WHAT SILENTS & PRE-CODES HAVE YOU SEEN LATELY?

[Ann Harding]

I have just watched La Cava's Gabriel Over The White House (1933) with Walter Huston, Karen Morley and Franchot Tone.
The newly elected president of the US (W. Huston) has a car accident. When he recovers from his coma, he is a changed man ready to take drastic measures in favour of unemployed people, to shoot gangsters and to push for world peace...
This very topical picture at the time (perhaps nowadays as well?) was produced by WR Hearst through Cosmopolitan Pictures. It bears in many aspects the Rooseveltian message, but at the same time, suggest a president who behaves like a dictator decreeting martial law. It's certainly a very unusual picture, released through MGM and apparently heavily modified by Will Hayes. God knows what the original message was? If this president is very socially conscious and ready to help unemployed people, he also behaves outside the normal law, especially in dealing with bootleggers. I wonder what Hearst wanted to achieve with this film: to support Roosevelt? If it's the case, I am quite surprised as I thought Hearst to be Republican. But the acting by Walter Huston is -as usual- superb. Certainly a picture to watch and watch again.

[myrnaloyisdope]

Ooh, I'm a big La Cava fan and Gabriel is a fascinating picture. As for the politics behind it, well the picture was completed in 1932, but wasn't released until 1933 and after FDR won the election. Essentially the film reflects the sentiments of the populace in 1932. Herbert Hoover had demonstrated complete inability to handle the growing financial crisis, and there were increasingly vocal appeals towards extremism either in the form of communism, socialism or even dictatorship. The people were willing to do anything in order to restore some form of financial stability. It was probably the closest the US has ever come to revolt.

Anyway the film was prepped for release in the midst of the presidential election, but Mayer who was a devout Republican by my understanding held the film off until after the elections so as to avoid being incendiary. By the time the film came out it had lost its sting because Franklin Roosevelt had placated the desires of the people, and essentially functioned as the leader that people were hoping for. Had the film come out in 1932 it would be better remembered today, and it might be seen as a historical landmark.

[feaito]

I have just watched La Cava's Gabriel Over The White House (1933) with Walter Huston, Karen Morley and Franchot Tone.
The newly elected president of the US (W. Huston) has a car accident. When he recovers from his coma, he is a changed man ready to take drastic measures in favour of unemployed people, to shoot gangsters and to push for world peace...
This very topical picture at the time (perhaps nowadays as well?) was produced by WR Hearst through Cosmopolitan Pictures. It bears in many aspects the Rooseveltian message, but at the same time, suggest a president who behaves like a dictator decreeting martial law. It's certainly a very unusual picture, released through MGM and apparently heavily modified by Will Hayes. God knows what the original message was? If this president is very socially conscious and ready to help unemployed people, he also behaves outside the normal law, especially in dealing with bootleggers. I wonder what Hearst wanted to achieve with this film: to support Roosevelt? If it's the case, I am quite surprised as I thought Hearst to be Republican. But the acting by Walter Huston is -as usual- superb. Certainly a picture to watch and watch again.

It's certainly another mesmerizing performance by Walter Huston, one of the great american actors. Karen Morley and Franchot Tone are very good supporting Huston. I have this film taped on VHS and I wished Time-Warner would release it on DVD as part of a Pre-Code Collection.

[Jim Reid]

The film was green-lighted by Thalberg and shot while Mayer was in Europe. The writer and driving force was Carey Wilson. When Mayer got back and saw it, he hit the ceiling. The release was delayed and Carey Wilson never worked at MGM again.

[drednm]

Gotta love that Mayer... the George Bush of MGM.

[jdb1]

Ooh, I'm a big La Cava fan and Gabriel is a fascinating picture. As for the politics behind it, well the picture was completed in 1932, but wasn't released until 1933 and after FDR won the election. Essentially the film reflects the sentiments of the populace in 1932. Herbert Hoover had demonstrated complete inability to handle the growing financial crisis, and there were increasingly vocal appeals towards extremism either in the form of communism, socialism or even dictatorship. The people were willing to do anything in order to restore some form of financial stability. It was probably the closest the US has ever come to revolt.

Nope, MLID, can't agree with that. In the first place, I think you are giving the people of 1920s-30s America too much credit for political savvy and activism. I seriously doubt "the people" were willing to cleave to radicalism of any kind in large numbers. This country was even more conservative then than it is now, and politics revolved even more at that time around the "Old Boy" system, leaving the average citizen out of things until Election Day.

Secondly, the US has indeed come close to revolution more than once, and the unrest of the 1960s, for example, was far more organized, violent, and pervasive, thanks to much better-developed broadcast and communications media, than the uncentralized and often demoralized reform movements of the 1930s. IMO, that's one of the reasons the 1960s have been largely ignored by writers and filmmakers: we came a little too close to toppling our government, and the thought makes people uncomfortable.

[myrnaloyisdope]

Fair enough. I would argue that given the awful state of the economy at the time, combined with incredible amounts of unemployment, and the general incompetence and indifference of the Hoover government, the opportunity for a large scale revolt was conceivable in my mind.

Look at the Bonus Army situation in which 43,000 people set up encampment at the foot of the White House, and were forcibly removed by the US Army on order of the President. That's a situation that could have turned out much worse as only 2 deaths were officially reported.

I expect that without FDR getting elected, animosity would have continued to escalate. He placated the people by promising change, and delivering it, so that even though things didn't improve noticeably for several years, the hostility was diminished significantly.

I will admit I am doing some supposing, but certainly the recipe was in place for a potentially radical change.

[jdb1]

Of course what you say is not wrong, MLID, but I would point out to you again that average people in 'those days' simply didn't make the kind of social waves that you and I are used to seeing. That's exactly what the upheaval of the 60s was all about: speaking up for oneself and one's fellows.

Not to say that there weren't plenty of thoughtful and effective thinkers back then who were perfectly capable of rabble-rousing. It's that rabble-rousing then was seen as something different from what it is today, and we didn't have the same kind of instantaneous international media exposure we have now.

[Gagman 66]

Thanks to Fernando, I got to see a rare Pre-code with a three some of Silent film lovelies. LONELY WIVES (1931) features the delightful triumvirate of Patsy Ruth Miller, Esther Ralston, and Laura La Plante all in the same feature!

Who would believe Edward Evertt Horton as a famed Philandering Lawyer named Richard Smith! It's true. And He hires a vaudevillian impersonator Mr. Zero to take his place, so He can step out with his Secretary (Kelly), and her best friend (La Plante). Unbeknownst to Mr. Smith, Laura is also Mrs. Zero! In the midst of these escapades, Richard's Wify-poo Madeleine (Ralston) returns home from a trip abroad unexpectedly, and what's more she's feeling frisky too! Oh, oh! The film is allot of fun. Horton is typically hilarious, the supporting cast is good. There is jealousy and suspicion abound, and repeated mistaken identity, that runs through much of the picture.

Ralston, and Miller are both virtually unrecognizable with very short hair. La Plante looks about the same. Never heard of this one before, but it is a fine early screwball comedy. This type of thing was actually done over and over again in Silent's with ladies such as Constance Talmadge, Marion Davies, Marie Prevost, Virginia Lee Corbin, and Colleen Moore just to name a few. So there was really nothing new about it, but the dialogue is Snappy and three prominent Silent actresses all give wonderful performances, handling their lines superbly.

All and all great fun, and I must say a very nice print too! Thanks much Fernando! I really enjoyed this one. That last line by the Mother-In-law was the real killer! Boy I am still laughing, and I watched this last night!

[rogerskarsten]

Last night I saw PIKOVAYA DAMA (1916), a Russian film adaptation of the Pushkin story (translated: The Queen of Spades). The film stars Ivan Mozzukhin, who was a major star in Russia, and internationally renowned as well.

I especially enjoyed the beginning of the film, as the back-story of the Countess is told. The narrative moves between the present (c. 1830) and the past (c. 1770), and the transitions are very well executed. The attention to period detail is quite notable throughout the film.

I should comment on my reaction to Mozzukhin (this was the first time I had seen him). He quite simply commands the screen. His physical presence is so large -- certainly his stature, but also his eyes, nose and mouth -- he certainly does stand out! I thought his pantomime was quite subtle and effective, though I have to say I wasn't really sure what kind of a character Hermann was. Was his interest in Lisa genuine, or was he just using her to get close to the Countess and learn the secret of the card game? Was he interested in winning just for winning's sake, or was he in need of the money? (He already appeared to be rather well-off). Maybe I just need to brush up on my Pushkin, but I thought the film's characterizations were rather vague. The Countess came off as the most interesting of them. Both of the actresses who played the part (Tamara Duvan and Yelizaveta Shebueva) did fine work, I thought.

[Ann Harding]

Rogerskarten,
Ivan Mosjoukine moved to France in the 20s and made there an impressive amount of wonderful pictures. If you have a chance to catch some of them, I recommend: Le Brasier Ardent, Kean, Feu Matthias Pascal and Les ombres qui passent.
But his early Hermann is absolutely excellent I agree.

I should thank everybody for their very interesting insight into Gabriel Over The White House. it made me want to read more about this picture. As soon as my local library reopens, I'll be running!

[rogerskarsten]

Thanks for the tips, Ann Harding (Christine, right?). I'll keep an eye out for those; seeing Mozzukhin in this film has definitely made me interested to see more!

I'm very fortuante that Kino Arsenal here in Berlin is programming a whole slate of early films this month. I was very glad to have had the chance to see Henny Porten in a couple of her early films. Tonight they're showing two German films featuring Ernst Lubitsch in front of the camera. Should be fun.

~Roger

[CoffeeDan]

The film was green-lighted by Thalberg and shot while Mayer was in Europe. The writer and driving force was Carey Wilson. When Mayer got back and saw it, he hit the ceiling. The release was delayed and Carey Wilson never worked at MGM again.

On the contrary -- Carey Wilson had a long and busy career at MGM before and after the release of GABRIEL OVER THE WHITE HOUSE. Wilson was working at the Goldwyn company when it became part of MGM, and he co-wrote the scenario of its first release, HE WHO GETS SLAPPED. He also did a major rewrite of BEN HUR, whipping it into shape and saving the production. He was a favorite of Irving Thalberg, but Louis B. Mayer respected him too -- Mayer once said Wilson was his favorite screenwriter at the studio.

Wilson did occasional work for other studios, but he was the guiding light in the writing department at MGM. He received an Oscar nomination for his work on MUTINY ON THE BOUNTY, and later became a producer, starting in short subjects (many of which he also narrated) and progressing to features like THE POSTMAN ALWAYS RINGS TWICE, GREEN DOLPHIN STREET, and the 1952 version of SCARAMOUCHE.

[feaito]

I'm glad to hear that you enjoyed "Lonely Wives" (1931) Jeff. It's indeed a very rare film and I was truly thrilled when I saw it released on DVD. If my memory does not fail me, the funny mother-in-law was played by Maude Eburne. Wasn't she? She usually played quite hilarious characters

[drednm]

I watched the very funny EVE'S LEAVES yesterday.... Leatrice Joy and William Boyd starred. Joy is raised as a boy and goes ashore in China where she meets Boyd and a Chinese gangster (played by Walter Long) and gets into all sorts of scrapes (as boys will!).... but she is eventually revealed....