WHAT SILENTS & PRE-CODES HAVE YOU SEEN LATELY?

[jdb1]

I'm looking forward to Show of Shows, I've only seen the Myrna-yellowface sequence.

I watched a couple silents yesterday...the little seen Madge Kennedy silent Dollars and Sense and the lovely Marion Davies silent The Fair Co-Ed. My thoughts are here. I normally wouldn't self-link, but darned if I didn't spend 5 hours and write 2000 words on the films today, feel free to post a response on my blog if you want.

Justin, I very much enjoyed reading your critiques through the above link. It's so nice to see a pair of fresh eyes looking at material many of us already know and/or may have already read about -- it all becomes pretty repetitive after a while.

By the way, I think every film critic in the world should start using the phrase you coined: "the meh quality of the film." It speaks volumes.

[Birdy]

Justin - I enjoyed your criticisms as well, and am going to steal and sling your 'meh' immediately as I foresee many applications. Not to mention, it made me laugh right out loud. I plan to go back and read on some of your other topics.

I recorded all the comedies on Marion Hopkins day. Can you believe I've never seen The Smiling Lieutenant since I practically have The Merry Widow memorized?


I just rewatched Colleen, 1936 and had forgottenhow absolutely hilarious it is. It stars Dick Powell and Ruby Keeler but it list of character actors is one of the best. Joan Blondell and Jack Oakie are too charming singing 'Boulevardier from the Bronx' (the only song worth leaving in the movie, in my opinion) and Louise Fazenda as the wacky aunt is priceless.
"Beech...Get my smelling salts, get me a drink, get ready to catch me...BEECH!" (paraph)
Throw in Hobart Cavanaugh, Hugh Herbert, Marie Wilson, Luis Alberini and Charles Coleman and you are in for a good time.

It was hardly worth making into a musical, especially since poor Eleanor can't sing. They just should have left it as a comedy and maybe stuck in one song by Dick and the duet with Jack and Joan.

All in all, my kind of 30s silly movie.
B

[drednm]

I watched Open All Night, a strange 1924 marital comedy from Paramount where no one is really happy with his/her mate.

Adolphe Menjou opens the film holding a bizarre nude-woman ivory cigarette holder as he snuffs out a cigarette and ponders marriage. Viola Dana (his bored wife) is in the bath tub where she's reading lurid stories about husbands who beat their wives. Then arrives a friend (Gale Henry) and her date (Raymond Griffith) who is drunk and is described as the next "sheik" when he breaks into pictures.

They all go off the a 6-day bicycle race (the rage of Paris in the 20s) where the "petit Mathieu" (Maurice Flynn) is the favorite. His bored girl friend (the exotic Jetta Goudal) craves a gentleman. The stage is set for a "marital mix-up." Despite what I've heard, Raymond Griffith was not very funny in this film. About the only funny thing was when he (drunk) wandered onto the bicycle track. The bikes whizz by him and his cape and top hat are gone while he weaves on the slanted flooring.... then in a few seconds the bikes whizz by again and his hat and cape are returned. The whole thing about his going to America to become the new sheik wasn't funny. Maybe it was a running joke of the day? Then the French newspapers announce Valentino's return to films (which was a real event after Valentino's battle with Paramount and his Mineralava dance tour with Natacha Rambova) and Griffith's plans are dashed. Otherwise Griffith had little to do.

The other actors are all good but aside from being a tad bizarre, nothing much really happens, especially with a 64-minute (6 reel) running time. This copy is from an old Grapevine release (you can tell by the music track) and is of decent quality. The bizarre quality got this film banned in England on its release in 1924.

Trivia notes. Viola Dana and Maurice Flynn were married from 1925-29. And director Paul Bern was infamous for his brief (2-month) marriage to Jean Harlow and his suicide in 1932.

[feaito]

Last Friday I booked the projection room of my building to "properly" introduce an American friend of mine, to the world of Silents. For this kind of occasions -when I wan to show a friend a Classic film- I tend to choose films I've already seen and that I know are great (ie: "Sunset Bvd.", "The More the Merrier", "Midnight" et al). This time though I chose "The Godless Girl" (1928) which I had not seen. My friend loved it; he was amazed, impressed and I think he'll be willing to watch more Silents in the future. The print is fantastic, Carl Davis' score amazing, the story absorbing, the cinematography beautiful. Definitely one of De Mille's very best films (I've seen). I specially enjoyed Marie Prevost's role. Thanks Christine for sharing this one with me.

Thanks to Christine too, I've also watched the two first episodes of Kevin Brownlow's "Hollywood" (1980), one of the most amazing documentaries I've seen. I feel privileged.

[MichiganJ]

feaito wrote:

"The Godless Girl" (1928)...Definitely one of De Mille's very best films (I've seen). I specially enjoyed Marie Prevost's role.

I think The Godless Girl may be my favorite DeMille silent. What starts out as a film pitting atheism vs. religious zealotry (and has a terrifically staged fight sequence), turns into a fascinating indictment of the savage reform school system. (with another rousing climax involving a fire). And you're right, Prevost steals the film.

It's available in region 1 in the Treasures From the American Film Archives Vol. 3 collection with a pretty good piano score by Martin Marks. There's also a half-hour commentary track by Randy Haberkamp and DeMille's granddaughter, Cecilla deMille Presley, which is superficial but still interesting. Patrick Loughney talks for another half hour, more specifically about The Godless Girl.

[feaito]

Thanks for the information Michigan. In my opinion Carl Davis' score adds enormously to the effect of the film.

[feaito]

Thanks to Christine I watched one of the sweetest films I've seen lately: "Lucky Star" (1929) starring America's Lovebirds Janet Gaynor and Charles Farrell, under the direction of gifted Frank Borzage. This quiet, little film is expertly handled by the master of Romance, who extracts very moving performances from both actors. It's the third time I've seen Gaynor and Farrell together in a film -I've seen "Seventh Heaven" (1927) and "Street Girl" (1928), both by Borzage- and this piece of Americana stand its ground against the two other films set in Europe. When one watches a film by Borzage, one is in for a treat for sure. He manages to convey romanticism in a truthful way without using overt sentimentality or corniness. The version I watched doesn't have a score so I played a CD with a Baroque Concerto by Geminiani and it was a perfect companion piece to the beautiful images.

[silentscreen]

I watched Why Change Your Wife? again after not seeing it for quite awhile. This is one of a trilogy of marital society comedies that de Mille made early in his career. It's great to see him directing something other than what he was known for later in his career. It's not meant to be more than a piece of fluff, but it's quite cute and entertaining to boot. And it does give some very good advice on marriage.

I've never seen Thomas Meighan in anything like this before, and his stoic acting works in his part as the husband who loves his wife and just wants her to be his sweetheart as well. I always felt that he was very underrated and it's a shame that he's virtually forgotten. Swanson turns from the prim little wife into the gay divorcee on a dime and puts in a terrific performance as well. Bebe Daniels as wife number two and vamp is totally charming, and plays the bad girl to the hilt. With the fine performances of the three main characters and the history lesson in high fashion of the time, this one is a pleasant way to go back in time and see some old time stars in some different roles.

[charliechaplinfan]

I love this movie Brenda. I agree about Thomas Meighan although he did make some good movies at the end of the twenties that are as good as this. I love De Mille's attention to detail. I'd love to have a bathroom like that. Gloria looks marvellous as the divorcee. Seeing her in these films it's easy to see why she was so popular in her heyday.

[silentscreen]

I love this movie Brenda. I agree about Thomas Meighan although he did make some good movies at the end of the twenties that are as good as this. I love De Mille's attention to detail. I'd love to have a bathroom like that. Gloria looks marvellous as the divorcee. Seeing her in these films it's easy to see why she was so popular in her heyday.

You're right Alison! "The Racket" and "The Mating Call" are both excellent movies. But have either of these ever been released on DVD? I was lucky to get them off TCM. Mieghan was an older actor who reminded me a bit of Gary Cooper with his understated style that was way ahead of it's time. He was very masculine and he could still build up the romantic tension. Gloria always had a marvelous "presence." She knew how to be a movie star and what the public expected. They don't make them like these two any more.

I also watched the other movie on the disc, "Miss Lulu Bett," which featured another wonderful but forgotten and understated actor Milton Sills. This is my review of it from the IMDb.

Solid Early Woman's Film, 12 March 2006

*** This comment may contain spoilers ***


This is one of the few William deMille films to get a revival and a wonderful example of an early woman's picture and tale of transformation.

Lois Wilson plays an unmarried woman and household drudge in her sister's home who is abused mentally by her brother-in-law. Her trap is one of economics rather than completely her own insecurity, as we feel that Lulu in the back of her mind knows that she has much to offer! She is exploited because that's all she's ever known, and in no small part because of society's views on unmarried women at the time.

There is a very clever use of props and title cards in this movie because it was obviously made on a small budget. In one scene where she's doing dishes with her would be boyfriend, a title card reads, "Doing dishes isn't always a bad thing." The scene then continues to a very sweet sequence where he asks her how to dry the inside of a glass, she shows him, and he thumps his head as if to say, "What an idiot I am!" The actors all do a very fine job with body language and expression.

This rare example of William deMille's work as a producer and director is based on a Pulitzer Prize play and novel by Zona Gale and is directed and acted with understanding and discernment.

Watch it to see the differences between William and Cecil's style and for characterizations that are concrete and empathetic.

[drednm]

IT'S THE OLD ARMY GAME (1926)....

The version I have is an excellent print from a showing in Oregon. It
runs 105 minutes (not the 70 or 77 minutes mentioned on IMDb) and
boasts a nice, live piano performance by Keith Taylor. This film was
considered to be lost for many decades but exists in a very nice print.

This film is basically a forerunner of the hilarious 1934 film, IT'S A
GIFT, but is based on a play entitled "The Comic Supplement." As with
most W.C. Fields material, the story here is a mish-mash from several
sources and his own stage routines.

Fields started filing a couple of his stage routines in 1915 as shorts
but was not successful, In 1924 he landed a small but effective role in
Marion Davies' JANICE MEREDITH. He finally landed a starring role in a
feature film the following year in SALLY OF THE SAWDUST, a version of
his stage hit "Poppy." He appeared fairly regularly through the end of
his silent films in 1928.

Here Fields plays a small-town druggist who is much put upon by his
family (a sister and nephew), a local spinster, and the town at large.
His only good relationship is with Brooks, who works in his store. As
with most Fields films, his only close relationships is with a grown
daughter or young lady.

In a subplot, a real estate sharpie (William Gaxton) comes to town and
falls for Brooks. He talks Fields into letting him use his store to
sell New York City lots (not Florida, as mentioned elsewhere). Of
course Gaxton is hauled away by the law and Fields feels compelled to
pay back the money to all the "investors" who have been bilked.

As with IT'S A GIFT, we have scenes on the back porch where Fields is
trying to sleep, the nagging and odious family (Mary Foy, Mickey
Bennett), and a prolonged picnic scene on the grounds of a private
estate. This version also has Fields hassling with NYC traffic (the
wrong way on a one way street) as he ventures to right the wrongs of
Gaxton.

Of course Gaxton is freed and the investors all become rich, so when
Fields returns to town and sees the crowds, he's afraid they are out to
get him. This leads to a chase scene where Fields ends up in jail.

Heavy on the sentimental melodrama, IT'S THE OLD ARMY GAME is not
really a comedy, but a film with comic scenes. Fields never really
became a comedian until the talkies, where his films were trimmed of
melodrama and his famous rasping voice finally gave him a personality.
His decades-long stage career was spent mainly as a silent juggler.

Yet Fields is certainly impressive here (as he was in SALLY OF THE
SAWDUST) but the meandering storyline doesn't help much. Louise Brooks
is just stunning here as the small-town girl. Gaxton and Foy are OK.
Bennett is a little brat, and Blanche Ring is funny as the fluttery
spinster who pines for Fields. Also funny is one of Fields favorites,
Elise Cavanna as the near-sighted woman who wants a 2-cent stamp.

[charliechaplinfan]

I was in the mood of sometihng fimiliar yet stunning last night so I decided to watch Sunrise again. Now I know much more about the silent era, the directors and the influences that came in from other countries, in this case Germany I saw it with new eyes. It's a delightful film, a masterpiece. When I see films like this it makes me weep to think that silents only lasted a little while longer.

[JackFavell]

It's such a shame, CCfan. I am not sure we ever got back what we lost when they started making talkies. I still wonder if we have gotten up to that level again even yet....

[Gagman 66]

Fernando,

Sadly the Photoplay Productions version of De Mille's THE GODLESS GIRL with Carl Davis score, is not on DVD. But TCM in the States does have the rights to this version. They are running it again next month. I agree that this is one of the De Mille's finest films, if not his best.

You didn't miss much by not hearing a score to LUCKY STAR. The print found in the Murnau-Borzage and Fox set is much improved, but the music is truly horrible for this film. The BFI is putting out a version this month or next, and with any luck that will contain a different and far better musical score.

Ed,

I have not seen IT'S THE OLD ARMY GAME before. Where did you get this restored version from?

[feaito]

You didn't miss much by not hearing a score to LUCKY STAR. The print found in the Murnau-Borzage and Fox set is much improved, but the music is truly horrible for this film. The BFI is putting out a version this month or next, and with any luck that will contain a different and far better musical score.

Thanks for the feedback Jeffrey. I have no intention of buying the Borzage Collection due to its lousy packaging. I don't lose hope about re-release of this Set in a proper packaging.