Flappers and Flickers

We've Moved!

2011-08-16T12:50:00.000-07:00

Please change your bookmarks and come follow me at:

http://silentstanzas.blogspot.com/

Everything is now housed over on Silent Stanzas -- it's now your one-stop silent/pre-Code fix! See you there!

Telling it to the Daisies

2011-08-16T11:54:00.000-07:00

and to my readers, too!

Look for more personal stuff, more things about my life and love of the 20s and 30s, in between reviews. Because one does not live on movies alone! ;)

What do you guys think, should I consolidate this blog and Silent Stanzas? Or should I keep 'em separate?

Since I have it stuck in your head now, here's a little Annette Hanshaw for you. Blame maudelynn on Tumblr for getting me started.

Jennifer's Massive Film Dump Post (what a lovely name!)

2011-07-26T10:50:00.000-07:00

Hi Kids! I took a little holiday, and as every good film fan knows, watching movies is a manditory part of it. I caught up on a bunch of things I've been wanting to see, and rather than make you wait for a formal review on each, I'm going to put them up in one giant post with the notes I made while watching 'em. No muss, no fuss! Oh, and I've marked the ones I particularly enjoyed with a . Here we go...

City Lights (1931)

starring Charlie Chaplin and Virginia Cherrill

I'm not a huge Chaplin fan, but this was just gorgeous -- no one does sad / pitiful better than him. A beautiful story with an iconic end shot; everyone should see this.

Gambling Lady (1934)

starring Barbara Stanwyck and Joel McCrea

Solid little soaper with good performances from all. Barbara Stanwyck is always fantastic.
The costumes by Orry-Kelly are both impressive and bizarre; I love the scenes where Claire Dodd and Stanwyck are standing there, being bitchy to each other, in fabulous gowns.

Secrets (1933)

starring Mary Pickford and Leslie Howard

I LOVE THIS MOVIE. Mary Pickford (in her last film) is MUCH better in this than Coquette, and she has terrific chemistry with Leslie Howard, who is very charming and looks younger than I ever thought possible (in the first half of the film anyway). Borzage's direction is masterful, and Pickford somehow manages to still look like a luminous girl.
• changing scene = LMAO
• Leslie Howard makes a surprisingly sexy cowboy
This movie takes a complete and utter turn, and while I don't want to give it away, you will feel as riveted through the end as you do in the beginning. Both Howard and Pickford emote like crazy and it is anything but treacly.

Son of the Sheik (1926)

starring Rudolph Valentino and Vilma Banky

Valentino's final film is a fun one! He does an admirable job with the dual role, playing himself and his own father (The Sheik from the 1921 film of the same name). He does an impressive amount of his own stuntwork while still pleasing all the ladies with his romantic overtures to Banky, who is lovely but otherwise unremarkable. Karl Dane as Ramadan is a fun bit of comic relief. I really enjoyed the big Fairbanks-style fight scene at the end and think Rudy would've done well in action films.
• The split screen work was very smart for 1926! Dad Rudy putting his arm around Son Rudy -- an obvious splice but still well done.

Five Star Final (1931)

starring Edward G Robinson and Aline MacMahon

Another great early talkie; feels like one of Warner Bros. hard-boiled stories. It's hard to pick one person out for their performance -- the entire cast is excellent: Edward G Robinson plays his character perfectly; tough, hard-to-crack, but eventually with that heart of gold within. Aline MacMahon is perfectly disillusioned and brittle. H B Warner is absolutely heartbreaking, and to tell you more would be to give away the plot, but he will stay with you even after the movie is over. Boris Karloff has a small but pivotal role suited to his ability with creepiness.
• I have a crush on Polly Walters (the telephone operator). LOL See how many pre-Codes she turns up in!

and last but not least...

The Wild Party (1929)

starring Clara Bow and Fredric March

Now I'm sure you all think that I liked this so much purely because of Clara. Well, you're right. She never looked better -- all the little improv things she lends to a picture are at their more apparent (and adorable)! But that's not the only reason I liked it; for an early talkie, it is actually quite good...an entertaining plot with nice flow and movement, equal to late silents.
Fredric March plays his role well but seriously, making Clara and her merry band of college co-eds seem even more playful! They are a cute little bunch and their silliness will have you giggling, I promise!
• Look for the scene where March tells Bow to "shh" -- he sticks his finger in her mouth by accident, and Clara stifles a laugh. Only one of many unscripted moments that brighten the film.

Whew! That was a lot of movies, but thanks to the generosity of my friends (blows kisses) and my rickety VCR actually taping (gasp!), there will be lots more coming soon!

Seven Years Bad Luck (1921)

2011-06-29T06:53:00.000-07:00

*hic*

Max Linder, a groundbreaking early silent film star plays Max, a rich (and superstitious) playboy with no worries other than marrying his sweetheart (Alta Allen). Until he breaks his mirror, that is. Suddenly his life is consumed with avoiding the bad luck it's sure to bring him -- inviting loads of worse luck in the process!

Early in the movie, Max's valet (Ralph McCullough) tries to keep the broken mirror a secret, and when Max comes to get ready...they launch into an absolutely brilliant mirror-image sequence. You thought the Marx Brothers were good? Linder and McCullough mimic each other so perfectly, you forget it's two actors.

After seeing that, I had high hopes for this picture; but, while Linder was immensely talented - Chaplin himself called him "Professor" - something was missing for me. The gags are there, and they're funny, but I found it lacking a charm and warmth I've come to expect from Chaplin, Keaton, or Lloyd. (Not having seen a great deal of Chase or Langdon, I reserve opinion on them for another time.) Even the ending, albeit sweet, seemed empty.

Linder's career never took off in the US, but I can see sparks of why he was so immensely popular in Europe, and even though I wasn't thrilled with this picture, I would seek him out again. His daughter Maud produced a documentary, "The Man in the Silk Hat", that contains many clips of his work and would be worth tracking down.

I give this one (I had to use Frizotto!):

An Eastern Westerner (1920)

2011-06-22T06:07:00.000-07:00

*gulp*

What a fantastic little short this was! Harold Lloyd is The Boy (who else?), sent to his uncle’s ranch by his father to toughen up and stop his irresponsible playboy ways. Upon his arrival he’s greeted by two people: Tiger Lip Tompkins (Noah Young), rough and tumble leader of the local gang, and The Girl (Mildred Davis), whose father is being held hostage by Tompkins until she agrees to marry him. The Boy is instantly smitten, and jumps in to help her against Tompkins and his Masked Angels – even though he has no chance against them. Or does he?

Never has Lloyd’s “can-do” aesthetic been as clear as in this short! Young is genuinely scary and violent, and our hero must rely on the one thing city living has given him: sharp wits. Will he save the day (and the lovely Davis)? Not without a breakneck chase scene! My favorite part, though, was the poker game. Oh, and the very last thing The Boy does. Sweet.

It’s fun and fast, and Lloyd is at his best – keep in mind, too, that this was made right after the accident that blew off his right thumb and index finger; I defy anyone to see a difference in his stunts. Amazing!

I give this one:

Old San Francisco (1927)

2011-06-10T05:52:00.000-07:00

That's right, boys. I'm ready for stabby times.

This picture follows the aristocratic Vasquez family from its first settlement in San Francisco to its threatened demise. Dolores Costello is Dolores, the lovely granddaughter of Don Hernandez de Vasquez (Josef Swickard), and the apple of her grandfather’s eye. Money-hungry speculators try to take away the old man’s rancho – home to the family he once protected and avenged through murder – but the young one, Terrence O’Shaughnessy (Charles Emmett Mack), is smitten with Senorita Dolores and refuses to play along. This drives the older of the two back to his partner, Chris Buckwell (Warner Oland), leader of the Asian underworld, for assistance. Will Dolores be able to defend her family’s honor against such criminals? Or will she be able to count on help from Terrence, the Lord, and some old-fashioned luck?

I have to give Costello credit here. I know in the past I’ve been a little rough on her acting ability, and for the first part of the picture it looked like she was going to offer more of the same: teary gazes to the rest of the cast, a confused little bird. However, when the main point of the plot kicks in – and it’s time for Dolores the character to take over as head of her family – Dolores the actress grows strong, emotional, dare I say…good?! Her lovely eyes flash and she becomes Joan of Arc, fierce and powerful in the face of her enemies.

Oland does his best with (unfortunately) another yellowface role, complete with hidden Mongolian temple in the basement. He manages to imbue some humanity into what is basically racist caricature. The same must be said for Anna May Wong, Oland’s partner and “a flower of the Orient”. Even though her role is small (and typical), she still commands the screen with her ferocity and great physical beauty.

One of my favorite things about the picture, though, is a peripheral character: Chang Loo, the dwarf brother of Chris Buckwell (Oland), played by the great Angelo Rossitto. His lines are few, but spoken with proper vitriol towards his cruel brother (who keeps him in a cage. I am not making this up.) When Buckwell meets his fate towards the end of the film, Chang Loo gleefully steps on his head climbing over rubble – ah, karma. Rossitto was discovered by John Barrymore, and was very much in demand – working steadily from his first film in the late 20s until his death in 1991. He’s known best for his role in “Freaks” or as Master Blaster from “Mad Max Beyond Thunderdome”.

A note about the earthquake sequence: don’t hold your breath. The special effects are only passable, even for the time.

I give this one:

As always, Chris Edwards' review deserves a mention -- you can check it out here, at Silent Volume.

The Doorway to Hell (1930)

2011-06-02T05:30:00.000-07:00

See? I can be tough too, baby.

Lew Ayres plays Louie Ricarno, crime kingpin who organizes the various gangs into one syndicate, then “quits the racket” to rest on his laurels and enjoy his new wife (Dorothy Mathews). All is not as agreeable as it seems, and as soon as Louie is gone, warfare breaks out. Best pal and right-hand man Mileaway (Jimmy Cagney, in his second movie role) does his best to keep the peace but eventually the mob lures Ricarno back through a twist with his beloved little brother Jackie (a young Leon Janney).

Interesting early talkie that suffers from poor casting: it’s obvious to even the most casual film buff that Ayres and Cagney’s roles should’ve been reversed. Ayres does a commendable job, but is a bit too pretty, a bit too gentle. He doesn’t have the coiled menace that Cagney has, the sense of danger that’s just behind everything he says or does. You can’t believe “the boys” would be afraid of him. Mileaway, now, there’s someone I wouldn’t cross. (William Wellman thought the same thing – Jimmy’s performance here got him his breakout role in The Public Enemy.)

The Doorway to Hell is slow and ponderous in spots, and needlessly wordy (Hollywood was still in love with the sound of its own voice), but it has its moments – especially those involving Jackie. Cagney is, as always, electric anytime he’s on screen, and Ayres deserves credit for a genuinely moving ending.

I give this one:

Just a Gigolo (1931)

2011-05-06T11:00:00.000-07:00

"Nothing says love like false identity!"

Billy Haines once again plays it devil-may-care in this disposable romantic comedy. He’s still charming as Lord Bobby Brummell, a playboy and eternal bachelor who has little faith in women’s virtue. When Lord George Hampton, his aristocrat uncle (played with proper bluster by C Aubrey Smith) purports to arrange a marriage between Bobby and a Roxy Hartley, a friend’s daughter (the lovely and birdlike Irene Purcell), he balks – then decides to pose as a gigolo in order to trick Roxy into indiscretion, therefore proving his theory correct. Of course, nothing goes as planned, and Brummell finds himself falling for Hartley despite himself. How will this end? Will Roxy discover Bobby’s plan?

Haines is a bit long in the tooth to be playing the young, impetuous nephew, but he does so with his usual mischievous humor, and he and Purcell have an oddly pleasing chemistry together. Charlotte Granville is appropriately grand as Lady Jane Hartley, Roxy’s mother (and defender of her purity). The plot has some fun, racy dialogue, and goes south towards the end – are we to truly believe Bobby wouldn’t have taken advantage of Roxy in that situation? – but is otherwise like a cup of coffee from the corner deli: light and sweet and nothing to write home about. Keep an eye out for Lilian Bond and Yola d’Avril in small but pivotal parts, and a ridiculously young Ray Milland hiding amongst the cast.

I give this one:

Blonde Crazy (1931)

2011-04-20T05:49:00.000-07:00

Welcome! It's time for Cooking with Flappers and Flickers! Today's recipe:

Pre-Code Perfection

Aprons on? Okay, let's begin. Take one wiry, winsome tough guy, who knows all the angles (and loves all the curves)...

...then add one big-eyed beauty with a smart mouth (and a slap to match)...

Mix well with a snappy plot, witty dialogue and fast-paced direction. Set on HIGH for 79 minutes, and you will get:

Man, do those two have chemistry! I can see why they were paired up so often. They make the most of a crackling script about the sordid life of con men. It's sharp, it's funny, and although a sappy ending robs it of some of its steam, it's still a textbook example of what makes Blondell, Cagney, and early 30s movies so great. I had so much fun with this one! Highly recommended.

I give this one:

The Poor Little Rich Girl (1917)

2011-04-14T06:08:00.000-07:00

To watch Mary Pickford is to be instantly taken by her. You enter a world where it is perfectly feasible for a 24-year-old to play a child, and what's more -- she's more charmingly childlike than the actual children in the film.

In one of her best-loved roles, Pickford plays Gwendolyn, the girl with everything anyone could ever want...except love and companionship. She longingly gazes at the children playing outside and struggles for the attentions of her Wall Street father and social butterfly mother. Gwen gets herself in more than one scrape, but always her cheery innocence saves her from real trouble. When difficulties befall the family - and a desperate situation threatens Gwen - will they be able to pull together and learn to treasure what really matters?

It's a Pickford picture, so you can probaby guess the answer.

The film never tries to be anything but a sweet little melodrama, and this honesty of approach seems almost fresh through the veil of ninety years. Sure, it's treacly ("why do my to-morrows never come?") but due to its simplicity, it works.

Amazingly, this was my first time watching Mary in her prime; previously I'd only seen her in Coquette (not the best way to start). I now can see why she was America's Sweetheart. Her eyes, her smile, every move of her hand is magic. Like Clara Bow, she commands the screen, but in a gentle, less kinetic way (even through some very cute foot-stomping tantrums). I am very much looking forward to the rest of her early work.

I give this one:

Chris Edwards of the sublime Silent Volume reviewed this, too. Read it here.

You can help Japan over on Silent Stanzas

2011-03-18T05:50:00.000-07:00

This week's poem over on Silent Stanzas is part of the Japanese Cinema Blogathon, hosted by JapanCinema and CinemaFanatic, to aid the victims of the recent devastation in Japan.

Silent Stanzas: Sessue Hayakawa

If you would like to donate, you can either click the link at the end of the post, or the one I'm posting here. They need every bit of our help. Thank you.

Dr Jekyll and Mr Hyde (1920)

2011-03-16T06:54:00.000-07:00

"You come here often?"

I'd heard good things about this picture for awhile now. You already know the story: Dr Jekyll invents a potion that enables man to be split into two separate entities, one wholly good, one entirely evil. Combine that with John Barrymore (and you all know what a fan of Jack I am), and, well...I was a little disappointed that I didn't enjoy the picture more than I did! I found it stagy and stilted, even (dare I say it?) boring in some places. There were, however, two bright spots: the famous Barrymore transformation scene(s), and Nita Naldi, as the dancer in whom the terrible Hyde indulges his lust.

Many people have written about the moment Dr Jekyll becomes Mr Hyde, and with good reason; when Jack takes the potion, without any help from special effects, he becomes another person. He thrashes, he tears at his clothes and hair, and a sinister aspect settles over him like a cloak, right in front of your eyes. In this age of CGI, it's nothing short of miraculous, and fascinating to watch. (His transformation back to Jekyll is no less amazing, even with the small blooper of a prosthetic finger flying off.)

Nita Naldi, as Gina the Italian dancer, is not beautiful - not in the typical way of her time - but there is a sensuality about her; an earthiness that is very attractive, more so than the squeaky-clean and incredibly dull Millicent Carew (Martha Mansfield). Naldi is seductive. Her eyes hold carnal promises. It's not difficult to see how Jekyll was aroused by her, how Hyde desired her (and Barrymore, for that matter).

There are moments of tension and excitement, and the rest of the cast plays amicably, but for the most part, excepting the aforementioned bright spots, it was mediocre for me.

I give this one:

Happy Birthday Harlean!

2011-03-03T05:57:00.000-08:00

Today is Jean Harlow's 100th birthday, and I'm taking a moment to plug my contribution to The Jean Harlow Blogathon! You can read my entry over on Silent Stanzas:

http://silentstanzas.blogspot.com/2011/03/for-harlean.html

When you're done, go hop by The Kitty Packard Pictorial and read all the other terrific classic blogs participating. There are some fabulous posts there - and more coming, so check back often!

Gilbert-o-Rama #5: Desert Nights (1929)

2011-02-04T11:12:00.000-08:00

Ah, Jack, how we've missed thee!

"The diamonds are mine...and you'll be mine when I want you."

When this film was released, in 1929, the world had already been taken over by talkies, and as such, Jack Gilbert's last silent was instantly regarded as outdated. Jeanine Basinger recounts in Silent Stars that most reviews consisted of "No Dialogue!" It's a damn shame because this is one of the most spirited and fun of Jack's films. The storyline is simple: thieves (Ernest Torrence and Mary Nolan), posing as visiting arisocrats, kidnap the manager of a diamond mine (Gilbert) and take him along as hostage. Deep into their trek through the desert, they realize they are lost and out of water - and suddenly are dependant upon their hostage to show them the way to survival.

Jack plays it to the hilt in this picture, and I don't believe he ever looked better: virile, devil-may-care, a downright handsome and amusing bastard. When he gazes at Mary Nolan he practically devours her with his eyes. For her own part, Nolan is a lovely and amiable costar - and quite beautiful; if you know nothing of her backstory, it's definitely worth a read. Ernest Torrence is the rock of so many silent movies - his performance is solid and downright menacing at times.

Desert Nights (also known as Thirst) is a briskly paced picture with a satisfying (if expected) ending, and I definitely recommend catching it. This kind of work is what Jack deserves to be remembered for, not the disaster that followed (His Glorious Night was looming on the horizon).

I give this one:

Intolerance (1916)

2011-01-11T12:47:00.000-08:00

Happy New Year everyone! It's time we get back in the swing of things, and what better to start with than one of Griffith's epics?

First, a disclaimer: I've never seen Birth of a Nation. Now I know what you're thinking: "Jen, how can you call yourself a film buff - a silent film buff - and still not have this one under your belt?" My reply would be "My good reader, I don't wear belts."

*ba-dum ching*

This was my introduction to the world of Griffith, and I enjoyed it for the most part; the main drawback for me was the film's length. I found myself on the edge of my seat for the Babylonian and Modern Day sequences, but when the French Renaissance sections came on I was - to be blunt - bored out of my skull. I realize how each part was necessary to tell his story in whole, but I can't help but feel Griffith could've left out the French part entirely and still have had a wonderful film. Having said that, Intolerance is beautifully shot, with an ageless story to tell, punctuated by Lillian Gish's endless rocking.

I also discovered the revelation that is Mae Marsh. I have rarely seen - especially in a picture this early on - someone with such natural skill. She becomes the Dear One: innocently effervescent, then heartrendingly sad; a quiet, gentle soul who becomes the fires of Hell itself when her child is threatened. Her scenes with Bobby Harron are so frank and intimate you almost forget it's a movie.

Constance Talmadge is the Mountain Girl, and I don't think I've cheered that hard for someone in a long time. Her tough and spunky portrayal rescues the Babylonian story from being a one-dimensional condemnation of decadence.

Definitely see this one - it is considered a masterpiece, and for good reason. Now if you'll excuse me, I'm off to buy a belt.

I give this one:

Belated Holiday Wishes

2010-12-28T07:47:00.000-08:00

Colleen is ready for the weather.

It hit me on Christmas Night that I'd neglected to wish all my readers a very happy holiday! My apologies and I hope you had a lovely one!

Did any of you get socked by the blizzard? We're still trying to dig out the house!

My labor of love gets a mention!

2010-12-21T11:40:00.000-08:00

Silent Stanzas, the silent film poetry blog I write, has gotten a mention from both the Louise Brooks Society (wow!) and The Kid in the Front Row.

You can read the posts here:

Louise Brooks Society - http://louisebrookssociety.blogspot.com/2010/12/stanzas-about-louise-brooks.html

The Kid in the Front Row - http://www.kidinthefrontrow.com/2010/12/jingle-blogs.html

Cool!

One Week (1920)

2010-11-30T07:35:00.000-08:00

(Where's Bob Vila when you need him?)

You all know how fond I am of Buster Keaton, so I'll do my best to be objective.

Yeah, right. ;)

This was a clever, adorable, and thoroughly enjoyable short film - Keaton's first to be released without Roscoe Arbuckle. In it, he plays a newlywed trying to set up house (and failing miserably). He's supported by Sybil Seely as his new bride. Seely does a fine job with Buster, keeping up with the fast-paced gags (even the scary ones!) and even injecting her own vivacity into the story. Not an easy feat when you're opposite a genius (and a house that's trying to kill you!). She's quite pretty, too; I suspect quite a few men in the audience got a thrill out of the bath scene. Oh, and the stunts! The stunts alone are nothing short of amazing!

One would be hard-pressed to give much of Keaton's work a bad review...but this short, especially, is a lot of fun and highly recommended.

I give this one:

Happy Thanksgiving!

2010-11-24T08:57:00.001-08:00

All those who celebrate it: have a lovely holiday, filled with many blessings. ^_^

Oh the humanity!

2010-11-11T06:59:00.000-08:00

I had a plan.

I was going to watch M last night, and review it for you bright and lovely folks.

My rickety old VCR had other ideas.

Ones involving wavy lines. Lots and lots of wavy lines. And snow.

More reviews coming as soon as I get my fist out of the videotape slot.

The Man Who Laughs (1928)

2010-10-28T07:50:00.000-07:00

He's such a joker.*

I had the great fortune to catch this on the big screen, with the wonderful Ben Model accompanying on the Mighty Miditzer. Before I even get into the film I have to give Ben accolades - he never fails to give his all and treat us to a masterful performance. Well done!

Now, onto the picture...

Conrad Veidt is Gwynplaine, the son of a disgraced nobleman disfigured by decree of King James II in retribution. After his father's death, Gwynplaine is abandoned, doomed to wander the snowbound countryside...until he finds an infant nestled in her dead mother's arms. Gwynplaine takes the child and eventually finds the home of Ursus, who takes both of them in and discovers the infant is blind.

Years pass and both Gwynplaine and Dea (the blind infant, now played by Mary Philbin) are now part of a traveling showm run by Ursus, centering around Gwynplaine's horrific visage. This upsets him afresh every night, because he is in love with the beautiful and kind Dea, but will not marry her, refusing to burden her with his horror. One day they play at a fair near the Royal Court, and the Queen's jester discovers that The Man Who Laughs is actually the son of a nobleman. Only problem is, his rightful inheritance is now owned by Duchess Josiana (an almost unrecognizable Olga Baclanova). Queen Anne decides Gwynplaine must marry the Duchess in order to restore things to propriety.

Does Gwynplaine actually marry the Duchess, a highly sensual woman simultaneously aroused and digusted by his face? Does he stay with the angelic Dea, who loves him regardless of his appearance? Or does something else happen entirely? You'll have to watch the film and see.

Veidt is heartbreaking as The Man Who Laughs, managing to move the audience with a variety of emotions - all while his face is contorted into a perpetual smile. His anguish is palpable and at times it is difficult to look into his eyes (shades of Chaney, who was unable to star due to contractual obligations). Philbin has one or two instances where she does a fine job, particularly when in pain over Gwynplaine, but otherwise spends most of the role looking lovely (and rather like Mary Pickford, in my opinion). The picture itself was stretched a little long in spots - I felt that most of the action at court could've been condensed without affecting the story or it's outcome. Otherwise, a very good film. And three cheers for Homo the Wolf!

I give this one:

*"The Man Who Laughs" was indeed noted as one of the inspirations for The Joker. You can read an interesting blog entry about it here.

False Starts and Funnymen

2010-10-04T10:43:00.000-07:00

Wake up, Buster! Today's your birthday!

I had intended to do a review of Jack's Make Way for a Sailor, but I got about three minutes into it and had to switch it off. I remain valiant, however, and will try again, have no fear!

Gilbert-O-Rama #4: Flesh and the Devil (1926)

2010-09-21T06:56:00.000-07:00

Ulrich von Eltz (Lars Hanson) and Leo von Harden (John Gilbert) are lifelong best friends serving in the army together. At the station during leave, Leo sees Felicitas (Greta Garbo), and it's love at first sight. Unfortunately, her husband discovers their budding romance, and after Leo kills Felicitas' husband in the resulting duel, he is sent away to Africa for five years. He asks Ulrich to please watch over her while he's away (you see where this is heading). Without giving away the rest of the plot, suffice it to say their friendship is torn apart...but something towards the end of the film changes everything.

You have to see this film. Yes, it has a good story, and the entire cast does a fantastic job (including Barbara Kent as Hertha, Ulrich's little sister who is hopelessly in love with Leo), but the main reason to watch it? Jack and Garbo. Both are absolutely gorgeous in this film, and when in each others' embrace...WOW. I always doubted it before, but now, after seeing it for myself...you can see the explosive chemistry between them. Especially Jack - he looks positively bewitched by Garbo. They were NOT acting. Jesus, that scene in the garden with the cigarette was one of the sexiest things I've ever seen in my life.

I give this one:

Hoop-La (1933)

2010-09-15T12:15:00.000-07:00

The plot is simple: Lou (Clara Bow) is a cooch dancer who takes a bet: if she get the barker's naive and innocent son Chris (Richard Cromwell) to fall in love with her, she'll earn $100 from Carrie (Minna Gombel), a fellow performer furious at the barker (Preston Foster) for choosing said son's welfare over their relationship. Along the way, Lou finds herself actually falling in love with Chris, and must deal with the resulting fury from his father, but she eventually proves herself worthy of his son's love. (An interesting aside: this is a remake of 1928's The Barker, which earned Betty Compson an Oscar nomination.)

A predictable yet fun film, with affable characters (if not a little one-dimensional - Cromwell gives off the impression that he had a head injury as a kid); but its highlight was the new, hard-boiled Clara. I could see her fitting in beautifully with the fast-paced gangster films of the 1930s. Closeups reveal her to be as lovely as ever, and that she still had the vivacious charm and heart-stopping gaze that made her such a success in silents. The extra half in my review is purely for her performance.

I give this one:

I must thank the generous Bill Cramer of The Clara Bow Page for providing me with a copy of this picture. If you click the link, you can read his reviews of both "Hoop-La" and "Call Her Savage".

Gilbert-O-Rama #3: Gentleman's Fate (1931)

2010-09-15T08:17:00.000-07:00

An MGM film that almost feels like a Poverty Row production, spare and dingy. Jack plays Jack Thomas, a man seemingly on top of the world - he has money, he has a lovely fiancee (Leila Hyams) - until one day he receives word that his father (he thought himself an orphan) is dying and wants to see him. Dad reveals on his deathbed that Jack is really Giacomo Tomasulo, part of a bootlegging family, and his brother Frank (a very good performance by Louis Wolheim, who sadly died before the film's release) wants him in the business. There is genuine pathos as Jack fights with the two selves he's forced to become - ironically, Gilbert's best scenes are the ones in which his character is intoxicated. Good acting all around, with a slight but pleasant performance by Anita Page (as the girlfriend of a key character) and some comic relief from the always adorable Marie Prevost (I wish they didn't make her eat all the time, though). It's one of Jack's lesser shown pictures, and at times it's a jumbled mess, but one that deserves more attention - for his emotional performance.

I give this one:

Note: You can find another great review of this film at Jenny the Nipper's terrific blog Cinema OCD.

Gilbert-O-Rama #2: He Who Gets Slapped (1924)

2010-09-13T08:37:00.000-07:00

"What is Death? What is Life? What is Love?"

I can't remember who said (if it was you, please tell me!) that Victor Sjöström was the forerunner to Ingmar Bergman, but boy were they spot on. This is a surreal, sadistic, dreamlike film about Paul Beaumont (Lon Chaney), an inventor who is wronged by both his mentor and wife, and becomes a clown to wallow in his cynicism and torture - "HE", who relives his betrayal and is slapped every night. There is only one bright spot in his new life: Consuelo (Norma Shearer), the beautiful new bareback rider, who unbeknownst to her is being sold by her horrendous father to the highest bidder (a man with whom "HE" is quite familiar). Bezano (Jack Gilbert) is the daredevil rider and the man Consuelo falls in love with, and with whom, after much sorrow, "HE" is dead set on saving Consuelo from a cruel fate.

Lon Chaney is one of my favorite actors, and becomes more wonderful with each film. Even though this could easily become a syrupy melodrama, he makes it work with heartbreaking intensity. You can feel the knife's edge he walks on, between madness and pain. The scenes with Shearer are particularly touching, with Chaney doing what he does best - loving from afar. Other scenes are nightmarish, with deliberate overcranking enhancing the terror; you are trapped in the automaton of Beaumont's broken dreams. An absolutely fantastic and highly recommended film.

I give this one:

Gilbert-O-Rama #1: The Busher (1919)

2010-09-13T06:44:00.000-07:00

A sweet little film, but one that couldn't hold my attention. It's a shame, because Charles Ray gives a lovely performance as Ben Harding, small-town boy with a big talent for baseball who, through twists and turns, gets the opportunity to show the big leagues what he's got. Colleen Moore is charming as Maizie, whom he loves but must compete for with a more self-assured Jim Blair (Jack Gilbert). The story is rather predictable - country mouse goes to the city and is corrupted; will he be able to get back to himself again in time to help win the big game?

I enjoyed the scenes at the box social; a glimpse into a simpler time peppered with the same complex emotions of love and loss. Not a bad movie by any means, but it fails to keep the steam with which it begins, and even with the exciting (yet expected) ending, I felt disconnected, even a bit bored.

I give this one:

For a much more astute and in-depth review, hop on over to Chris Edwards' blog Silent Volume, which you should follow (if you're not already).

Changing the Format

2010-09-10T13:12:00.000-07:00

When I watch these movies, I take notes. On actual paper. So when it comes time to review online, I have to wade through all my strange comments like "Jack is weird - mustache - lunch". This is why my reviews never seem to make it up. I have two Jack Gilberts and a Clara Bow in my notebook, which doesn't do any of you any good.

From now on I'm going to scribble less and blog more! Also, I need to come up with a basic symbol for my reviews, instead of getting a different object every time. What to pick? Aha, I've got it!

Because nothing says "classic film" like Clara Bow's disembodied head.

Next week: The Busher, He Who Gets Slapped, Gentleman's Fate, and Hoop-La.

Gilbert-O-Rama: Coming Soon!

2010-08-30T13:07:00.000-07:00

Thanks to the help of a generous friend, I now have a whole disc of John Gilbert movies just waiting to be ~~ripped apart~~ reviewed! Stay tuned...

A Lady of Chance (1928)

2010-08-17T11:48:00.000-07:00

(There is a sound version, with a smattering of dialogue added. My review is for the silent one.)

I'm starting to really like Norma Shearer! She comes across as very natural onscreen - and when she is a bit affected, she's cute and spunky enough that you don't mind. This, her last silent film, finds her as Dolly, aka Angel Face, a grifter who thinks she's found an easy mark in trusting country boy Steve Crandall (Johnny Mack Brown - who always does well in these "gosh-golly-gee" roles). Once she marries him, however, and makes her way back to his Southern "plantation", she finds herself falling in love with him despite things not being quite what she'd expected. When her old partners in crime, Brad and Gwen (a convincingly oily and smarmy Lowell Sherman, and the appropriately hard-boiled Gwen Lee) show up at Steve's home looking for a piece of the action, does Dolly admit her past - or let Steve be taken for everything he's got?

It's a funny, good-hearted film, with clever intertitles. Also: keep your eyes open for a silly little cameo by Polly Moran.

I give this one:

Blog Crossover

2010-08-12T12:06:00.000-07:00

Most of you know that I keep another blog, Silent Stanzas, where I write poetry about silent film stars. Last night, however, this popped into my head, and I thought I'd post it here.

nitrate soul

comedy

tragedy

needs to be cherished

images

memories

need to be loved...

or they

warp

and sour

and crumble

the

dark.

Their Own Desire (1929)

2010-08-05T11:39:00.000-07:00

Don't worry, Bob! I'll find your top hat if it's the last thing I do!

Usually I wince my way through early talkies; stilted dialogue and static direction makes them tough to sit through. Not this one - and it's all due to the amazing chemistry between Robert Montgomery and Norma Shearer (which you'll see again in When Ladies Meet, Strangers May Kiss and the excellent The Divorcee).

Lewis Stone plays Henry Marlett, a man having an affair and getting ready to leave his wife; when his daughter Lally (Shearer) finds out, she hardens her heart towards her father - and every man. That is, until she meets John (Montgomery) while on a trip with her mother. Are they meant for a life of romance? Or are there circumstances at work beyond their control?

Snappy dialogue, good performances by the entire cast (Shearer was nominated for an Academy Award - ultimately losing to herself in The Divorcee), and a surprisingly exciting mix of romance and drama take this little soaper above the norm for its era.

Plus, let's be honest. Early, devil-may-care Bob Montgomery is always a delight to watch. ;)

I give this one:

The Circus (1928)

2010-07-29T05:28:00.000-07:00

Now I'm firmly a Keaton fangirl, and while I acknowledge Chaplin's genius - and the brilliant contributions he's made to film - I always come away feeling that Charlie's being too self-indulgent, self-aware. So when a friend asked me to a showing of The Circus, I happily attended, but didn't expect too much.

I am so pleased I was wrong!

Maybe it was the energy of the crowd, maybe it was the novelty of seeing it on the big screen, but this was the funniest Chaplin movie I've ever seen. Just the right balance of sweetness (the Tramp's relationship with Myrna Kennedy, who was surprisingly good) and silliness (how the Tramp winds up in the circus in the first place) - and the tightrope scene towards the end had me in tears.

So Charlie, I'm giving you another go 'round. Thanks for making my evening such a blast!

I give this one:

A much more thorough (and eloquent) review can be found at Chris Edwards' terrific blog, Silent Volume.

Walking Back (1928)

2010-07-28T08:42:00.000-07:00

Oh those crazy modern sheiks and shebas!

This movie was SO much fun! Rife with slang and pop culture references, it tells the story of "Smoke" Thatcher (Richard Walling) and his jazz baby girlfriend, Patsy Schuyler (Sue Carol) as they live it up as teens in the Roaring Twenties. Yes, there's a plot: Smoke steals a car and plays demolition derby with another boy to impress Patsy - entangling the two in gangster imbroglio when they stop by the shop to get it fixed.

The main tone of the film, however, is teens vs. parents. It's a 1920s John Hughes movie, complete with hopelessly old-fashioned parents (including Florence Turner as Patsy's mother) and fast-talking smart aleck kids. Richard Walling is good, but information on him is scarce; he only went on to make two other pictures. Sue Carol is a Clara Bow type, the cuddly flapper spitfire, and she plays her well. ~~She even resembles early Clara:~~ Never mind. Those pictures were both Sue Carol. She resembles...herself. *facepalm*

A light-hearted (and, towards the end, exciting) time capsule you can't help but enjoy.

I give this one:

The Eagle (1925)

2010-07-27T08:56:00.000-07:00

Hello, my name is Vladimir Dubrovsky.
You have wronged my father; prepare to die!

Lieutenant Dubrovsky (Valentino) deserts his military post (both breaking and infuriating the Czarina's heart in the process) in order to exact revenge on the man who has ruined his family; he maneuvers his way into the enemy's household, only to fall for his daughter (Vilma Banky). Is love strong enough to override vengeance?

This was a mediocre, but pleasant little romantic drama, with nods to swashbuckling adventure and some wonderful tongue-in-cheek moments. Valentino is handsome - almost leonine; Banky is lovely and her acting is capable. Her beauty at times is almost startling (the nightgown scene in particular). Another bright spot is Louise Dresser as the Czarina - she plays the role with just the right amount of self-aware grandeur.

It's a shame that Valentino didn't get a chance to do more comedy - he is certainly adept at it! My favorite parts of the picture were these little flashes of humor: his facial expressions when the ring gets stuck...the soup scene...and the thorough job he does at massage. Too funny!

I give this one:

The Marines Are Coming (1934)

2010-07-21T13:07:00.000-07:00

"He spank me. I liked it!"

Billy is up to his old tricks in this one, stealing the fiancee of the Captain (Conrad Nagel); he seems a bit mature (I'm trying to be kind here) for the role of young upstart. He is amazing to watch, though - I stand by my assessment that he's the Robin Williams of the 20s/30s. Frenetic, hyper, and always intensely likeable.

I didn't want to like Armida as much as I did. She plays a broad, stereotypical "Mexican spitfire" character, deeply in love with Wild Bill Traylor (Haines) and as ready to throw a punch as give a kiss. Her charisma won me over; so tiny, yet so beautiful - and explosive!

Esther Ralston (as the fiancee) is beautiful as always, and does well against Billy's nonstop energy, though she loses some credibility by going from Nagel to Haines like she's changing socks. Why do so many movies of this period portray women as being content to love whomever is directly in front of them?

The end of the picture gives us William Haines, action hero, as he must rescue the captain from guerillas who have kidnapped him. He does some shooting, socks a few folks in the nose; it's kinda cute to watch. You get the sense that they really wanted to hit you over the head with Billy's virility (he's strong, he's tough, and a stud with the ladies!).

Edgar Kennedy does his usual comedic turn, this time as Haines' manservant "Buck". I will say nothing except this: did we really need to see the cough test?

The picture was goofy, sloppy, and Haines' last gasp of youth is palpable (this was his last film). Still enjoyable though. I give this one:

Gigolettes of Paris (1933)

2010-07-13T08:27:00.000-07:00

Madge Bellamy plays Suzanne, a woman whose trust is destroyed when her Count fiance (Theodore von Eltz) breaks their engagement, only to give her ring to another woman (Natalie Moorhead). Shattered, she becomes a "gigolette" and with the help of her friends (Gilbert Roland and Molly O'Day) is determined to get back her ring - and get revenge on the Count.

This is an Equitable Production and it shows; the sets are below-par, the costumes awful (Madge Bellamy's dresses didn't even fit), and the background music used in the club scenes is insufferably repetitive.

The film itself is marred by Madge Bellamy's poor performance. I hate to say it but - at least in this picture - she was a really bad actress. Gilbert Roland and Natalie Moorhead were good, but the former looked incredibly old and tired. How can this be the same man who made Call Her Savage just a year before? (They wanted us to believe he was 26!)

Every film has its bright spot, and for me it was Molly O'Day. Salty and sweet, she reminded me of Marie Prevost in Three Wise Girls. And what an interesting face! She injected some much-needed comedy and for her I am grateful.

I give this one:

The Greeks Had a Word for Them (1932)

2010-07-13T07:16:00.000-07:00

Thanks to a trip to Big Lots, where all the cool kids get their toilet paper and sandwich bags, I found an old AMC box set for $5 - sweet! So without further ado, let's get reviewin'.

My copy was the reissue print, since it was named:

Maybe I'm a little wonky, but I found this film confusing. The plot is slim - working girls "working men", as the early title says - but there's so many ins and outs and interrelationships that it comes off disjointed and silly. The real reason to watch this is to revel in the beauty of the three leads, especially Joan Blondell, and the occasional smart wisecrack. The best part was the comic mass confusion at the end, involving the Three Musketeers (as they are referred to) and a wedding. It sparkles with humor, which is sadly missing in the rest of the picture.

Pretty to look at, but lacking enough substance to arouse interest for long.

I give this one:

Our First Year Here, Too!

2010-07-02T08:54:00.000-07:00

Picture Snatcher (1933)

2010-07-01T07:17:00.000-07:00

Any film that starts with Cagney in a lavender bath is gonna be good.

Fun, speedy little picture, starring our bathing beauty as Danny, a ne'er-do-well gangster ready to "make good", and Ralph Bellamy as McLean, the editor who gives him that chance - little knowing what was in store. You can take the man out of the business, but you can't take the business out of the man: Cagney states that his camera "works just like a gun, trigger and all". (Uh oh.) Alice White is the love interest here, and I remember reading she was being marketed as the new Clara Bow (who was breaking down by this time); she's cute, and appropriately vivacious, but she's no Clara. Patricia Ellis plays the "good girl", the one for which Cagney wants to better himself, and she does so with aplomb.

Quick-thinking, fast-talking (this was early 30s Warner Bros after all), tense and exciting and smarmy as hell. A moment of sweetness amongst the grit: watch Cagney towards the end, when he's alone in the apartment. He fills this brief wordless scene with such beauty of movement it's almost like dance.

For those confused by the movie's last line, it's "vass you dere, Charlie?", a catchphrase from a popular radio show of the time. James Lileks goes into detail about it in his review, which is much better (and funnier) than mine.

Highly recommended.

I give this one:

Captain Salvation (1927)

2010-06-17T08:21:00.000-07:00

A touching, spiritual little picture about Anson Campbell, a young man (Lars Hanson) studying to be a parson, and how no good deed - in this case, a helping hand towards a fallen woman (played with great fervour by Pauline Starke) - goes unpunished. Anson suffers through many Christlike trials while trying to protect Bess Morgan (Starke) and still hold onto the love of his sweetheart Mary Phillips (the lovely Marceline Day). Hanson does an admirable job; his turn as a crazed man in the second half of the film is terrific. Wonderful supporting cast including Ernest Torrence and Flora Finch. A little heavy-handed in the morality department (as you might expect), but still an all-round good picture that you wind up carrying with you for a while after it ends.

I give this one:

Silent Gems Found! (reposted from Silent Stanzas)

2010-06-07T12:37:00.000-07:00

Clara can hardly contain her excitement!

Yet another treasure trove of silent films has been discovered! This group of seventy-five(!) comes from New Zealand, and includes Clara's early film "Maytime" as well as work by John Ford, Mabel Normand, and others!
Click the below link to get the full story. This is such an exciting time to be a silent film fan!

Silent Films Found - The San Francisco Silent Film Festival Blog

More reviews coming soon, I promise. Things have been hectic in the Avalon abode!

HOORAY!

2010-05-13T12:38:00.000-07:00

Sue's ready to celebrate!

As of today, Flappers & Flickers has FIFTY followers!

Thanks to everyone for continuing to read my ~~drivel~~ astute and interesting reviews!

When a Man Loves (1927)

2010-05-13T10:10:00.000-07:00

This picture was actually like two movies stuck together. The first half, concerning one of the oldest love triangles: man, woman, and Church. John Barrymore plays Fabian, a young man studying to be a priest, who falls for the beautiful Manon (Dolores Costello) and begins to question his commitment to religion. Meanwhile, Manon’s evil brother (Warner Oland) gambles her away to a rich and terrible man (Sam de Grasse)…Fabian cannot stand to watch her resigned to such a fate, and runs away with her.

Foppish Jack Barrymore.

Then everything gets dopey for a little while. Also, Louis XV gets involved.

Le King did not play himself.

Second half of the picture doesn’t really start until the big showdown between Fabian and the King. I’m not going to give that part away – but trust me, this is where the movie suddenly becomes an exciting swashbuckler a la Don Juan. If you can get through the first half, with all the typical melodramatic lovemaking and Dolores Costello exploring the range of her acting abilities (mostly squinting and resembling a fainting goat), it’ll be worth it. Best part is in the hold with the criminals. Only Jack could play a character half out of his mind and still give him sex appeal. Also, keep an eye out for a young and unknown Myrna Loy as a woman of ill repute - blink and you'll miss her.

A still of Miss Costello from the film.

An interesting bit at the end: the Vitaphone Orchestra taking a bow. I loved that and can’t wait to see if any other pictures include it!

Silent Film Slur of the Day: “degenerate breed of mangy dungeon rats”

I give this one:

The LAMMY Awards!

2010-04-22T12:48:00.000-07:00

Those of you who are involved with LAMB - put in a vote for your favorite movie blog! (That's Flappers & Flickers, by the way. *wink*)

Vote here!

Queen Christina (1933)

2010-04-21T12:17:00.000-07:00

Garbo stars in this provocative and very likeable film loosely based on the life of Queen Christina of Sweden. Christina was never cut out to be a proper woman, and lived most of her life as men did in her time; her clothes were rough, but her intellect was sharp, and she made no apologies for doing things her way. Her father, King Gustavus, insisted that she be reared as a "prince", and his death brought her to the throne as the "Girl King".

In time-tested Hollywood fashion, the fascinating life of the real Queen Christina is changed, creating a love interest who moves her enough to abdicate the throne. In reality, she abdicates due to a desire to study her secret Catholic beliefs more fully. Most of the film veers off course from this point, tailoring history to serve the bedroom-eyed Garbo and her lover, the affable and breezy John Gilbert. She specifically requested Gilbert for this movie, and he does not disappoint. I've said it before and I'll say it again, the fact that his career crashed and burned is one of the sorrows of cinema.

The first half of Queen Christina is rife with lines and moments that could only have been realized in a pre-Code. Garbo is the perfect actress for this gender-bending role, dashing off lines like this with believeable intensity and ardor:

Chancellor: But, your Majesty, you cannot die an old maid!

Queen Christina: I have no intention to, Chancellor. I shall die a bachelor!

The second half of the film follows a more traditional course of hearts and flowers and romance. But still, Garbo is strong, fiercely independent, to the last frame of the picture:

I give this one:

Coquette (1929)

2010-04-13T05:40:00.000-07:00

Hello and welcome to another episode of "How Much Can We Overact?" Today's contestant: little Mary Pickford!

Mary won the 1930 Academy Award for her performance, proving that the judges that year were heavily swayed and/or hitting the bathtub gin. She is terrible. Even if you take away the fact that it was her first talkie, and technology certainly wasn't up to par yet (everyone sounds like goats)...it was still an awful picture. Mary is almost a caricature of herself, overcompensating for the new format with ridiculously exaggerated facial expressions and movements. She hadn't learned "talkie" acting yet, and it shows badly. However, her costars fare no better - a very young Johnny Mack Brown, as her star-crossed love interest, is stilted and uncomfortable - and the plot itself presents Mary as a teenaged flirt, which is a bit of a stretch (though she does try her hardest). Also, what accent was that?!

Watch it for historical value, count how many times she purses her lips, and if you enjoy it more than I did, please let me know.

I give this one:

The Passion of Joan of Arc (1928)

2010-04-09T06:47:00.000-07:00

There is nothing I can say about this film that can express how phenomenal, how moving, how incredibly beautiful it is. Extremely ahead of its time, foreshadowing work by Fellini; Dreyer's use of almost constant closeups is unnerving and highly effective.

Renee Falconetti gives a raw and unearthly performance as the Maid of Orleans. This was her first and last role, and I can see why - it is emotionally destroying. Only the fact that I was watching this at home, with its ambient distractions, kept me from dissolving completely into anguish.

To say this is highly recommended is a massive understatement. Simply one of the best films ever made.

I give this one:

Adults Only Double Feature! - The Pace That Kills (1935) / Assassin of Youth (1937)

2010-03-30T08:52:00.000-07:00

The Pace That Kills aka Cocaine Fiends (1935)

Question for you: if the person giving you "headache powders" insists they must be snorted to work, wouldn't that raise, I don't know, RED FLAGS?!

Lois January (whose claim to fame these days is as Dorothy's manicurist, turning her frown into a smile) plays Jane Bradford, a naive small-town girl lured into the downward spiral of cocaine by a smooth-talking man (Noel Madison); her big-city brother Eddie (Dean Benton) is suffering the same fate at the hands of a beautiful girl (Sheila Manners). The picture gets weird, with a protracted nightclub scene featuring some dubious "talent":

Frank Collins, the Singing Waiter. Surprisingly, this was his only film credit.

It all goes to hell in a handbasket at the end, with the nogoodniks getting their due and Jane sacrificing her future in order for Eddie to have one again. There was one scene that made me sit up: a complete ripoff of Tallulah Bankhead's touching "leaving for the drugstore" from Faithless. Nice attempt to lend a bit of pathos to the story, but it just didn't work.

Scorecard: crime, drug use, violence, prostitution, sex, unwed pregnancy, suicide, bad nightclub acts

Six Degrees of Ten Nights in a Barroom: Sheila Manners

Assassin of Youth aka The Marihuana Menace aka Miss Gulch's Doppleganger (1937)

I was impressed by this one - it actually had a plot! Not a feasible one, mind you, but it's the thought that counts. Joan Barry (Luana Walters, who found work in mostly unbilled parts until she drank herself to death at age 50) plays a girl who must stay "good" in order to inherit her grandmother's fortune; she's faced at every turn by the dangers of her fast-living cohorts, namely Linda Clayton (Fay McKenzie), who is actively trying to knock Joan off her pedestal. Why? You'll have to watch the picture. Undercover ~~pedophile~~ reporter Art Brighton strives to steer her out of their clutches before it's too late.

The most fascinating part of the picture for me was discovering Fern Emmett. How in the world can there be another person that looks, sounds, and laughs exactly like Margaret Hamilton?! According to her page at Allmovie.com the resemblance was so close that even historians mistakenly lump their film credits together. It didn't help that Ms Emmett spent quite a few scenes putting around on a scooter, reminiscent of another Wizard of Oz moment:

Mommy, please leave the light on...

Scorecard: drug use, nudity, alcohol, violence, sex

Six Degrees of Ten Nights in a Barroom: Fern Emmett and Henry Roquemore, Emmett's real life husband

Upperworld (1934)

2010-03-26T10:21:00.000-07:00

I'd noticed this was on TCM and, not having seen many Warren William pictures, decided at the last minute to tape it. Last night I sat down to watch it while I worked on Silent Stanzas, and wound up scribbling notes for my review:

"Ginger is effervescent!"
"Drooling over the art deco!"
"Shake your Powder Puff!"

It started off as a rather lighthearted movie, going in the direction of so many pre-Codes: man is married, wife is neglectful, man finds consolation elsewhere - but then it took a sharp dramatic turn. Ginger Rogers is just right as Lily Linda, the "elsewhere" - bright and lovely but with that slightly hard edge. I was rather underwhelmed by Mary Astor, who spent the majority of the picture all but ignoring her husband and begrudging her son Tommy (Dickie Moore) for basically being a child; by the big apology/come-around at the end, I was indifferent.

Warren William, however...now I know why he has so many admirers. Even in a paint-by-numbers drama such as this, he exhibits such subtle control over his emotions...they play across his face like shadows, barely there and then gone. You feel each one as he does, and at the apex of the story, your heart aches for him - even though he's been less than virtuous.

My final note: "Andy Devine gives his girlfriend used lipsticks. Ew."

I give this one:

You like me, you really like me!

2010-03-25T12:16:00.000-07:00

Just got the word that both this blog and Silent Stanzas have been welcomed into the Classic Movie Blog Association! Thanks to Rick and all the other members that voted for me.

I'm also a member of the Large Association of Movie Blogs, so vote for me there as well!

Photoplay Online!

2010-03-18T07:03:00.000-07:00

Thanks to Leonard Maltin's recent blog post, I've been able to wade through Photoplay and Moving Picture World online at Internet Archive. It's just a taste of David Pierce's brilliant project, the Media History Digital Library. Go have a look!

Media History Digital Archive

Adults Only! - Ten Nights in a Barroom (1931)

2010-03-04T07:00:00.000-08:00

Never judge a book by its cover. This film was included in my "exploitation" films box set, but was anything but a throwaway picture; decidely low-budget, it more than made up for it in honesty and heart.

Adapted from the extremely popular temperance play (which in turn was based on the successful 1854 book by Timothy Shay Arthur), William Farnum stars as Joe Morgan, a family man led to ruin by the lure of alcohol. He is pressed into addiction by the cruel and selfish bar owner Slade (Tom Santschi), who has designs on Morgan's business.

This is a bleak, no-holds-barred look at how addiction can destroy not only one's own life but that of those you care about most deeply. Farnum emotes in an old-fashioned, melodramatic style perfect for the source material, and Peggy Lou Lynd adds a very effective (if a little heavy-handed) touch as Mary, Morgan's sick daughter who is so starved for her father's affection that she walks, alone, through the dark to fetch him from the bar.

An interesting note: the protracted fight scene near the end was a nod to The Spoilers (1914), in which Farnum and Santschi both starred. Their fight scene in that film was considered (and still is, by some) the best and most realistic one ever committed to film; for years both actors served as fight consultants on later pictures.

Scorecard: alcohol, gambling

Roy D'Arcy Double Feature! (and that other guy, too)

2010-02-05T09:02:00.000-08:00

Bardelys the Magnificent (1926)

For many years, Bardelys was believed to be a lost film. Then, in 2006, an almost complete print was discovered in France - and what a delightful find! John Gilbert is at his charismatic best as Bardelys, gallant and dashing with all the ladies but actually falling for one (Roxalanne, played by Eleanor Boardman). Roy D'Arcy is the menacing roadblock between the two. This picture is a fun send-up of costumed swashbucklers a la Fairbanks, and the reconstruction of reel three using production stills is brilliantly seamless. Recommended!

I give this one:

The Merry Widow (1925)

I came away from this picture with two thoughts: 1) von Stroheim was kinky, and 2) I NEED TO SEE MORE. This was a level of sophistication unilke anything I've experienced in a silent film. A dark romance thick with the seedy sludge of lust and revenge. John Gilbert gives an ardent performance as Prince Danilo, the lovestruck "good" prince tortured by society over his love for dancer Sally O'Hara (an over-the-top Mae Murray)...but this picture was stolen by Roy D'Arcy as the sadistic, creepy, sardonic Prince Mirko, ready to destroy his cousin Danilo at every turn. A film rife with sexual imagery, bitter jabs at social mores, and exquisitely directed. Top-notch!

I give this one:

Doctor Monica (1934)

2010-01-08T10:21:00.000-08:00

Kay Francis suffers and looks fantastic doing it in this soapy drama about illicit love and its consequences. Yes, Kay dealt with love and loss in every picture, but there was a reason for that: no one did self-sacrifice as well as she did. You know what’s coming from the opening credits yet you still cling to her every word and expression. The ending was a bit too convenient for my taste – if it’d been me I would’ve liked Warren William to squirm a bit more – but it all makes for a pleasant little programmer.

I give this one:

Ladies of Leisure (1930)

2010-01-06T11:55:00.000-08:00

This picture has Barbara Stanwyck playing her pre-Code forte: the hard-boiled girl with a heart of gold who gets the leading man (in this case, Ralph Graves) by the end of the last reel. My, but Stanwyck could speak volumes with her eyes. Each gaze holds a plethora of emotions almost too fleeting to list…but first and foremost is defiance, white-hot and fierce. She was nobody’s fool, but on the rare occasion that she was...you could see the tumult inside her, the rage against her own heart. A snappy little soaper that is comforting in its predictability, and livened up in spots by the always-wonderful Marie Prevost. Fun Fact: Early directorial work of Frank Capra.

I give this one:

Downstairs (1932)

2010-01-05T08:35:00.000-08:00

Oh, to be able to leap through time and plant a big kiss on Jack Gilbert for this one! He is deliciously deviant in this little gem about a chauffeur who leaves discord wherever he works. It’s a shame and true loss to cinema history that he didn’t make a comeback after this film (though, in all honesty, he probably wouldn’t have been well enough to handle it); he is in fine form, strong and handsome with a voice reminiscent of William Powell’s. You will love to hate him! This picture deserves to be known (and shown!) more than it is – and Gilbert deserves accolades for coming up with the storyline. Highly recommended!

I give this one:

Lady of the Night (1925)

2010-01-05T08:32:00.001-08:00

Cute early Norma Shearer vehicle, pitting her “good” self against her split-screen “bad” self in a story of luxury vs. poverty (written in part by Adela Rogers St. Johns). The “hard” Shearer is delightfully over the top, the “sweet” one virginal to a ridiculous level; the whole picture is too trite a melodrama to take seriously, but it’s great fun watch Norma on her way to stardom. Fun Fact: during the scenes where the two Shearers embrace, a young Joan Crawford is Norma’s body double.

I give this one:

Golddiggers of 1935

2010-01-04T08:55:00.001-08:00

C’mon along and listen to / the Lullaby of Broadway…

So begins the most memorable sequence of the film, the first appearance of this now-classic song accompanied by a strange, melancholy little story. It’s artistic and jarring and, unfortunately, the high point of the picture – they knew well to place this just at the end. The rest of the movie is tepid, the cast amiably marking time until said musical number. Dick Powell is his usual gosh-golly affable self, and while Gloria Stuart is no Joan Blondell, she does well opposite him. Not a horrid picture, but devoid of any real magic.

I give this one:

The Younger Generation (1929)

2010-01-04T08:54:00.000-08:00

I may have to take back what I said about Lina Basquette. While still not what I’d consider a terrific actress, she deserves more credit than I’ve given her – especially after watching her tackle another emotionally taxing role and do it so well.

This picture is a moving examination of how the children of immigrants often rejected their cultures in order to assimilate and get ahead. Ricardo Cortez is good as the son trying to erase his Jewish heritage, but the film belongs to Jean Hersholt. He exhibits such quiet dignity, such familial pride and genuine love that, when shattered, his disbelief and pain stuns you. Basquette is very effective as Birdie, the daughter deeply in love and caught in the middle. Her suffering is very real and you ache for her.

“Generation” was made on the cusp of sound, and as often happened, contains some talkie scenes. Compared to the rest of the film they seem stilted, but that was par for the course at that time and does not hurt the picture as a whole. I defy you to watch Hersholt quietly singing to his as-yet-unknown grandchild with dry eyes.

I give this one:

Ben-Hur (1925)

2010-01-04T08:51:00.000-08:00

From the beginning, DeMille proved he was a master of the epic film. A visual feast containing everything state-of-the-art for 1925: tinting, beautifully rendered title cards, enormous sets, even two-strip Technicolor. Ramon Novarro is the perfect choice to play Judah – his natural sweetness and purity shine through. But my favorite is the scene-stealing, glorious side of beef that is Francis X Bushman’s Messala. It’s a bit overlong, but this is DeMille we’re talking about, so all is forgiven. Recommended.

I give this one:

What? New Reviews?!

2009-12-28T08:46:00.000-08:00

That's right! Next week I'll be welcoming in 2010 with reviews of the original silent Ben-Hur (1925), the part-talkie The Younger Generation (1929), and the pre-Code fluff Golddiggers of 1935. Until then enjoy your holidays and have a safe, happy New Year!

Jean Harlow ushers in a change of the calendar.

Two from '32: Faithless and Emma

2009-11-10T12:30:00.000-08:00

Faithless (1932)

During the first fifteen minutes of this movie, I was tempted to turn it off. A somewhat stilted "society" story (say that three times fast!) wasn't exactly what I had in mind. But Tallulah Bankhead - wonderful, gutsy, alluring Tallulah - kept me watching, and I am so glad I did. The picture changes from a glimpse into the lives of the rich and idle to a gritty, honest portrayal of the Depression and its struggles. Stick with it; Robert Montgomery gives an excellent performance as Bill Wade, boyfriend of Carol (Bankhead) and the one constant in her rapidly deteriorating life, even through his own difficult and often painful circumstances. A bit predictable in spots, but definitely forgiven. Watch for the scene where Carol is leaving for the drug store (near the end).

I give this one:

Emma (1932)

I am becoming a huge fan of Marie Dressler! Her facial expressions (something I mentioned when reviewing The Patsy) are unlike anyone else's I've come across. Here she plays a faithful and affectionate nanny, who - after thirty years of serving the Smith family with utmost care and love - becomes the object of a lawsuit filed by the very children she raised. Why? You have to watch it. It'll break your heart for more than one reason. While Dressler's performance was top-notch, the plot is predictable - and her constant apologizing was irritatingly unnecessary. (Perhaps Emma was just a better woman than I.) The always terrific Jean Hersholt costars as Mr Smith, and look for Myrna Loy as the oldest daughter, Isabelle.

I give this one:

Adults Only! - The Road to Ruin (1934)

2009-10-19T07:07:00.000-07:00

The clock chimes midnight, and the projector clatters to life: welcome to the first edition of Adults Only!, a look into some exploitation films of the 1930s and 40s. No ratings - how can you rate these gems? - but insanely fun to watch.

It was so nice, she played it twice: Helen Foster reprises her role from the 1928 version as Ann, a sweet young thing corrupted by sex, drugs, and fast living. The typical cautionary film pattern applies: innocent is lured, by degrees, away from her sanitized lifestyle...eventually to end up sick, injured, eaten by aardvarks, what have you. In poor Ann's case, she dies lamenting her trek down the - you guessed it - Road to Ruin.

As with all warning pictures, you come away thinking "Boy, I really want to be friends with those people!" Probably not what the distributors had in mind. One frustrating thing was the glaring absence of a reel towards the end...though you get enough in context to figure it out for yourself.

Scorecard: drugs, smoking, sex, VD, abortion, alcohol

The Unholy Three (1925)

2009-10-14T12:34:00.000-07:00

Tod Browning is the supreme master of the odd, and Lon Chaney his muse.

Chaney plays Echo, a sideshow ventriloquist with an eye for jewels (and theft). Dissatisfied with the meager goods brought in by Rosie (Mae Busch), he forms an alliance with the Hercules the Strongman (Victor McLaghlen) and Tweedledee the "dwarf" (Harry Earles). Through the use of an elaborate and ingenious plan, they gain access to a wealthy home...but things fall apart when Hercules and Tweedledee decide to go back and finish the job themselves. Will they pin the crime on someone else? Will Echo be able to live with himself? What about Rosie? This is a gorgeous picture, atmospheric, with shadows thick enough to hide in; Chaney's ability to quite literally become anything is on fine display here. I also personally liked Earles' portrayal of Tweedledee - rough, sinister, and frighteningly dangerous. The contrasts between him and the role he plays in the plan were, for me, one of the most effective parts of the film.

Note: A remake was filmed in 1930, with dialogue added for the "talkies". The original cast was changed, with only Earles and Chaney remaining. I haven't seen this version but have heard that it has its own charms and is worth viewing.

I give this one:

Tell It To The Marines (1926)

2009-10-08T10:48:00.000-07:00

Let's get this out of the way first. I am most admittedly a William Haines fangirl. Having said that, this is Lon Chaney's picture all the way. Billy plays a wiseacre (shock, I know) who joins the Marines on a lark, only to be whipped into shape by the tough yet caring Sergeant O'Hara (Chaney). What a delight to see him in a non-horror role - his face is gorgeous to watch, beautiful, saying so much in its nuances and lines. Round out the cast with the lovely (though understated) Eleanor Boardman as the nurse both men have set their sights on, and you have a warm, surprisingly touching little picture, with mischief deftly inserted by Haines. There is a scene, close to the end, with Chaney and Boardman talking in a garden...I defy you to watch it and not feel your heart break.

I give this one:

An Award!

2009-10-07T06:14:00.001-07:00

Thank you to Lolita of Lolita's Classics for giving me the Kreativ Blogger award both here and at Silent Stanzas! Now, there are some rules involved:

1) Tell you seven things that you don't already know about me.
2) Name seven other blogs to receive this award.
3) Leave a comment on each of the blogs I have nominated letting them know that I have given them an award.
4) And lastly, thank the blog that gave you the award.

Seven things you don't know about me:

• I'm addicted to Chapstick. I have a tube with me at all times. *grins*
• I don't drive.
• I've played the piano by ear since I was four years old (though I'm a little rusty these days).
• I'm single.
• Italian and American South folk beliefs, and really all religion, interests me greatly.
• I have a chubby black cat named Velvet who is my darling boy.
• I love to knit - been doing it only about a year and can't get enough!

There are too many wonderful blogs out there for me to pick just seven - so I complement all of you on your dedication and eloquence. Reading your blogs makes my day! ^_^

Three Talkies + a Silent = Busy Movie Weekend

2009-10-05T11:12:00.000-07:00

This is a long one, so get something to drink and have a seat. Comfortable? Then let's start!

Just Imagine (1930)

Numbers instead of names, flying personal aircraft, babies from vending machines - a glimpse of the future, due to us in the year...1980! The quintessential paleofuture film, this movie features El Brendel as a confused and very funny transplant from 1930, trying to make sense of his new surroundings. This is Amy Jeanne's favorite movie, so I was a little disappointed when I didn't enjoy it as much as I'd hoped. The musical numbers were cute, but they slowed the pace of the picture for me. The deco sets and humorously inaccurate depictions of 1980 are glorious however - and more than enough reason to give this film a try.

I give this one:

Mata Hari (1931)

Oy. I vant to be ahlone after watching this film, if only to purge it from my memory. It stars Greta Garbo as the exotic dancer cum spy, and Ramon Novarro as her earnest and tragic love interest. The picture plods along, with stilted dialog and a strange chemistry between the two leads; Garbo is her usual languid self, and Novarro plays a (Spanish-accented) Russian pilot with his typical boyish verve. As an aside, the film contains little if any historical accuracy. I couldn't wait for this one to be over.

I give this one:

Torch Singer (1933)

"Give me Liberty or give me Love..."

So warbles the notorious Mimi Barton, played with pain and beauty by Claudette Colbert. She is a fallen woman, having attempted the straight and narrow, only to give birth to a daughter she must abandon. During her champagne-soaked slide to the bottom, an unexpected opportunity may enable her to reclaim the life she had lost. Your heart aches for Colbert; her emotions are raw, real, and difficult at times to watch. Both Lyda Roberti and Mildred Washington sparkle in minor but memorable roles. Keep your eye out for Toby Wing at the house party!
A very enjoyable picture - and Colbert does her own singing, as well.

I give this one:

Mantrap (1926)

Ernest Torrence and Clara Bow sounds like a romantic pairing that could only come up over too much vodka. However, throw in Percy Marmont and a crazy plot involving vacationing bigshots, rural Canadian trappers, and a perky manicurist who can't decide between the two, and you wind up with a very cute little picture! The vast majority of it is thanks to Clara. Her expressions...I could write for hours on how animated those eyes are. Dialogue is completely unnecessary when she is on screen. Torrence does a great job in a comedic role, and Marmont plays the flabbergasted business bigwig quite dryly. But the best way to enjoy this movie is to throw out the plot and just focus on Clara's beautiful, wonderful face. She is on the cusp of superstardom in this film and it is more than evident.

I give this one:

Helen's Babies (1924)

2009-09-14T10:08:00.000-07:00

My dear friend Amy Jeanne of It'll Take the Snap Out of Your Garters! had sent this to me in a bundle of DVDs, which I'm finally tackling. ("Just Imagine" is next, Amy! I swear!)

This is pegged as a Clara Bow picture, but in reality it's a Baby Peggy vehicle. That's not to say I didn't like it - it turned out to be kind of cute, if a rather strange viewing experience.

The transfer I saw was missing the title card and had quite a bit of deteriation damage...I've since learned it was the best print available. I'm not a snob about those things - in fact, sometimes a little damage can heighten the sense of tangible history. What made it downright weird was the lack of musical accompaniment. I haven't watched a silent like that yet, and it took some getting used to (and made me want to sit at the piano REALLY BADLY).

All that aside, the picture was formulaic but sweet. Edward Everett Horton plays a man who, despite having written a best-selling book on raising children, doesn't have the slightest clue how to handle them himself. Through a series of events he winds up having to babysit Toodie (Baby Peggy) and her sister (Jean Carpenter, whom I know nothing about) - and then the hijinks ensue! The scene I liked best involved the girls "helping" Uncle Harry (Horton) to unpack. Clara plays the girl-next-door (literally) and becomes Harry's love interest (surprise there). She doesn't get very much screen time; it's obvious that this heavily-made-up, restrained young woman hasn't hit her prime yet.

I wouldn't go out of my way to recommend this picture, but I can see why Baby Peggy, with her wide-eyed facial expressions, was popular in her day. Not a bad way to pass an afternoon.

I give this one:

The Godless Girl (1929)

2009-09-08T05:48:00.000-07:00

Someone once used the worst interminable to describe this film. "That seems a bit harsh," I thought, and sat down to watch Cecil B Demille's last silent film (although dialogue sequences appear to exist, according to Wikipedia).

I've now determined the word torturous to be more appropriate.

Lina Basquette plays Judy, an atheist girl bent on eradicating God from public consciousness; George Duryea (later to become actor Tom Keene) plays Bob, the religious boy bent on stopping her. Through a series of events, they both wind up in reform school...and learn to appreciate each other's views. That's the basic plot. In between, there is a lot of very bad acting on Basquette's part, and neverending scenes that slow the film to a crawl. Seriously, did we need that entire "frolicking in the woods" sequence? This film went on, and on, and ON. Only the very end was exciting, when shocking circumstances place the two leads in mortal danger.

Marie Prevost, as usual, was a bright spot in the whole mess. As Mame, Judy's best friend in the reformatory, she injects some badly needed spunk into some stagnant scenes. (Try saying that three times fast!)

If you are tied to a chair one rainy Sunday, this might be the picture for you. Otherwise, skip it. Preachy, slow, and way too long.

I give this one:

Trouble in Paradise (1932)

2009-08-27T06:04:00.000-07:00

I enjoyed this picture! Sophisticated, funny, smart, with terrific performances by everyone - including the glamorous Kay Francis. The camerawork was fantastic - Lubitsch's direction was years ahead of its time! The person I particularly liked, however, was Miriam Hopkins. I've never had the pleasure to see her work before, and she was so much fun to watch as a pickpocket helping thief and con-man Herbert Marshall with his plan to scam a rich woman (Francis). I'm sorry this is the only picture of hers I managed to catch during her "salute" day.

I give this one:

Red Dust (1932)

2009-08-13T06:54:00.001-07:00

Oh man, I've wanted to get my hands on this one for a while! Thanks TCM!

Most of you know how much I love Jean Harlow. For the new folks, I absolutely adore her. To be able to watch what's considered one of her seminal performances was heaven! I admit, I wasn't blown over by the movie - it seemed a bit slow in spots - but all the glorious pre-Codeyness was there: subtle sex jokes, smoking, drinking, general randiness. Jean glitters as a hard-boiled "lady of the night", caught between a plantation manager (Clark Gable) and the married woman he loves (Mary Astor). The cast was excellent - I like the early rough-and-tumble Gable. It's fun for those of us brought up on his usual bemused performances a la "Gone With the Wind". But the real treat was gazing on Harlow, looking (in my opinion) the best she ever would in her life, tough yet vulnerable at the same time. She and Gable have delicious chemistry as well; I could see why they were paired together multiple times.

I give this one:

Lloyd Double Bill!

2009-08-12T07:58:00.000-07:00

For Heaven's Sake (1926)

I always have a harder time liking the pictures where Harold starts out unsympathetic. That immediate connection is lost. Regardless, the end result is deft and funny, although not one of my favorites. Lloyd plays a wealthy (and rather clueless) gentleman who unwittingly winds up helping a minister's beautiful daughter, played by Jobyna Ralston (who is growing on me), and eventually the entire church mision. The "heavies" steal the picture out from under Harold; indeed, the biggest laughs came during the Drunk Roundup sequence. Noah Young was brilliant as The Roughneck!

I give this one:

The Kid Brother (1927)

I'm still all warm and fuzzy over this one! Reminded me of my favorite Lloyd picture, Grandma's Boy. Harold Hickory is the youngest and weakest of Sherrif Hickory's three boys. After being treated as the runt of the litter, being forced to do "women's work", an opportunity arises for him to become the victor! Will his brains succeed over brawn? Will he win over the lovely gypsy girl (Jobyna Ralston)? Will he ever get down from that tree? This is a charming and very funny picture and I highly recommend it, as did Lloyd - it was one of his personal favorites.

I give this one:

Hallelujah! (1929)

2009-07-22T10:06:00.000-07:00

King Vidor was ready to make a talkie. For his first attempt, he attempted something novel: a musical with an all-black cast. What he created is nothing short of a masterpiece. Thanks to the early Vitaphone system (which synched film with sound disks, rather than the sound being directly on the film), he achieves probably the best early talkie I've ever seen. Instead of being creaky and stagnant it bursts with life. From the first shots of the people in the fields to the last happy notes Zeke sings, it is natural, fluid, and moving in every sense of the word. Sure, the synch-up isn't perfect, but you won't even notice, not with such touching performances by Daniel L Haynes and the luminous Nina Mae McKinney.

There is a disclaimer at the beginning; WB doesn't want to be seen as propagating racism. Although many of the depictions are dated stereotypes, what this picture has is a very human story, one for all of us: we all have fallen, and we all have fought our way back from adversity. This is what sticks with you, and what deserves watching.

I give this one:

Three Wise Girls (1932)

2009-07-14T10:30:00.000-07:00

What a delightful little Thirties gem! It reminded me a lot of Three on a Match, which was also very good - and released in the same year. Typical soaper about women trying to make it in the Big City, and how they get mixed up in loving married men. Harlow does an affable job; not her best work, but not bad at all, and intensely likeable. Having said that, Marie Prevost as Dot stole the picture. So cute, so cuddly, so funny! With snappy dialogue, plenty of pre-Code risqueness (and lingerie), and Mae Clarke's hard-boiled performance, this is my favorite Jean Harlow movie - right after Red-Headed Woman. It's a shame it's not shown more often.

I give this one:

Grandma's Boy (1922)

2009-07-02T08:08:00.001-07:00

I've been wanting to catch this one for awhile now. Luckily, my rickety old VCR caught it yesterday morning. This was the picture that took Harold Lloyd from short subject comedian to true star, and I can see why. Charming, warm, heartfelt, yet still silly and quite funny. I loved the "crank" and "kittens" bit (no spoilers from me!), and I was cheering (yes, in my living room, LOL) at the end when he comes into his own. ^_^

I give this one:

Speedy (1928) / The Crowd (1928)

2009-07-02T08:07:00.002-07:00

Some quick reviews of silents I've watched recently, thanks to TCM.

Speedy (1928)

Harold Lloyd's last silent film, and whilst a lot of people adore this one, I found it just okay. The big trolley scene at the end, the crux of the picture, is of course brilliantly executed - I was laughing like crazy. But up until that point, a lot of it felt like filler. Even the Coney Island stuff, although cute, seemed to drag for me. I was a little disappointed I didn't love this one.

My favorite gag was his soda-jerk scoring method. *grins*

I give this one:

The Crowd (1928)

This is one of the best movies I've ever seen. It traces the life of an ordinary couple, their joys and heartbreaks, as they struggle to carve themselves a place in society. It is mind-blowing in its simplicity, often heartbreaking. I wept many times watching this. For me, the best scene was after a certain tragedy befalls John Sims and he attempts to restart his job as usual. Even to someone like me who is only learning the difference between directorial styles, Vidor's brilliance shines from the first shot. If you ever want to see a silent, and want to attempt something other than a comedy...go get this. Amazing.

I give this one:

Dancing Mothers (1926)

2009-07-02T08:07:00.001-07:00

A cute little soap opera of love, cheating, and independence, with the impeccable Clara Bow (billed third). I'll admit, I got confused halfway through, but then unraveled who was involved with who and was fine. Alice Joyce was a little too much the martyr for me (at least until the end). Clara lights up the screen as usual, injecting movement and life into static scenes which could've easily become boring.

Not my favorite, but not terrible either.

I give this one:

The Navigator (1924) and Our Hospitality (1923)

2009-07-02T08:06:00.002-07:00

Being that I forgot about these reviews (for shame!) they will be short and sweet.

The Navigator:

Sweet, funny film. Not my favorite of Buster's - seemed a bit overlong - but definitely enjoyable. Our Hero winds up adrift on a passenger boat along with his best girl - and encounters quite a few obstacles whilst trying to get to land. The best sequence for me was attempting breakfast in the kitchen. *grins* I can't help but wonder how much of it was made up on the spot.

I give it:

Our Hospitality:

This was good. Our Hero falls in love with a girl...only to find she's a member of the family his family's been fighting with for years! A Hatfield-McCoy spoof that is very effective. I loved the dinner sequence, with the brothers. Giggled myself silly through the whole picture. =D

I give it:

The Smart Set (1928)

2009-07-02T08:06:00.001-07:00

I defy anyone to watch this movie and not fall in love with Billy Haines. He is silly, frenetic, and incredibly charming in this picture about a polo player (!) who has to prove his worth after his arrogance gets him booted off the team. First third of the movie was rather slow...and then we got to the dinner party. *laughs* Very funny stuff, kids. Comedy and some rather scary dramatic moments blended beautifully through the rest of the film, and although you see the end coming a mile off, you'll still cheer. Alice Day was good as the love interest, although I can't see someone staying as reserved as she did with Billy around. =D

I give this one:

Spring Fever (1927)

2009-07-02T08:05:00.004-07:00

Billy Haines pictures follow a formula. He's a wiseass who gets said ass handed to him about halfway through, then "makes good" and everyone loves him again. Usually played against a background of sports. You know why they did this formula? Because Billy was so damned good in it! *laughs* Spring Fever is energetic, exciting, and also includes a luminous Joan Crawford - who needs plot when you have those two up on the screen? (In case you still want to know: rich vs. poor lifestyles and who wants in/out. Sport this time: golf.) A sparkling picture that I enjoyed greatly, purely on the personalities of those involved.

I give this one:

The Kid (1921)

2009-07-02T08:05:00.003-07:00

Typically, I'm not crazy about Chaplin's stuff. Don't get me wrong, he's brilliant, but I don't connect with it as much as with Keaton or Lloyd's work. But this...this was a masterpiece. I was floored with how much beauty Chaplin imbues his simple story of a man and the child of whom he is "practically" the father. There is a moment in the picture where The Tramp is fighting to keep his little boy (played with astonishing ability by Jackie Coogan); he becomes a wild animal, rabid desperation in his eyes...it's haunting and deeply effective. You'll run the emotional gamut from giggling to sobbing and back again. This isn't called one of his best for nothing - please, if you ever get the chance, see The Kid.

I give this one:

Girl Shy (1924)

2009-07-02T08:05:00.001-07:00

This was a super-cute picture. Harold plays a fellow who gets painfully shy around women...but thanks to much covert study (and a fertile imagination!) he has written a book on "How to Make Love". While en route to the publisher, he meets up with a lovely young woman (played with genuine sweetness by Jobyna Ralston) who has issues of her own, and the two falter their way into a real romance. Will it succeed? Will they triumph over the things in their way? Will Harold develop a dependance on dog biscuits? You'll have to watch it and see. This movie has no slow spots - and one of Lloyd's greatest chase sequences at the end. One of the first pictures in the new "romantic comedy" genre, and a terrific one at that.

I give this one:

The Patsy (1928)

2009-07-02T08:04:00.002-07:00

Marion Davies proves she was made for comedy in this picture about a kid sister who never gets a break - and decides to find her "personality". I love when she does her impressions! No one spoofed the big names better than Marion. Her Lillian Gish had me in stitches. However...Marie Dressler steals this picture, as far as I'm concerned. Her facial expressions, her timing, everything about her is hysterical. I laughed like a big dork through the entire movie - and the end is charming, if predictable.

I give this one:

Kavalcade of Keaton

2009-07-02T08:04:00.001-07:00

Seven Chances (1925):

Our Hero has the opportunity to inherit seven million dollars. The catch? He must be married by 7pm on his 27th birthday - which just happens to be today! This is the sort of picture which the term "hijinks will ensue" was coined for. I was a little uncomfortable with the blackface/racist elements, but the chase scene at the end - gloriously choreographed - had me rolling. If you've ever seen the remake - 1999's The Bachelor - you know exactly what I'm talking about. ;)

I give this one:

Included with the film were two shorts.

Neighbors (1920):

A glimpse into the immigrant neighborhoods of the early 20th century. Boy and girl fall in love, but will their warring families stop punching each other long enough to allow their marriage? Goofy little short with some amazing acrobatic work by Buster and his cast; again, it was marred by racism, but unfortunately it's to be expected in a lot of early pictures.

I give this one:

The Balloonatic (1923):

Would you believe this was the only shot I could find?

Where do I begin? This was a complete triumph of silliness and absurdity. Our Hero falls in love with a girl (what else?) and through a series of unfortunate events, the main being his crash-landing a balloon (never mind how he got in there in the first place), winds up at her campsite. Phyllis Haver is one tough cookie - and cuteness on two legs! She and Buster have terrific chemistry. (I squealed at the Babe London cameo, too.)

I give this one:

Twentieth Century (1934)

2009-07-02T08:03:00.002-07:00

"I close...the iron door!"

Considered the predecessor to the screwball comedy, this picture stars John Barrymore as an over-the-top producer and Carole Lombard as his rising protege. They're both nutty as fruitcakes and repeatedly steal the film out from under each other. Extremely funny and effervescent - there isn't a dull moment in the entire thing! "Excellent" is too understated a word - I want to get this for my personal collection.

I give this one:

Kavalcade of Keaton II: Son of Kavalcade

2009-07-02T08:03:00.001-07:00

Three Ages (1923):

Buster's spoof of 1916's Intolerance, this picture demonstrates the timelessness of love, in three settings: the Stone Age, Roman times, and the "Modern" age. I found the going back and forth wearing a bit thin at times, but for the most part I really enjoyed this. Not surprisingly, the modern section of the story is best (at least in my opinion). Cute little visual jokes abound and are fun to spot.

I give this one:

This disc, being Kino, came with two shorts:

The Goat (1921):

Our Hero, a criminal mastermind? That's what everyone thinks after his picture is mistakenly published as the mugshot of Dead Shot Dan. Quick and imaginative (I especially liked the elevator gags), with some excellent daredevil stunts.

I give this one:

My Wife's Relations (1922)

Biggest take-away from this: never agree with the judge if you don't speak his language. Our Hero winds up with a new bride - and some rough-and-tumble brothers-in-law to boot. Will he survive? Honestly at times I wasn't sure. *laughs* He got knocked around a LOT in this short! Simple bit of cute fluff, though, and it did make me laugh, despite being heavy on the stereotypes.

I give this one:

My Best Girl (1927)

2009-07-02T08:00:00.000-07:00

I had never seen a Mary Pickford picture before, but about five minutes into it I learned why she was "America's Sweetheart". The achingly cute Pickford plays a shopgirl who falls in love with the new boy at work...who isn't what he seems to be. Buddy Rogers was perfectly cast, with his boyish charm and bubbly personality, and the plot managed to be sweet without getting overly treacly. I was completely enamored with Pickford's acting style, larger-than-life facial expressions and all. Definitely recommended.

I give this one:

The Student Prince in Old Heidelberg (1927)

2009-07-02T07:42:00.000-07:00

I wasn't sure if I would like this film. I mean, sure, it has Ramon Novarro in it (always a plus), but a picture about a young man going to study in Germany? My ignorance led me astray - it is actually a very enjoyable love story, with strong if not terribly complex characters. The ending surprised me, and in a way made me like it more. Ramon was at his charismatic best, and Norma Shearer drew real emotion into her portrayal of Kathi.

I give this one: