WHAT SILENTS & PRE-CODES HAVE YOU SEEN LATELY?

[Gagman 66]

kingme,

I also hope that people noticed that THE GENERAL had a brand new musical score (though it was recorded in 2006), by Rodney Sauer, and his Mont Alto Motion Picture Orchestra. What a huge difference over what TCM had been running with the Alloy Orchestra score the past 8 years. Much more enjoyable now. Although it didn't start out well, I thought Mont Alto's score was a gigantic improvement over Alloy Orchestra, Made the film seem faster paced, and indeed much funnier. Still not as good as the Carl Davis score, and I like the Robert Israel one too. But Mont Alto had genuine character themes for the other players. The Annabelle theme was wonderful. You didn't get that with Alloy Orchestra. There was allot more depth to this score. Last night's Print get's about a B from me, with some of it at an A-. The current Kino DVD and Blu-Ray release with default of the Carl Davis score is an A+. as it was re-mastered from the original camera negative/ But I thought this TCM transfer was still quite excellent overall. Just a few more artifacts bring it down slightly. The Mont Alto version is available for purchase on their website.

THE GENERAL is never going to be among my favorites, but this was easily the best version that has ever been broadcast on TCM. I hope that TCM will start airing SHERLOCK JUNIOR with the Mont Alto score. Since it is the new default of the recent Blu-ray release. The Club Foot Orchestra score they have been using has got to go. I have not heard the Mont Alto one for SHERLOCK JUNIOR yet, but my favorite score for this picture is still the one Vince Giordano and The Nighthawks Orchestra recorded back in 1995. I wish that Kino could have landed the rights, at least as an alternate track. Though I am sure Mont Alto did terrific work to. In addition the next time TCM airs OUR HOSPITALITY, I would hope we will hear the magnificent Carl Davis score now. It is the first option of the new Blu-ray.

Harold Lloyd's GRANDMA'S BOY is always a treat. And Robert Israel's score is outstanding. Not my favorite Lloyd film, but a delightful introduction to his features. Would have like to have seen Raymond Griffith's HANDS UP! (1926) as well. Maybe some time they will.

I sure Hope someone actually watched/recorded UNCLE TOM'S CABIN. In terms of production value, this film is staggering. I was so impressed with the movie that I ordered the DVD immediately after seeing in it on TCM in May of 2006. A 2 Million dollar film in 1927, despite not really having any big name Stars in it. And mostly genuine Black actors as the slaves. Though the other stars, apart from Tom himself (James Low), are supposed to be Mullato. Spectacular vintage scoring track compiled and orchestrated by Erno Rapee'. UTC is also one of the precious few Universal Pictures Silents that TCM airs. Virginia Grey sure was a darling little girl. Biggest eyes I have ever seen. The Angel descending to collect her Spirit, is a startling image to behold.

In closing, you mean there no comments here on Mary Pickford's SPARROWS Friday? This was the first time this brand new restoration had been shown on TCM. Terrific new Orchestral score by Jeffrey Mark Silverman, and a gorgeous print with the original tints restored by the LOC in 2006. Very poignant him. This will be coming out on DVD and possibly Blu-ray in the coming months from Milestone.




"Stand Back Mr. Grimes, Or You'll Get Yours!"

[Rita Hayworth]

gagman66,

Thanks for sharing your thoughts.

I rather not go into details here ... but, I have seen UNCLE TOM'S CABIN - its will never be one of my favorites because I have a very bad experience watching it. And, I vowed myself to never see it again. When, I watched the GENERAL and GRANDMA'S BOY ... Turner Classic Movies had that movie right after it. - I even watched the preview and the preview reignited my bad experience watching it. So, because of that, I had not seen it since ... Sorry.

[Gagman 66]

There are certainly plenty of flaws to UNCLE TOM'S CABIN . It's never going to be a favorite of mine, but it does have impressive sets and period detail.

Don't know if you have seen this picture or not before? You might be amazed by it? Yikes!




Harold and Oddities-1922 Photo

[JackFavell]

I watched Dead Ringer the other day on TCM, and I thought someone might discuss it here... I loved every minute of it!

The movie had such a good set-up and storyline... and I thought Karl Malden was out of this world with Bette, and that's high praise. This is by far my favorite Malden performance. Bette was just great in a movie that was almost all her reacting to each situation she found herself in. I have wanted to see this movie since reading Paul Henreid's autobiography. He said that Bette enjoyed working with him tremendously.... I'd love to hear what Bette had to say about it.

I would have to vote for Jack LaRue as the biggest sleazeball, based on The Story of Temple Drake.

Peter Lawford gives Jack a run for his money in the sleazeball department.... his character in Dead Ringer was awful, and Lawford was either a really good actor who was able to get across a really scummy side to his personality, or....

it sure seemed like he really was like this. I have to give him credit for playing the role perfectly.

The movie lags a bit in the middle, but is a fascinating morality tale. Bette makes you hope that she could get away with murder, she's actually the nicest person in the film. Except for the butler.

[JackFavell]

Oops...I posted in the wrong thread...I thought this was Films, not Precodes. Sorry.

[Ann Harding]

Recently, I watched Hell's Heroes (1930, Wm Wyler), the first version of Three Godfathers. It proved a really interesting western and early talkie. Shot entirely on locations, it avoids completely the static camera. On top, the story (adapted by C. Gardner Sullivan) is devoided of the soapy sentimentality given to the 1948 Ford version. Instead we are following three bankrobbers without any redeeming features. Those three unglamorous outlaws save the baby after wondering if the canned milk wouldn't better divided between them rather than given to him. We are far away from the Christmas fairy tale of 1948. It's a western smelling of dust and sweat very well played by Charles Bickford, Raymond Hatton and Fred Kohler. Recommended.

The Devil and the Deep (1932, M. Gering) is a huge laugh with its incredible storyline: melodrama turning into a disaster movie. Tallulah Bankhead wearing Tavis Banton sheath dresses is romanced by both Cary Grant (small part though) and Gary Cooper while hubby Charles Laughton chews the scenery with gusto. The disaster scene inside the submarine brought a fit of giggles for me: watching Tallulah swimming to the surface, in evening dress and high heels, is quite something! This is so campy and funny, it's worth watching.

[feaito]

Christine, Isn't it the glossiest submarine picture ever? Glad you enjoyed it!

[Ann Harding]

Christine, Isn't it the glossiest submarine picture ever? Glad you enjoyed it!

You're right. It's the biggest guilty pleasure ever in a sub.

[moira finnie]

Recently, I watched Hell's Heroes (1930, Wm Wyler), the first version of Three Godfathers. It proved a really interesting western and early talkie. Shot entirely on locations, it avoids completely the static camera. On top, the story (adapted by C. Gardner Sullivan) is devoided of the soapy sentimentality given to the 1948 Ford version. Instead we are following three bankrobbers without any redeeming features. Those three unglamorous outlaws save the baby after wondering if the canned milk wouldn't better divided between them rather than given to him. We are far away from the Christmas fairy tale of 1948. It's a western smelling of dust and sweat very well played by Charles Bickford, Raymond Hatton and Fred Kohler. Recommended.

I love this version of the story, and Charles Bickford was terrific (even if he reportedly did come to blows with then fairly new director William Wyler). Like you, I was struck by the use of sound and silence in this early talkie shot largely in the Mojave Desert. Wyler and his cast proved that film in the sound era could still move, and that hearing ambient natural noise and the human voice could help punctuate the rhythm of the story, not slow it down to a crawl. Great little movie!

Even better is the 1936 film, Three Godfathers, directed by Richard Boleslawski and starring Chester Morris, Lewis Stone and Walter Brennan. That film has much more cynical grit than Ford's beautifully photographed if too sentimental Three Godfathers (1948), and gives Morris, Stone and Brennan some of their best moments on camera. I hope you get to see the '36 version sometime, Christine. I think you'd like it.

[Ann Harding]

I'll have to try to see the Boleslawski as well.

I had a nice time watching several pre-coders recently. First Safe in Hell (1931, WA Wellman), the only 1931 Wellman missing from my collection. It proved really fun as poor Dorothy Mackaill is indeed in hell on that terrifying Carribean island surrounded by nasties. I couldn't help thinking of a contemporary picture, The Unholy Garden (1931, G. Fitzmaurice) where Colman, a bankrobber, finds refuge in an isolated hotel in the North African desert. We get the same kind of assorted criminals. But beyond that, while the Fitzmaurice is tongue-in-cheek, this one is really verging on a noir atmosphere with the heroine becoming prey of the evil hangman. Terrific fun!

Five Star Final (1931, M. LeRoy) with E.G. Robinson was also worthy of a visit. I generally don't like LeRoy's later films, particularly the MGM productions, which I find replete with treacle. But this snappy Warner production was among his best with I Was a Fugitive from a Chain Gang. This indictement of the gutter press and the evil effect of tabloid journalism remains totally -alas- contemporary. Robinson had a ball playing the managing editor of the sordid Evening Gazette. They stop at nothing to get a scoop. Even when the owners get literaly blood on their hands, they go on searching for a story. The scenes at the newspaper office are terrific. But, funnily, all those at the Townsend's flat become stagey and stilted. A real shame because H.B. Warner is really moving. Nevertheless, it's an excellent film with plenty of great character actors. I was particularly fond of Aline MacMahon as the honest secretary fed up with her job. Very good.

[JackFavell]

Oh my gosh, Five Star Final is one of my favorites.... I totally agree, it's sadly very modern. Robinson, Warner and MacMahon are marvelous! And Marsh's last speech is terrific, followed by a great moment from Robinson. It's not to be missed.

[Ann Harding]

BTW JackFavell, I noticed your new avatar. Death of a Scoundrel is a terrific Noir picture. Sanders is fabulous, the script is clever and snappy, Jimmy Wong Howe provides a lovely cinematography and I loved the score by Max Steiner. I don't know if the director/screenwriter Charles Martin ever made another good picture, but this one is terrific.

[JackFavell]

It's going to be on TCM here - Monday at 5:30 PM ET, so I thought I'd start touting it. I love the movie, and really enjoy George Sanders. To me, this was one if his best later films. I am so surprised that more people don't know it. I think it has the best opening title sequence ever, too!

[intothenitrate]

I recently watched both Virtue(1932) and Mandalay(1934)
The question is who's the bigger sleazeball Jack La Rue or Ricardo Cortez??

Last night I watched the Mary Astor vehicle Men of Chance (1931). Mary gets picked up as a near-vagrant in Paris by a well-heeled gambler, then is transformed and passed off as a countess to a rival gambler (Cortez). Whenever I watched it before, I paid most of my attention to Astor. But this time--thanks to your post--I paid more attention to Cortez.

I had always found Cortez likable and interesting on screen. Because he figures so prominently in films of the pre-code era--perhaps my favorite body of work--he turns up quite a lot in my film collection. If he didn't play a wide variety of roles, he did get to play various points along the "sleaze continuum." In Men of Chance, he's a pretty ruthless operator, but landed--with a horse farm and other shrewd investments. He has no problem throwing Mary out 2/3 of the way through the film, but takes her back after she does something clever and noble. I've seen him in other roles where his character is more warm and caring--even philosophical--but in this film, he's borderline opportunistic sociopath...but I still like him.

I read over on the IMDB that after he got out of acting, he returned to Wall Street--where he had once worked as a message boy--and made a fortune as a broker. Makes you say hmmm.....