The Yobbish orphan girl is Mary Pickford HERSELF!!! I think you missed something there MLid.myrnaloyisdope wrote:a yobbish orphan girl who gets more screen time than Pickford.
You should watch it again keeping in mind Pickford plays both parts.WHAT SILENTS & PRE-CODES HAVE YOU SEEN LATELY?
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Ann Harding
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Re: WHAT SILENTS & PRE-CODES HAVE YOU SEEN LATELY?
You should watch it again keeping in mind Pickford plays both parts.Re: WHAT SILENTS & PRE-CODES HAVE YOU SEEN LATELY?
It's actually a really good intro to Pickford considering the range she shows when she plays Unity Blake. 
I can also recommend Daddy Long-Legs. Firstly it shows her in her little girl role which made her so famous, so it's a good presentation of what the Pickford persona was about. Second, it's one of the stories that allows her to grow up. The grown-up part of the film is really good.
I recently watched it with my mother, she compared some of the intertitles to what the character Madeline Basset in the Jeeves stories could have thought up. It's true, some of it hasn't aged so well. But sometimes it's sharp and quite funny, and MP also makes a great grown-up heroine. I think even mother enjoyed that.
I can also recommend Daddy Long-Legs. Firstly it shows her in her little girl role which made her so famous, so it's a good presentation of what the Pickford persona was about. Second, it's one of the stories that allows her to grow up. The grown-up part of the film is really good.
I recently watched it with my mother, she compared some of the intertitles to what the character Madeline Basset in the Jeeves stories could have thought up. It's true, some of it hasn't aged so well. But sometimes it's sharp and quite funny, and MP also makes a great grown-up heroine. I think even mother enjoyed that.
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charliechaplinfan
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Re: WHAT SILENTS & PRE-CODES HAVE YOU SEEN LATELY?
I think you'll get a much better impression of Mary Pickford knowing that Mary was Unity Blake. Stella Maris is one of my favorite Pickford films and a brave choice for Mary. She vaselined her hair down and made sure she got filmed from her bad side.Ann Harding wrote:The Yobbish orphan girl is Mary Pickford HERSELF!!! I think you missed something there MLid.myrnaloyisdope wrote:a yobbish orphan girl who gets more screen time than Pickford.
Daddy Long Legs is very good, my next choice would be Little Annie Rooney and then My Best Girl.
Failure is unimportant. It takes courage to make a fool of yourself - Charlie Chaplin
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drednm
Re: WHAT SILENTS & PRE-CODES HAVE YOU SEEN LATELY?
wow just got the 1922 PEG O' MY HEART starring Laurette Taylor and KIKI starring Norma Talmadge in the mail. My copy of KIKI is totally silent... both films have been scored by Jeff, so I'm looking forward to seeing these....
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myrnaloyisdope
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Re: WHAT SILENTS & PRE-CODES HAVE YOU SEEN LATELY?
Well I feel silly.
I was wondering why Pickford seemed to get so little screentime.
Still didn't like the story that much, but I'll have to check it out again, knowing Pickford is playing a dual role.
I was wondering why Pickford seemed to get so little screentime.
Still didn't like the story that much, but I'll have to check it out again, knowing Pickford is playing a dual role.
"Do you think it's dangerous to have Busby Berkeley dreams?" - The Magnetic Fields
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Moraldo Rubini
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Re: WHAT SILENTS & PRE-CODES HAVE YOU SEEN LATELY?
Am I the last to have seen The Crowd? It played at the Stanford Theatre in Palo Alto (California) last night, so I finally saw it for the first time. I'd seen clips and stills from this beauty, and it was great to finally sew these images together into a complete package. And what a package. Arresting camera angles, excellent performances, and a balance of humor with a dark view of the tarnished American Dream. The final shot is chilling, sobering, and brilliant as it wraps up the entire story and convinces us that as an audience we're all part of it.
Wow.
Wow.
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charliechaplinfan
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Re: WHAT SILENTS & PRE-CODES HAVE YOU SEEN LATELY?
I felt much the same way after I'd seen The Crowd. Lucky you seeing it on the big screen. I saw it on the small screen and was very taken with it. One of the greatest silents.
Failure is unimportant. It takes courage to make a fool of yourself - Charlie Chaplin
Re: WHAT SILENTS & PRE-CODES HAVE YOU SEEN LATELY?
drednm,
Thanks much for the enthusiasm. Unfortunately, I only added a score to KIKI so far. It is a very good print from a Pre-completed restoration demo disc made in 2004, and I wish they would release this movie on DVD. What a terrific comedy! I was not very happy with the score someone else dubbed in from Darel Raby's work on the William Haines comedy SPRING FEVER to PEG O' MY HEART, so I probably will add a different score to that one. I'll also work on different music for A KISS FOR CINDERELLA, and LONESOME among others. Just wish I could sleep. 
KIKI is great. One of the best forgotten Silent Comedies that I have seen, and it really comes to life with my compiled score. Never thought that Ronald Coleman could be funny. Norma Talmadge is a scream Hard to believe she made few or no other comedies? Gertrude Astor is really good as the rival. George K Arther is fun as the Butler. The film is still not complete according to the closing notes, but they combined three prints, to make it as close to full-length as possible. The intermittent freezes are on the original demo-disc, they are not burning defects, rather edit points where additional changes were yet to be made before the finished restoration was done. The image also pulls at the top of the focus, at times. I don't know why? I had been anxious for you to see this one for sometime. Are you going to review the film here? Curious to see what you will have to say about it?
Please note, I have not been around here much for weeks, because of re-occurring vision problems. This small print is difficult for me to handle at this time.
Ed,"Wow just got the 1922 PEG O' MY HEART starring Laurette Taylor and KIKI starring Norma Talmadge in the mail. My copy of KIKI is totally silent... both films have been scored by Jeff, so I'm looking forward to seeing these...."
Thanks much for the enthusiasm. Unfortunately, I only added a score to KIKI so far. It is a very good print from a Pre-completed restoration demo disc made in 2004, and I wish they would release this movie on DVD. What a terrific comedy! I was not very happy with the score someone else dubbed in from Darel Raby's work on the William Haines comedy SPRING FEVER to PEG O' MY HEART, so I probably will add a different score to that one. I'll also work on different music for A KISS FOR CINDERELLA, and LONESOME among others. Just wish I could sleep. KIKI is great. One of the best forgotten Silent Comedies that I have seen, and it really comes to life with my compiled score. Never thought that Ronald Coleman could be funny. Norma Talmadge is a scream Hard to believe she made few or no other comedies? Gertrude Astor is really good as the rival. George K Arther is fun as the Butler. The film is still not complete according to the closing notes, but they combined three prints, to make it as close to full-length as possible. The intermittent freezes are on the original demo-disc, they are not burning defects, rather edit points where additional changes were yet to be made before the finished restoration was done. The image also pulls at the top of the focus, at times. I don't know why? I had been anxious for you to see this one for sometime. Are you going to review the film here? Curious to see what you will have to say about it?
Please note, I have not been around here much for weeks, because of re-occurring vision problems. This small print is difficult for me to handle at this time.
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charliechaplinfan
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Re: WHAT SILENTS & PRE-CODES HAVE YOU SEEN LATELY?
Jeffrey, you have my sympathy. I love your avatar.
Failure is unimportant. It takes courage to make a fool of yourself - Charlie Chaplin
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drednm
Re: WHAT SILENTS & PRE-CODES HAVE YOU SEEN LATELY?
KIKI was a real treat, although I also have the Mary Pickford talkie remake (almost for scene). Still it was interesting to see Norma Talmadge, the great silent tragedienne, in a light and funny comedy. She looked great and was very funny. Teamed with Ronald Colman and with Gertrude Astor as "the big blonde," this was a winning combination. Amazing that they were able to hobble together an almost complete version of the film from remnants of 3 copies in 3 languages. Jeff's music was quite good and appropriate for the film. George K. Arthur (ugly hair!) was also funny.
I wonder how many other silents could be stitched together like this where no single complete copy exists.
I wonder how many other silents could be stitched together like this where no single complete copy exists.
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drednm
Re: WHAT SILENTS & PRE-CODES HAVE YOU SEEN LATELY?
Here's the 1926 review of KIKI from the New York Times:
While the Parisian atmosphere in the film version of "Kiki," the Belasco play, is somewhat dulled by the breezy American subtitles, the picture is nevertheless consistently amusing, except in those episodes where either the fun is too wild or it suffers through repetition of action. Norma Talmadge proves herself an ingratiating and clever comedienne in the rôle of the quick-witted little waif, which was played by Leonore Ulric on the stage. The screen adaptation was made by Hans Kraely, who has written most of Ernest Lubitsch's scripts, and Clarence Brown is responsible for the direction.
Miss Talmadge makes Kiki a resourceful, sympathetic little creature. The character is an exaggerated one, and so are the complications that arise in connection with her stage ambitions. Kiki profits by opportunity, but at the same time she refuses more than one kiss from the theatrical manager, who is to her a combination of Chesterfield and Adonis. This good-looking man, Monsieur Renal, is impersonated by Ronald Colman, who gives a restrained and charming performance. Another player who adds much to this production is George K. Arthur, who fills the part of Adolphe, the valet. He and Kiki are as friendly as the average cat and dog, and nothing gives Adolphe so much satisfaction as to learn that Kiki, the intruder, is to leave the Renal apartment. It is therefore with great willingness that he carries downstairs Kiki's trunk, which he manages to drop once or twice. But he had not calculated on Kiki's pretending to be suffering from a cataleptic fit, which, instead of making the audience or the characters gloomy, elicits no end of laughter and curiosity. Kiki keeps up the shamming until she hears her impatient rival urging Renal to come to the theatre.
An impossible but uproarious chapter is where Kiki, then the new chorus girl, steals the thunder from the star and eventually falls through the orchestra harp. Nothing daunted, she gets back on the stage, and when the curtain rises she holds hands with Paulette, her successful antagonist, and takes a bow.
Kiki's funny little costume, which she buys out of her rent money, is short and loud, being a grotesque check pattern. She has a feather which looks like a note of interrogation in her queer hat and high-heeled shoes. Judging by the rent bill this costume costs her only 8 francs.
Marc MacDermott, who played the part of the obnoxious Baron in "He Who Gets Slapped," figures in this current effort as another Baron, the backer of the show. Mr. MacDermott gives a good performance. Paulette, the petulant gayly clad creature, who is really in love with a tenor, is played in fine style by Gertrude Astor.
Miss Talmadge's antics caused many a peal of laughter yesterday and the merriment was at its height when the heroine is supposed to be in a cataleptic fit.
While the Parisian atmosphere in the film version of "Kiki," the Belasco play, is somewhat dulled by the breezy American subtitles, the picture is nevertheless consistently amusing, except in those episodes where either the fun is too wild or it suffers through repetition of action. Norma Talmadge proves herself an ingratiating and clever comedienne in the rôle of the quick-witted little waif, which was played by Leonore Ulric on the stage. The screen adaptation was made by Hans Kraely, who has written most of Ernest Lubitsch's scripts, and Clarence Brown is responsible for the direction.
Miss Talmadge makes Kiki a resourceful, sympathetic little creature. The character is an exaggerated one, and so are the complications that arise in connection with her stage ambitions. Kiki profits by opportunity, but at the same time she refuses more than one kiss from the theatrical manager, who is to her a combination of Chesterfield and Adonis. This good-looking man, Monsieur Renal, is impersonated by Ronald Colman, who gives a restrained and charming performance. Another player who adds much to this production is George K. Arthur, who fills the part of Adolphe, the valet. He and Kiki are as friendly as the average cat and dog, and nothing gives Adolphe so much satisfaction as to learn that Kiki, the intruder, is to leave the Renal apartment. It is therefore with great willingness that he carries downstairs Kiki's trunk, which he manages to drop once or twice. But he had not calculated on Kiki's pretending to be suffering from a cataleptic fit, which, instead of making the audience or the characters gloomy, elicits no end of laughter and curiosity. Kiki keeps up the shamming until she hears her impatient rival urging Renal to come to the theatre.
An impossible but uproarious chapter is where Kiki, then the new chorus girl, steals the thunder from the star and eventually falls through the orchestra harp. Nothing daunted, she gets back on the stage, and when the curtain rises she holds hands with Paulette, her successful antagonist, and takes a bow.
Kiki's funny little costume, which she buys out of her rent money, is short and loud, being a grotesque check pattern. She has a feather which looks like a note of interrogation in her queer hat and high-heeled shoes. Judging by the rent bill this costume costs her only 8 francs.
Marc MacDermott, who played the part of the obnoxious Baron in "He Who Gets Slapped," figures in this current effort as another Baron, the backer of the show. Mr. MacDermott gives a good performance. Paulette, the petulant gayly clad creature, who is really in love with a tenor, is played in fine style by Gertrude Astor.
Miss Talmadge's antics caused many a peal of laughter yesterday and the merriment was at its height when the heroine is supposed to be in a cataleptic fit.
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myrnaloyisdope
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Re: WHAT SILENTS & PRE-CODES HAVE YOU SEEN LATELY?
Moraldo, I'm envious of you getting to see The Crowd on the big screen. It's my favorite silent film, and a strong contender for my favorite film in general.
Over the weekend I watched a few more silents:
The Poor Little Rich Girl - My second Mary Pickford film was very enjoyable. Perhaps a little slight, and the evil servant storyline didn't make much sense, but Pickford is very charming, and Tourneur's direction is quite good. I really liked the fantasy sequences, which ranged from surreal: Pickford imagining her father being mauled by bears to very dark: her father at one point envisions committing suicide. The final sequence of the film resembles The Wizard of Oz, with Pickford in a fantasyland journeying to "Wall Street", with her 3 pals: a plumber, and organist, and a donkey. It's a weird film, but quite fascinating, though I'm definitely sold on Pickford's routine at this point.
Tillie's Punctured Romance - Charlie Chaplin's first feature film, as well as Marie Dressler's first film. Really funny stuff with Dressler as the niece of a wealthy man, who gets grifted by the duo of Chaplin and the delightful Mabel Normand. I've been digging her shorts for a little while now, and it was fun to see her in a full-length. Dressler is hysterical, pretty much going all out for laughs, I was surprised at her physicality: highlights include her cutting a rug, acting drunk, and going absolutely wild with a loaded gun. There's also a great sequence where Normand and Chaplin go to see a film, which features a guy/girl team grifting a wealthy woman...eventually getting arrested. It's cute how Normand points out the similarity between Chaplin and the guy on screen, and then reacts in horror when it turns out he has female partner. I must say it's weird seeing Chaplin as the heel though.
The Avenging Conscience - well this was a dud to me. It's an overwrought melodrama, that fancies itself to be The Tell-Tale Heart, but doesn't create suspense or drama. The plot involves Henry B. Walthall killing his Uncle when the uncle calls his prospective wife a "common woman". There's also the implication that the uncle has money too, but it's pretty vague. Walthall is haunted by his conscience and harassed by the police and a fat Italian guy who witnessed the killing, before finally going mad. But he doesn't go mad you see, because it was all a dream. Ugh. I really enjoy Griffith's work for the most part, but this was pretty bad I thought. "Woman in the Window" it ain't.
Over the weekend I watched a few more silents:
The Poor Little Rich Girl - My second Mary Pickford film was very enjoyable. Perhaps a little slight, and the evil servant storyline didn't make much sense, but Pickford is very charming, and Tourneur's direction is quite good. I really liked the fantasy sequences, which ranged from surreal: Pickford imagining her father being mauled by bears to very dark: her father at one point envisions committing suicide. The final sequence of the film resembles The Wizard of Oz, with Pickford in a fantasyland journeying to "Wall Street", with her 3 pals: a plumber, and organist, and a donkey. It's a weird film, but quite fascinating, though I'm definitely sold on Pickford's routine at this point.
Tillie's Punctured Romance - Charlie Chaplin's first feature film, as well as Marie Dressler's first film. Really funny stuff with Dressler as the niece of a wealthy man, who gets grifted by the duo of Chaplin and the delightful Mabel Normand. I've been digging her shorts for a little while now, and it was fun to see her in a full-length. Dressler is hysterical, pretty much going all out for laughs, I was surprised at her physicality: highlights include her cutting a rug, acting drunk, and going absolutely wild with a loaded gun. There's also a great sequence where Normand and Chaplin go to see a film, which features a guy/girl team grifting a wealthy woman...eventually getting arrested. It's cute how Normand points out the similarity between Chaplin and the guy on screen, and then reacts in horror when it turns out he has female partner. I must say it's weird seeing Chaplin as the heel though.
The Avenging Conscience - well this was a dud to me. It's an overwrought melodrama, that fancies itself to be The Tell-Tale Heart, but doesn't create suspense or drama. The plot involves Henry B. Walthall killing his Uncle when the uncle calls his prospective wife a "common woman". There's also the implication that the uncle has money too, but it's pretty vague. Walthall is haunted by his conscience and harassed by the police and a fat Italian guy who witnessed the killing, before finally going mad. But he doesn't go mad you see, because it was all a dream. Ugh. I really enjoy Griffith's work for the most part, but this was pretty bad I thought. "Woman in the Window" it ain't.
"Do you think it's dangerous to have Busby Berkeley dreams?" - The Magnetic Fields
Re: WHAT SILENTS & PRE-CODES HAVE YOU SEEN LATELY?
Justin,
Hey, You should have gotten the package that I sent you by now? Let me know when it shows up. Thanks.
Hey, You should have gotten the package that I sent you by now? Let me know when it shows up. Thanks.-
drednm
Re: WHAT SILENTS & PRE-CODES HAVE YOU SEEN LATELY?
Myrna... I agree Dressler is very funny and it's odd to see Chaplin basically playing the heavy. Have you seen her talkie debut in the short film DANGEROUS FEMALES with Polly Moran? Hyterical stuff.
Re: Pandora's Box "Really Wacked Out!"
I watched G. W. Pabst PANDORA'S BOX for the first time in a long time. Actually, I had only watched the Second Site version before, and didn't even remember it. So this was my first time to really watch much of this film with the Jillian Anderson score on the Criterion release. I have had the 2 DVD set for a couple years or more, but only had seen the first 10 minutes or so, until tonight. To be frank, I didn't much care for this movie the first time that I saw it, and didn't like it all that much better tonight. I know it supposed to be a Masterpiece, and many people think that it is really great and everything, but I just didn't get it? Part of the problem was that I'm not overly enamored with Louise Brooks, like allot of guys are, and the supporting cast did nothing for me. I didn't like anyone in it! Probably would have enjoyed LAZYBONES much more which I had planned to watch for awhile now. I hated the father, He was just awful! You have to care about the characters, and these characters just skunked it up for me! I really wanted to like this movie, but I didn't!
Lulu seemed to me to be allot more trouble than she was worth! Yet the ending is a shocker, and just left you perplexed. The whole story seemed so pointless? And the murderer walks of into the mist scott-free? What the devil? Terribly unsettling stuff. In all candor, I liked LOVE EM' AND LEAVE EM' with Louise and Evelyn Brent allot better than PANDORA'S BOX , and that is just a programmer. So go figure?
Jillian Anderson's score was maybe not as good as I expected overall, but I like some of the themes. It didn't seem to be all that well thought out to me. Haven't listened to the other two alternate scores on the disc. So why do so many people think this picture is so great??? Please explain. Louise Brooks beauty escaped me? Looked great in some scenes, not so hot in others. Give me Renee Adoree, or Colleen Moore! Both much better actresses in my opinion. Sorry, that's just how I feel.
Last edited by Gagman 66 on April 4th, 2009, 9:25 am, edited 1 time in total.