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Suggested Titles for Musical Scores.


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I sincerely do hope that the YOUNG FILM COMPOSERS COMPETITION will still take place this year after-all. If not, with any luck it will still return in 2008. With or without the formally Annual event, I hope that we will still see a few more Premiers of freshly scored Silent's this year.


We know that the Winner of the 2007 Young Film Composers Competition James Schafer, will be scoring at least one other film. Part of the Grand Prize is the opportunity to score Two Silent films not just One? Unfortunately, we have no idea what film Warner's has in mind?


That's why Warner's should have fan's vote on the films to receive new scores? Provide a brief synopsis of 5 or 6 long largely unseen features, and let the viewers decide. MGM, Warner Brothers, and First National Silent's would all be eligible. BEAU BRUMMEL was not a very good choice in my estimation. I can easily name 15-20 other titles that might have taken priority over it.


Here are some of my other top choices for new scores. This is not a full list by any means, but at least it's a Start:


1. THE BIG PARADE (1925) John Gilbert, Renee Adoree, Karl Dane. Although the Thames version from the late 80's has aired on TCM several times in the past, the newly restored version, re-mastered from the European Camera Negative, and completed in 2004, has yet to debut.


The film already has a Vintage score intended to be heard with the Movie released to the Big Movie Palaces with large Orchestra's in 1925. The score compiled by William Axt, and Glenn Mendoza, is sensational. It should be reproduced as was originally heard for the film back in the day Verbatim! Since the entire Orchestration still exists on paper, it would be sacrilege to sub an all new score.


The Carl Davis scoring for the Photo-Play Productions version will not work with the new master I'm told, because more footage has since been found. Anyway, Davis score adapted many of the same themes that Axt-Mendoza had originally used.


2. LILAC TIME (First National,1928): Colleen Moore, Gary Cooper. Supposedly undergoing restoration about a year ago, this is certainly one of the most famous American Silent films of the late 1920's. For years it has only been accessible in various truncated versions.


As one of the last Monster-Hit Silent films, the poignant First World War Drama produced the popular Standard 'JEANNINE" (I DREAM OF LILAC TIME"). I am hoping that the Vita-phone disc's for this film all survive in-tact, but I don't know if they do or not? If no, the re-scoring should still remain faithful to the Vintage track. Certainly retaining the hauntingly beautiful "Jeannine" Melody.


3. THE COSSACKS (MGM,1928): John Gilbert, Renee Adoree, Nils Asther. Directed by Clarence Brown. I have been hoping for years to see this movie, and I am getting tired of waiting!


4. MAN, WOMAN, AND SIN (MGM, 1927): John Gilbert Jeanne Eagels. Have a copy of a copy of a copy from VHS of this one? Saw some quality clips though on YouTube. This title should definitely be of interest.


5. WINE OF YOUTH (MGM, 1924): Directed by King Vidor. Starring Eleanor Boardman, William Haines, Ben Lyon, Pauline Garron, William Collier Junior, Virginia Lee Corbin. Among the extra's are a young Jean Arthur, and Clark Gable. I have seen this movie, and it is probably Vidor's most underrated film. Warner's has to restore this picture without fail!


6. THE PATENT LEATHER KID (First National, 1927): Simply put this powerful War Drama, is one of the best films of the late 1920's. Richard Barthelmess, was nominated as Best Actor for this film in the First Year of the Academy Awards.


7. SALLY, IRENE, AND MARY (MGM, 1925): Constance Bennett, Sally O'Neil, Joan Crawford, William Haines. Don't know a great deal about this movie, but with that cast, it sounds mighty intriguing.


8.THE FAIR CO-ED (MGM, 1927): Marion Davies, Johnny Mack Brown, Jane Winton. Marion is a collegiate Hoops-Star on the Basket ball court! Who wouldn't want to see that! I have a very poor bootleg of this film, extremely funny, and great chemistry with Johnny Mack!


9. AN EXCHANGE OF WIVES (MGM, 1925): What's this one about? Who cares, both Renee Adoree, and Eleanor Boardman Star! Plus there's Lew Cody, and William Haines!


10. TILLIE THE TOILER (MGM, 1926): One of Marion Davies first big Comic roles, literally the film like Colleen Moore's ELLA CINDERS was based on a very popular Comic-Strip of the day.


11. HER WILD OAT (First National, 1927): Newly re-discovered, and freshly restored by George Eastman House in 2006. When the Multi-talented Colleen Moore made this film, She was the biggest Box-office Star in Hollywood!


12. THE CARDBOARD LOVER (MGM, 1928): Marion Davies, Nils Asther, Jetta Goudal. Directed by Robert Z. Leonard. One of Marion's best comedies! I have a mediocre bootleg of this picture, and I start laughing just to think about. Also one of top screen Vamp Goudal's few surviving Silent films as well.


13. SLIDE, KELLY, SLIDE (MGM, 1927): William Haines, Sally O'Neil, Harry Carry, Johnny Mack Brown. One of Haines most popular, and successful Silent features. Here He finds success, and failure on the Baseball diamond.


14. THE MOCKERY (1927): Lon Chaney Starrs as a Hideously deformed Elephant man Type Oddity.


15. THE SEA BEAST (Warner Brothers, 1926) John Barrymore, Delores Costello. A Big Budget Silent Adaption of "The Tale of Moby Dick".


16. THE DEVILS CIRCUS (MGM, 1926) One of Norma Shearer's Major Silent features. Bringing her critical acclaim, and establishing her as the new Queen of MGM, upstaging Mae Murray.


17. THE FIRE BRIGADE (MGM, 1927): Charles Ray, May McAvoy. If you have seen the positively Jaw-dropping clips from this film that appeared in the Thames HOLLYWOOD documentary, than you know just why this movie made my list!


18. SO THIS IS PARIS (Warner Brothers, 1926) Directed by Ernst Lubitsch. This film would rate much higher on the list, but I believe that a couple reels are missing, and have yet to be found?


19. THE WHITE SISTER (Metro,1923) Lillian Gish, Ronald Coleman. Directed by Henry King. Warner's has a very nice quality print of this film, but apparently it still has no Musical score?


20. THREE'S A CROWD (First National, 1927) Infamous Harry Langdon feature, where He took over the directorial duties, and according to Kevin Brownlow produced one of the most "Surprisingly Mournful Comedies ever made!" Long unseen by most anyone, it remains a genuine curiosity.


I also wonder if TCM doesn't have a very nice print of the Silent version of STELLA DALLAS with Belle Bennett, and Ronald Coleman stashed away someplace? Also Langdon's follow up to THREE'S A CROWD, called THE CHASER, and anything with Colleen Moore that is in fine condition! I've been told the sound disc's to WHY BE GOOD (1929), have been found!


If anyone has other titles to add to this list feel free to elaborate? I would love to hear your suggestions.

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THE BIG PARADE- it was re-released in 1929 with a sound track. Shouldn't we want to find it and put it on, instead of some inept "Young Film Composer" goop slapped on?


SALLY IRENE & MARY has only a few reels left.


TILLIE THE TOILER , just like BRINGING UP FATHER, are based on Hearst' King Features Syndicate comic strips. They own the rights to the characters, and would have to be paid nicely for a screening on TCM. I've seen TILLIE, and it's not worth your expectations. Marion's identity vanishes with the brunette wig, and in classic Hollywood manner, rewrites the plot and characters in the strip. (The same is true of Ella Cinders). The story is slim and painfully predictible.


THE FIRE BRIGADE. If only the score were as good as the snippet only offered in the HOLLYWOOD series. You play a dull average score and the scene's anxiety is gone.


WHITE SISTER has been shown, I can't recall wether the score was good or bad, they ran it at 18fps, and so the film seemed mostly dull overall.


THREE'S A CROWD is really bad. The man who couldn't get enough pathos only becomes pathetic. There's a good thrill sight gag that leaves Harry hanging high above the street under his oddly placed ledge-like apartment, but the rest is all skin-crawling allusions toward his possible mental retardation and impotency. He's just creepy, not funny. The most fun you can have with it is making fun of it.

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The scored version of THE BIG PARADE was still being distributed in 1931. I only heard it once in an ugly VHS version in Argentina. Nobody wants a "young composer"; either a new recording of that score or a restoration of that soundtrack.


I have the France TCM version of THE WHITE SISTER and it looks and plays fine. I also have PEG O' MY HEART, also from France TCM which was not shown here.


My personal choice is to look for an FBO title called THE CHARGE OF THE GAUCHOS, which I prefer to call by its original Spanish language title: UNA NUEVA Y GLORIOSA NACION.

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SALLY, IRENE, AND, MARY was just screened at a couple of venue's last year. No mention was made of the film being a Fragment or Abridged? Maybe some additional footage was found since last you heard?


Again you guy's, according to my good friend TServo who should know, the Axt-Mendoza score for King Vidor's THE BIG PARADE dates back to the original release of the film in 1925. This is the score that was compiled for release to be used live! What's more TServo has seen the brand new 2004 restoration of the film screened live twice with that score.


Robert Israel conducted his Orchestra, at one screening of the picture, while during the other, the score was performed on the Theater Organ by Mr. Israel. Both screening's took place in 2005. TServo personally prefers the Axt-Mendoza score to Carl Davis effort, noting that while Davis re-used some of theme's there were some other very good Melodies that He discarded.


As TServo noted on the Harold Lloyd Forum, "the new restoration of the film mastered from the foreign Camera Negative, is an incredible improvement over the Brownlow-Gill version from the Mid-80's!" By contrast, the Thames edition. was a very soft transfer. I believe that the original Tinting-pattern has been reinstated, and at least an additional reel of footage was uncovered. I never thought we would still be sitting here in 2008, and the new-restoration, has yet to see the light of day on TCM, yet alone been released on DVD!


The DVD was originally announced to be out by late 2005, for the films 80th Anniversary. Now David Shepard say's that the score has yet to be recorded, and because of the additional footage, that neither the 1931 re-issue score, or the Thames Carl Davis score can be used! So they should release a 3 DVD set, with all of these versions newly mastered!


Hey, THE BIG PARADE was just featured at the Kansas Silent Film Festival. What score did they use, and was it the 2004 George Eastman House restoration that was screened? Does anyone know?

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Great thread here, gagman, but I'm out of my league so I can only generalize in suggesting anything Lon Chaney, Gloria Swanson and Janet Gaynor. Also, there's not enough Clara Bow or Colleen Moore out there considering their popularity and influence in the 1920's...

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Among the Stars that you mentioned, Chaney, and Colleen Moore's films are the only ones that apply here.


All of the Clara Bow titles are owned by Paramount, and Universal. A few talkies at Fox. That's why you scarcely ever see Her films on TCM. Swanson, mostly Paramount again, and Janet Gaynor, Fox.


Sure wish there was a complete list of the films that Warner's has control of that do not have scores. I would love to see what is on it?


All but a couple of Chaney's surviving MGM features have already been scored. The exceptions being THE MOCKERY (1927), which I mentioned, and WHILE THE CITY SLEEPS (1928), which is missing a little over a reel.

ROAD TO MANDALAY (1926), and THUNDER Lon's final Silent feature in 1929, both only exist in fragmentary form. So not much can be done with the Chaney's unless additional elements are found.


In addition, TCM has aired WHERE EAST IS EAST (1929) with Lupe Velez, and it retains it's vintage track. Been a long time, they could stand to air it again. Along with the new restoration of Tod Browning's THE BLACKBIRD (1926) newly scored by Robert Israel a couple years back.


The majority of Colleen Moore's films have since long vanished. So what little remains, must be saved without fail! Might mention also, precious few of Corinne Griffith's movies survive. But what ever Warner's has, if they have anything, to speak of other than the THE DIVINE LADY, it should be restored, and scored too!


Moore for a time was the biggest Star Male or Female in Hollywod. While Griffith in Her day, was the most beautiful!


Warner's should have a whole bunch of Richard Barthelmess Silent's, made for First National. Barthelmess was a Major, Major Star. But his name has pretty much slipped into obscurity.

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Since the late 1950's, when Warner Brothers sold off part of their library, it only controled it's features, shorts and cartoons from 1948 on. Everything before that was the TV package that went from one owner to another. That's why the cartoons on the old BUGS BUNNY SHOW never repeated the same titles in the ubiquitous "AAP" package. That's also why we never saw any but the first "Joe McDoakes" on TV.

But now, since aquisition of TCM with Time-Warner, it would appear that all the WB productions are under the same ownership once again.

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Since Time-Warner recovered the Warner Bros. films I feel that, for corporate reasons, the films of the studio are more in prominence than the MGM and the RKO library.


Since the company bought the Argentine channels from a company originally known as Imagen Satelital and later Claxon, they also probably have a control of an important package of classic Argentine films.


Among them there is LA FUGA, a 1937 which was coproduced and distributed by Warner Bros. itself.


Message was edited by: radiotelefonia

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Here is Information on the March 2005 AMPAS live screening at the Samuel Goldwyn Theater in L. A. of the brand new 2004 restoration of King Vidor's THE BIG PARADE. This was a Special showing to celebrate the films 80th Anniversary that year:


"With live music by the 19-piece Robert Israel Orchestra,

from the original film score.

Friday, March 18 at 8 p.m. in the Academy's

Samuel Goldwyn Theater



King Vidor received five Academy Award nominations for directing between 1927 and 1956. He was the recipient of an Honorary Award in 1978 for "his incomparable achievements as a cinematic creator and innovator." The Big Parade, made two years before the founding of the Academy, certainly must be counted among those "incomparable achievements."


One of the first pictures to go into production after the formation of Metro-Goldwyn-Mayer in 1924, this moving WWI story was MGM's largest grossing film until the release of Gone with the Wind fourteen years later.


Following a serious vault fire at the studio in the 1960s, MGM's Film Library records listed the negative for this film as "destroyed." Miraculously, however, the negative had survived, and was rediscovered recently by visiting film scholar Kevin Brownlow at the George Eastman House in Rochester, New York, where all the studio's nitrate negatives were relocated following the fire.


Richard May of Warner Bros. was able to use this 80-year-old negative for the restoration, incorporating modern technical capabilities to recreate the original color tinting used at the time of the film's release. Presented with a live orchestral performance of the original score, this screening promises to be an "incomparable" experience.


Starring: John Gilbert, Ren?e Ador?e, Hobart Bosworth, Claire McDowell, Claire Adams, Robert Ober, Tom O'Brien, Karl Dane, Rosita Marstini. Directed by King Vidor. Story by Laurence Stallings. Screenplay by Harry Behn. Titles by Joseph Farnham. Cinematography by John Arnold. Art Direction by James Basevi, Cedric Gibbons. Film Editing by Hugh Wynn. Original Music by William Axt, David Mendoza. Costume Design by Ethel P. Chaffin. M-G-M, 1925. Running Time: 142 minutes. 35mm. Print courtesy of Warner Bros."

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I would imagine that most of Miss Talmadge's films are PD, and negotiations would be made by whoever has the actual film in their possession. The films that were re-made, say, "KIKI", ould mean that the re-maker, in this case Mary Pickford, owned the rights to the story, and subsequently the screen rights to previous versions.

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Oh Brother! And not even a full moon! Must go find a Pickford film...LOL


WOLF SONG is Paramount according to David Shepard ('The Silent Shepherd' I call him affectionately) during his January visit to SilverScreenOasis. But all these films you mention sound intriguing.

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So, which Pickford feature did you end up choosing? I'm quite curious?


Right now, I am transferring Murna's CITY GIRL, with MARY DUNCAN!!!!! Ed, said that He might watch this one today. The print I have is very good, and is tinted, but the tinting was done by computer, and it is rather heavy. I am toning it down some.


I also plan to add a different score. The score it has now is all original, and very modern sounding. It's not horrible, but doesn't fit the time-frame of the movie at all. I'm anxious to see how this will turn out.


Yikes, over 5 gigabyte of unidentified junk was roaming around in my computer! Luckily I got rid of it all! My PC is certainly running allot better!

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