Long believed to be a lost film, it was rediscovered though the perseverance of film historian Joseph Yranski and Ron Hutchinson, the founder of the Vitaphone Project. The search began when Yranski interviewed Moore, who told him that a copy of the film survived in an Italian film archive. Hutchinson was able to find the 16” Vitaphone discs containing the soundtrack, and the task of locating the missing picture began. Gian Luca Farinelli of Cineteca di Bologna contacted Matteo Pavesi of Cineteca Italiana di Milano, who graciously allowed access to the 35mm nitrate dupe negative for the restoration at L’Immagine Ritrovata in conjunction with Warner Bros. 1929, 90 minutes, black and white, DCP | Directed by William A. Seiter; written by Carey Wilson; with Colleen Moore, Neil Hamilton, Bodil Rosing, John Sainpolis, Edward Martindel, Eddie Clayton, Lincoln Stedman. Event Information Saturday, September 6 at 7:30 pm Bing Theater Los Angeles County Museum of Art 5905 Wilshire Blvd, Los Angeles TICKETS $5 general admission $3 Academy members and students with a valid ID. Tickets will be available starting Monday, August 25 at 10 a.m. Order Tickets Online
  7. Huge Breaking News from Ron Hutchinson at The Vitaphone Project! This update was just posted earlier this morning on his Facebook page. "I am happy to finally announce that Colleen Moore's last silent, WHY BE GOOD? (FN/'29) has been synchronized with my Vitaphone disks by Warner Bros, and will be screened at the end of this month at Il Cinema Ritrvato 2014 in Bologna, Italy! This film was consider lost for decades, when during an intro I was making at a Film Forum show, I casually mentioned that I acquired all the film's soundtrack disks. "It's not lost, I know where it is" yelled film historian Joe Yranski to the laughter and applause of the audience. So began an a lost decade long effort to retrieve the lone surviving 35mm print from an Italian archive, and restore it with its super hot dance music soundtrack --- which includes Jimmy Dorsey, Phil Napoleon, Joe Venuti and Eddie Lang. This is a big budget, heavily art deco flaming flapper film which also has Jean Harlow as a dress extra. Ned Price, Warner's Chief Preservation Officer, negotiated getting the print and has bveen working to restore and synch it up over the last year. He called me excitedly this week, and noted how extremely Pre-Code the film is. He was the first person to see and hear this film in 85 years. When I'm permitted, I will let you know when the US screenings will be held. But once again, a great preservation story I am so proud to have been a part of! Stay tuned." Ron
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