the road to ruin ( 1913 film )
road to ruin, the (w. j. lincoln, 1913) dp maurice bertel
in 1913, film director w. j. lincoln made a silent film of the same name .
road to morocco is a 1942 film directed by david butler, starring bing crosby, bob hope, and dorothy lamour. it is the third film in the popular road to series .
road to ruin: an introduction to sprawl and how to cure it and millions of other books are available for amazon kindle. learn more
title theme tune :
we' re off on the road to morocco ...
the drunkard' s progress, or the direct road to poverty, wretchedness & ruin / designed and published by j. w. barber, new haven, conn. | library of congress
photo, print, drawing the drunkard' s progress, or the direct road to poverty, wretchedness & ruin / designed and published by j. w. barber, new haven, conn .
road house
dvd commentary. one of the best of the year - - entertainment weekly .
dreyer’s road to film went through journalism. he began his working life as a young reporter in 1909 / 1910 - 1915, before going into the film business. later, in the years 1936 - 1941, when he had an extended dry spell as a film director, he returned to journalism, briefly as a film reviewer and as a paragraphist and columnist .
crisis, the (w. j. lincoln, 1913) dp maurice bertel
in 1913, the melbourne - based lincoln - cass film company produced moondyne, a black and white silent film based on o' reilly' s novel. [ 7 ] [ 8 ] it is considered a lost film. [ 9 ]
the road to ruin was dismal and dreary and strewn with failures. on a great boulder, head sunk in hands, sat jim hathaway, when the bent figure of john radway entered. they fell to talking... see more »
the road to ruin was dismal and dreary and strewn with failures. on a great boulder, head sunk in hands, sat jim hathaway, when the bent figure of john radway entered. they fell to talking... see full summary »
andrew pike and ross cooper, australian film 1900 - 1977 - a guide to feature film production, oxford university press, 1980, 448p .
“florence turner going to england, ” moving picture world (22 march, 1913): 1225 .
when she moved to southern california as an actress with the nestor film company in late 1911, dorothy davenport became one of the first members of the early film colony soon to be known as hollywood .
the younger sister, 1913; film favourites, 1914; through the valley of shadows, 1914; shopgirls; or, the great question, 1914; as ye repent, 1915 .
“dorothy davenport. ” moving picture stories (3 jan. 1913): 31 .
it was the heyday of danish film, an unparalleled golden age that would never come again, when the film industry, it seemed, could coax nothing but golden eggs from the goose – or polar bear (the nordisk film company trademark), more accurately. dreyer’s articles are snapshots of the state of film: film companies coming out of the woodwork, theatre owners wringing their hands over the new medium, financiers, fortune - hunters and hucksters dancing around the new golden calf, instant fame, instant riches and instant ruin .
reprieve, the (w. j. lincoln, 1913) dp maurice bertel; 28 min .
remittance man, the (w. j. lincoln, 1913) dp maurice bertel; reformed thief
in addition are a number of articles and interviews on the subject that would later be associated with his name. as early as 9 july 1912, tommen writes about film under the headlines, the sensational film. – a film for 20, 000 kroner. – the three leaps of death. the article is an interview with the film producer kay van der aa kühle, whose film dødsridtet (the leap to death) was opening the next day. the interview does not reveal that the film actually marked dreyer’s own debut as a screenwriter. this article also heralds dreyer’s farewell to journalism. at year - end 1915, dreyer left ekstra bladet, and journalism altogether, to dedicate himself fully to film. he would return later though .
katz, ephraim. the film encyclopedia. ny: harper - collins, 1994 .
the road to ruin was dismal and dreary and strewn with failures. on a great boulder, head sunk in hands, sat jim hathaway, when the bent figure of john radway entered. they fell to talking and jim soon learned that a faithless woman had pointed the way to the road to ruin for radway. he went in search of her when radway told him that his wife had deserted him for another. jim saw her in the garden - saw her kiss her affinity and after he had gone, turned to the garden gate to admit a younger man. jim, knife in hand, sped down the path, touched the older man upon the shoulder and led him back to where the younger man and the woman were wrapped in each others' arms. with a gasp of horror, his companion broke away and confronted her. she merely laughed - and, bent and broken, like the man he had destroyed before him, he turned away toward the road to ruin. then jim sought out that younger man and warned him and he, wiser than most of his kind, bade farewell forever to the faithless woman ...
throughout the 1920s, the formal structure of film plots remains within the bounds of the older moral code. but, as in
barber, john warner, engraver. the drunkard' s progress, or the direct road to poverty, wretchedness & ruin / designed and published by j. w. barber, new haven, conn. , ca. 1826. new haven: john barber, sept. 9. photograph. urltoken
( 1934) seems totally unaffected by the small lake of alcohol that he consumes in the course of the film .
barber, john warner, engraver. the drunkard' s progress, or the direct road to poverty, wretchedness & ruin / designed and published by j. w. barber, new haven, conn. new haven: john barber, sept. 9. photograph. retrieved from the library of congress, < urltoken > .
sat 18 oct 1913 - the mail (adelaide, sa: 1912 - 1954) page 6 - nigger jim .
the road to ruin. dir. : norton s. parker (cliff broughton productions us 1928) cas. : florence turner, helen foster, si, b & w, 35mm. , 6 reels, 5, 187 ft. archive: frb, itg, usr, usw, usl, frl .
18 october 1913: 6 (second section .). web. 10 jul 2018 < urltoken > .
the mail (adelaide, sa: 1912 - 1954), sat 18 oct 1913, page 6 - nigger jim .
reported favorably on the film: “there is nothing cheap or sensational about it. ” davenport took it on the road, making a plea for public awareness that addicts suffered illness, not moral turpitude, and needed help, not punishment. with the film’s profits, she set up the wallace reid foundation sanitarium and her own independent production unit under thomas ince .
then there is another genre of pre - war books, which focuses on the year itself as representative of the era rather than the war. charles emmerson’s 1913: in search of the world before the great war and florian illies’ 1913: the year before the storm, are possibly the most significant in this genre because each succeeds in recreating the period as it happened to those who lived it, unaware of the rupture about to occur .
provides us with a memorable example of a film devoted essentially to depicting drinking: but presumably this film would actually fit the 1926 hays guidelines, since all the drinking is done in countries where it would be legal. but films such as
barber, j. w. (ca. 1826) the drunkard' s progress, or the direct road to poverty, wretchedness & ruin / designed and published by j. w. barber, new haven, conn. , ca. 1826. new haven: john barber, sept. 9. [ photograph ] retrieved from the library of congress, urltoken
if you can' t read the image, click here to listen to the same characters being read .
judith adamson, australian film posters 1906 - 1960, currency press, sydney, 1978 .
1 sheet, lithograph. 27 x 40. national film and sound archive # 435072 .
2018 © san francisco silent film festival. true art transcends time. all rights reserved .
davenport reid, dorothy. “wife pens dramatic story of wallace reid’s drug ruin. ” san francisco examiner (31 dec. 1922): 6 .
sick stockrider, the (w. j. lincoln, 1913) lincoln - cass films, from the poem by adam lindsay gordon, dp maurice bertel; george bryant (the stockrider) godfrey cass (his mate) roy redgrave, tom cannam; 1200 ft; earliest film to survive virtually complete
actress dorothy davenport traveled west with the nestor film company just as the movie industry and the feature - length film was taking form in hollywood. a prominent player when nestor was absorbed by universal, she married fellow actor wallace reid in 1913. the good - looking, affable reid skyrocketed to matinee idol status after leaving universal for jesse lasky’s company and took leading roles in films by cecil b. demille. the year davenport made
what a great and interesting piece. it is nice to know that self - destruction in the film world didn' t start with monty clift! nevertheless it is sad that his work is mostly lost, correct? i knew of him mostly through the kenneth anger book, and i never seen his film. when i had my little film group going, the only wallace reid film that could be rented (16mm) was
too much speed .
i never got around in projecting that film. a little bit of regret now, but what a great thing to read this morning .
one would be tempted to surmise that mrs. reid had little to do with the direction of
( 1947), the film most closely supervised by alcoholism movement leaders (johnson, 1973), the nearest we get to the topic is a sequence of the protagonist writhing in bed, in the grip of nightmares .
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the power ascribed to alcohol to alter behavior and control action varied a great deal in the movies of the 1920s. we learn that
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“the girl on the film no. 9: miss florence turner, ” pictures and the picturegoer (6 june, 1914): 358 - 359 .
lc - dig - ppmsca - 32721 (digital file from original item) lc - uszc4 - 3263 (color film copy transparency) lc - usz62 - 45674 (b & w film copy neg. )
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as fibber mcgee and molly celebrate their 20th anniversary, they throw a large shindig, but everyone declines their invitation to the silver tip lodge at lake arcadia. discouraged, the mcgees decide to have their own celebration—to relive their first honeymoon night at the ramble inn. fibber and molly are again discouraged upon finding that the inn has gone to ruin. still, they decide to stay the night. the next morning, the mcgees leave ramble inn and fibber insists, despite their finances, that they head to lake arcadia and spend at least one night at the silver tip lodge .
the one good turn. (vitagraph co. of america us 1913) cas. : florence turner, si, b & w. archive: gbb .
more than 50 of dreyer’s articles for ekstra bladet deal with film or include references to films. few profundities or incisive analyses are seen to have flown from young dreyer’s pen in that regard. still, when taken together, these topical writings – reports, advance publicity, interviews – provide a vivid picture of the colossal activity and the colossal confusion that reigned in danish film in those years. dreyer' s articles on film in ekstrabladet (list in danish )
this text was printed from the women film pioneers project at columbia university. to promote readability and conserve consumable resources, images and interactive elements in the digital version do not appear in print format .
( 1913), a shot of writhing snakes is inserted into the depiction of the dts episode. by the early 1930s, it appears, either snakes or fits seemed old - fashioned and crude. the 1930 remake of
here we go again is a 1942 american film, a sequel to look who' s laughing. fibber mcgee and molly' s second honeymoon goes awry .
the historical novelist has the luxury of perfect hindsight, and so colegate can marshal her plot to resonate in light of the real events that followed. by setting it in 1913, she ensures the great war is a permanent if unspoken presence in the novel until nearly the end, when she reveals the fates of the characters during and after the war. historians do not have such latitude: all the works cited at the start of this essay are meticulous in seeing the events in themselves, not in light of the outcome. but reading them alongside the shooting party offers a unique bridge between 1913 and 2013 .
is commonly referred to as a willis kent film, directorial duties were credited to melville shyer and mrs. wallace reid. memphis - born shyer frequently worked for kent, helming such hot - topic films as
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as we near the world war i centenary, few books offer greater insight into the world of 1913 than a novel about an upper - crust english shooting party—and its eerie parallels with today .
- - were already out of step with shifts in the cultural climate when they were released; a film which nobody goes to see cannot have much effect on popular behavior or thought .
the wiki version: man in the attic is a 1953 mystery film directed by hugo fregonese. it was released in the united states on december 23 by twentieth century fox. the movie, based on the 1913 novel the lodger by marie belloc lowndes, fictionalizes the jack the ripper killings which was previously filmed by alfred hitchcock in 1927, by maurice elvey in 1932, by john brahm in 1944, and subsequently by david ondaatje in 2009 .
it was common practice for exploitation distributors to change the titles of their films and sell them multiple times to the gullible public. in 1936 ,
. unfortunately it doesn' t seem to survive in terrific shape, and murray glass' print has a gaping jump - cut that brings an abrupt end to a spicy strip - poker scene, but it' s definitely a film you won' t fall asleep to .
keil, charlie. early american cinema in transition: story, style, and filmmaking, 1907 - 1913. madison: university of wisconsin press, 2001 .
in both book and film, edwardian england is depicted as a land of excess: one in which privilege is immense, and guarded jealously – especially against signs and signals of social change. as sir randolph reflects: “the politicians are determined to turn this country into an urban society instead of a rural one and in the course of the change they think they’ve got to take away the power of the landed proprietor. … for generations we ran the country; it did not suffer from our rule. if the landlord class goes, everything goes. it will be the ruin of rural england. ”
( 1947) seemed to me to have created difficulties for itself in this line. the solution in most films is to suggest slurring or drunken syntax in a phrase or two, but to have drunken characters otherwise speak normally .
for most movies of the time, this dramatic political history remains unseen. but there is one film of the time in which we can see the political wind concerning alcohol changing. this is
box - office earnings have often been a great predictor of the feature - length films that have been the most favorite, successful, and popular. however, they do not necessarily reflect the best (or greatest) films of the year or decade. they also provide a window into the era when the film was originally released. although box - office records are often contradictory, spotty, unreliable and sometimes non - existent (the further you go back in cinematic history), it has been possible to compile listings of the top domestic hits all the way back to 1913 - both by decade (beginning with the silents and the 1920s) and by individual year, up to the present year .
( 1963), his first dramatic screen role, to bring this tradition into the modern era. from the first days of the movies, however, filmmakers had been exploring other means available to the medium to depict an attack of dts. in the first filmed
breaking the news is a 1912 australian melodrama film directed by w. j. lincoln based on john longstaff' s 1887 painting of the same name. [ 3 ]
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turns away from the camera to down her drink: the only time we see her drinking with face to the camera, it is a bottle of hair tonic (60% alcohol but presumably legal to drink during prohibition) .
bergen and fibber pursue the carriage on a wagon loaded with dynamite while jean and charlie follow by car. the chase ends when molly pulls the carriage off the road, and the wagon is caught on a cliff. all ends happily as bergen offers to buy the formula, molly tells fibber that she wasn' t running away with cadwalader but was driving him out of town to avoid a scandal. molly and fibber, jean and bergen embrace to the sound of exploding dynamite, leaving charlie to say ,
wow! ... anybody wanna adopt an orphan ?
the greatest cinematic experience is the human face and it seems to me that silent films can teach us to read it anew .
- wim wenders
the tradition of comic drunkenness continues to the present in popular culture, retaining many of its traditional features, despite the best efforts of the alcoholism movement to convey the message that drunkenness is not funny (finn, 1980) .
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the shooting party is distinct in that it was made into an equally beautiful and engrossing film, suitably starring many of the nobility of english acting: edward fox, dorothy tutin, john gielgud, and james mason, in what was his last appearance. isabel colegate’s book is faithfully adapted, but it is probably the intersections of the eternal countryside setting with the specific details of the era, the ongoing ritual of shooting with the particular plot and outcome that gives the film much resonance .
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, which went on to call it “nicely gaited for the family trade. ” scholar mark lynn anderson says the film is “an interesting portrayal of strong female friendships and loyalties” even as it “looks toward the exploitation films davenport reid would direct for independent producer wills kent in the early 1930s. ”
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( 1922). ann' s mom was another silent cinema veteran: virginia true boardman, who devoted more than twenty five years to film acting, appearing mostly in low - budget westerns .
( 1925) drinks a lot from a shot of a pile of empty bottles outside her window, from her actions in hiding liquor bottles, and from a newspaper headline, but it would be difficult to discern it from her behavior; she is certainly disheveled, but little evidence is offered us of direct effects of her drinking on her behavior. even within the same film, there might be no consistent pattern: while it is a glass of champagne that starts anita page' s character down the road to disgrace in
checkmated. dir. : larry trimble (vitagraph co. of america us 1913) cas. : florence turner, si, b & w, 35mm. archive: usm .
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dreyer made his directorial debut with the president (shot 1918, swedish premiere 1919, danish premiere 1920). apart from the occasional article or opinion piece, dreyer did not write for the papers during those busy years when he established himself internationally as one of the most important film directors of his day. it was only after vampyr flopped in 1932 and he was no longer able to find producers for the films he wanted to direct, and was unwilling to direct the films he could find producers for, that he returned to journalism .
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bergen sneaks into the reservation as an indian squaw, and charlie as his papoose. when the indians threaten bergen, he uses his ventriloquism to throw his voice at a totem pole. the chief of the tribe is fearfully impressed at the speaking totem. as bergen searches for the cocoons, charlie makes advances to the other indian squaws, angering the indians. fleeing from the reservation, bergen and charlie return to their laboratory with the cocoons .
is an excellent study of family life as waged in the great american home. ” directed by roy william neill and produced at ince, the film was billed as a mrs. wallace reid production .
what causes sprawl, and are there sensible solutions to its aggravating problems? nozzi delivers an easy - to - follow introduction to sprawl' s causes and offers common - sense solutions available to communities. the time is ripe for resurrecting the tradition of designing that makes people, not cars, happy .
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carl th. dreyer - the man and his work dreyer @ dfi. dk about carlthdreyer. dk to the top
these are all important history books, but there is another question to be asked in the autumn of 2013: is there a significance to 1913 beyond the centenary? are we living through a parallel period – an end of an era before a rupture? like those who lived a century ago, we cannot know the answer, but we can seek some possibilities in yet another writing genre: fiction .
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it sounds like a cheesy exploitation film (and it definitely is), but it was made with a lot of care. the girl' s death scene, which takes place back home with her parents keeping vigil at her deathbed as a shadow slowly covers her from head to foot, is quite effective. according to the annual
( the ultimate example of that has to be the mexican film aventurera, in which the female lead dances in nightclub production numbers on the scale of agnes demille' s ballet in oklahoma! , which are merely cover for the low - rent brothel she' s forced to work in upstairs. speaking of the old meet - your - relative - in - the - brothel bit, when she eventually wins over a nice young man and is about to marry him, who should his allegedly prim and proper mother turn out to be but the vicious madam, no doubt still sore over the sums she sank into those production numbers... )
, the son' s creativity and sensitivity make him especially susceptible to the lures of drinking; before long, he is permanently blinded by tainted moonshine. in reaction to their parents, both the southern daughter (dorothy jordan) and the hotelkeeper' s son (robert young) become militant abstainers; they meet, fall in love, marry, and by the end of the film have produced the newborn son. sobriety is as well rewarded as intemperance is punished .
for the condition. but, as denise herd (1983a) demonstrates, there are some crucial differences: the drinking history is attributed to external circumstances in the earlier period, but to intrapsychic forces in the post - freud era. in
pumps. dir. : lawrence (larry) trimble (vitagraph co. of america us 1913) cas. : florence turner, emilie hayward, si, b & w. archive: nla .
( 1931), griffiths solves both the problem of what to do about the daughter and the problem of how to present dts in a naturalistic fashion by having the drunkard believe that he is choking his daughter to death in a drunken frenzy, while keeping us apprised that this is only a hallucination on the drunkard' s part .
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1913: traffic in souls (1913) 1914: the million dollar mystery (1914) 1915: the birth of a nation (1915) 1916: twenty thousand leagues under the sea (1916) 1917: a romance of the redwoods (1917), and cleopatra (1917) (lost film) 1918: mickey (1918) 1919: the miracle man (1919) 1920: something to think about (1920) 1921: the four horsemen of the apocalypse (1921) 1922: robin hood (1922) 1923: the covered wagon (1923) 1924: (nothing substantial) 1925: ben - hur: a tale of the christ (1925) 1926: aloma of the south seas (1926) 1927: napoleon (1927, fr .) (with re - release), the jazz singer (1927), (wings 1927, unknown gross) 1928: the singing fool (1928) 1929: welcome danger (1929 )
still in the lobby, cadwalader asks fibber and offers to pay him if he can convince bergen to invest in a synthetic gasoline formula developed by inventor wallace wimple (bill thompson). fibber is able to visit wimple and see his formula in action; he agrees to partner with cadwalader .
the deerslayer. dir. : lawrence (larry) trimble, hal reid (vitagraph co. of america us 1913) cas. : florence turner, wallace reid, si, b & w, 16mm. archive: usr .
based on the 1912 novel by margaret prescott montague, winner of the first ever o. henry prize for short fiction, linda is davenport’s first official director credit. about the daughter of a brutal backwoodsman who marries an older man to escape her father’s violence but then falls in love with a young doctor, the film merited an “excellent” in
in a shoot, in order to ensure fair game, the shooters line up in the field in a specific order – decided at the start either by the host or by drawing numbers. shooting is permitted only from the allotted spot, from the moment the birds are sighted to the one they disappear. guns must then be lowered – once again, to ensure fair game for all. but what is fair game ?
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a prospector looks for a wife to live with him and eventually gets married. while he is in town, the mine floods and miners need to be rescued. the main scenes were :
you wrote an incredible rare article, sarah. the historical backgrounds of the female directors you listed is fascinating. and it' s amazing many of the female directors worked in different counties. it' s wonderful you focused on the early origin of female directors of silent film .
( 1927), drinking is openly and frequently shown, often in glamorous or luxurious settings. an argument could be made that all the drinking is necessary to the plot or to characterization, although the definition of
necessary
would have to be spread broadly. still, in 1931 ,
interesting articles include two about ole olsen, the dynamic founder of nordisk film. one was an interview (2 nov. 1912) and one was a portrait (“heroes of our time”s, 26 feb. 1913), a rare flattering one at that. in the interview, dreyer writes that
ole olsen’s early years are lost in impenetrable darkness .
here may be a point of overlap for young dreyer, whose own family history was lost in equally impenetrable darkness (until martin drouzy’s biography in 1982 shed some light on it). ole olsen interview, 1 / 11 1912 (the article in danish) vor tids helte: ole olsen, 26 / 3 1913 (the article in danish )
please use the following steps to determine whether you need to fill out a call slip in the prints and photographs reading room to view the original item (s). in some cases, a surrogate (substitute image) is available, often in the form of a digital image, a copy print, or microfilm .
up and down the ladder. dir. : lawrence (larry) trimble (vitagraph co. of america us 1913) cas. : florence turner, courtenay foote, si, b & w, 35mm. archive: usw, cao .
daybill. the story of the kelly gang, by biograph. original poster, printed in black and red with 12 photographs from the film. national film and sound archive, canberra. 1910 version -' anderson' s olympia theatre, saturday nov. 26. j. j. miller print co. opp post office place, melb. 21 - 11 - 10'. 3 colour - red, blue and black. 15 x 40 inches. national film and sound archive, canberra, item # 350429. illustrated adamson, colour; sabine, p. 51, b / w .
( 1942). drinking is unmentioned (unless one counts the mention of rick' s cafe) in the plot summary and excerpts from four reviews reproduced in halliwell' s film guide (halliwell, 1979, p. 150). in the coverage of
meanwhile, bergen and charlie have been asked by an institute to find a rare silk - spinning moth. during a search, they are met by gildersleeve' s sister, jean (ginny simms), and her troop of girl guides. bergen successfully finds a specimen and rushes back to the lodge to phone the institute, leaving charlie to flirt with the girls .
in many films of the early 1930s, the traditional moral frame has totally evaporated; the ethic which replaces it might be summed up as
be true to yourself
. the characters of
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. in this film, laurel and hardy scheme to extract hardy, along with a precious bottle of pre - prohibition liquor, from under the nose of his harridan wife. but the wife, on to their game, has poured the contents of the bottle down the sink and refilled it with cold tea. laurel and hardy go to a nightclub and, none the wiser, proceed to get gloriously and disruptively drunk. hardy' s ears wiggle and eyes flutter as the
alcohol
goes down; he puts a lampshade on his head, and tears the shirt - front off a stuffy waiter. they sober up again when the wife appears and spoils their fun by telling them they have been drinking cold tea .
( 1928), louise brooks, as an orphan on the lam, disguised in men' s clothing in a hobo jungle, is revealed to be a woman when she attempts to refuse a drink of spirits. associated with the proscription of woman' s drinking was the attribution of extraordinary power to small amounts of alcohol. the
as an issue, are the
alcoholism movies
of the postwar period (1945 - 1962). the prototypical response to the statement that we are studying alcohol in the movies is ,
oh, you mean like
thirteen is unlucky: it' s subtle, but hope says that he was born on september 13, 1913 .
it was a friday .
( never mind that it was actually a saturday... )
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bedlah babe: all the harem girls, most noticeably the gorgeous one who falls for orville. princess shalamar is dressed this way as well to maximize the fanservice .
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( 1925). both these films are clearly made under an injunction to avoid showing drinking, as an illegal behavior, within the sight of the viewer. but both pictures sail as close as possible to this mark. the protagonist of
la chica de la calle florida (1922) deals with the manager of a store that tries to seduce a girl, even after she is married. in the climax, she almost surrender to that villain .
i appreciate this hub so much. in fact, my opinion was that it was twice as hard for a woman to direct / produce in the silent era as it was when sound came to the forefront .
in earlier days stretching from the 1920s to the 1940s, exact dollar grosses for films at the box - office were often tallied differently, and therefore remain somewhat unreliable .
( 1934) one also gets the feeling that the drinking is being shown for its own sake: that part of the motivation for putting so much drinking in the movies is the idea that people will pay good money just to watch people on the screen drink .
( 1928), the moral structure, while still visible, has been partly inverted. the girl who is obedient to her elders, fixated on making a good marriage, and concerned not only about the fact but about the appearance of virginity, is a conniving liar who indeed gets the boy but then, intoxicated and abusive, falls justly to her death. the girl who drinks openly in front of her parents, dances gaily on table - tops, and is concerned more to be true to herself than about the appearance of morality, is the virtuous heroine who inherits the boy .
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at the mcgee' s party that night, fibber arranged for bandleader ray noble to provide the musical accompaniment. charlie continues romancing the girl guides and fibber talks to bergen about cadwalader' s scheme. bergen agrees to write fibber a check on the condition that it not be cashed until he has a chance to investigate cadwalader. as soon as bergen leaves, however, cadwalader snatches the check out of fibber' s hands. as the party progresses, abigail uppington, dressed as an indian, begins to recite
the song of hiawatha .
bergen notices a branch uppington has clutched in her hand. it is covered with silkworm cocoons. bergen asked where to find those branches; he is directed by puppet mortimer snerd, to an indian reservation .
every woman' s problem. dir. willis l. robards (plymouth pictures, inc. us 1921) cas: . dorothy davenport, si. b & w, 35mm, 5 reels, 4604 ft. archive: gbb. [ note: this film is a highly - edited 1921 re - release of the 1917 suffrage film, mothers of men, with new inter - titles) .
perhaps the most enduring tradition in the presentation of alcohol on the screen is the
comic drunk
, a well - recognized stage and literary stereotype which reaches back well beyond the inception of the movies (see stivers, 1976, pp. 146 - 149, 155 - 159; silverman, 1980). as silverman notes in a discussion of pre - 1919 film comedies ,
in various films we can see the trait of immunity to decorum picked up, but often with strong negative reactions by sober participants in the scene. the protagonist in griffiths'
all sports have their traditions and rituals, but shooting is, literally and figuratively, a game apart as observed in great britain. the game itself, the prey, is carefully selected, with fowls and animals allowed to be shot at different stages of the year, each in their season. the preparation of the guns, the attire of the shooters, and the timing of the hunt are all also a matter of meticulous preparation, and then there is the event itself: the heart of the ritual. the guns raised in unison, the sighting of the game, the rounds of shots, the thud as a prey is felled, and then the silence .
in kevin brownlow’s 13 - part documentary hollywood: a celebration of the american silent film, then assistant director henry hathaway tells a heartbreaking description of reid’s last day on nobody’s money, reid’s last day on any movie set: “he sort of fumbled about, and bumped into a chair, and then just sat down on to floor and started to cry. they put him in a chair, and he just keeled over. they sent for an ambulance and sent him to the hospital. ”
but the others are there too: the villagers on the estate, the gamekeepers, and the servants who work in the manor house. and there is also a showing for the educated middle class, in the shape of cornelius cardew, a member of the tolstoyan community – and in effect a representative of all new factions of social thinking – who is walking through the land, seeking to promote animal rights .
thought the confusion and conflicts of the commissioners were
a perfect picture of the public mind
.
in using the rituals of both shooting and the house party, the shooting party offers us a miniature of politics and war pre - 1914: the intricacies of the house party are allegories of the alliances and interactions of the statesmen as they stumbled about more obsessed with their own interests than the consequences of their actions. and the rituals of the shoot can all be seen as reflections of war itself: the preparations, the uniforms, the arms, and the death .
( 1963) might be said to have put into literal action the old canard about 19th century actors chewing the scenery. other movies of the period adopted less baroque expedients. in
to modern eyes, however, the drinking shown in the movies of the late 1920s and early 1930s is not only a symbol of contrast between two moral orders. in films like
yes, another surrogate exists. reference staff can direct you to this surrogate .
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starts with the intertitle ,
at the harrington home, 11 a. m. is the bromo seltzer hour
. for all the members of the family, the previous night' s debauchery leaves them with frequent morning hangovers, and the parade of servants with hangover remedies is a recurrent motif in the film. the intertitles throughout are decorated with pictures of liquor bottles and glasses in shifting configurations. recurrent shots of parties at the harrington' s house focus on empty bottles and glasses. we are shown
starting time
at one of these parties; a line of people in the foreground ostentatiously turn their backs to the camera and gulp down their drinks in a toast .
crashing through the harem: orville and jeff try to hide from the evil kasim by hiding in a harem. unfortunately, they get found out .
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lol! i remember that scene! bawdy little film! i loved' don juan' - - at least from what i saw before i fell asleep. tcm conveniently enjoys airing their silents either at midnight or later - - specifically to piss people like ourselves off, it seems
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jeff: i know all that. orville: yeah, but the people who came in to the middle of the picture don' t! jeff: you mean they missed my song ?
in the light of these movies, the handling of dts in the two most famous
alcoholism films
of the postwar era can be seen an a throwback to earlier traditions. self - consciously invoking horror - movie traditions ,
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i' ll lay you 8 to 5 that we meet dorothy lamour .
bond villain stupidity: kasim simply dumps jeff and orville in the desert, despite earlier vowing to deliver a torturous death .
( 1945): it is not the effects of drinking per se but rather the craving for drink which causes ray milland to wreak physical and emotional havoc .
, starts with four american flyers, wounded in the first world war, being discharged from military hospital in france. in almost the opening lines, one flyer says to another ,
the old
tcm will be showing the 1934 remake, but surprisingly enough, the remake is much tamer than the silent .
bowman recaptures joe, who tells him about the mine. bowman goes to the mine, kills the chief and loads his horse with gold, but ends up perishing in the desert, leaving joe with his aboriginal friends. [ 10 ]
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the movie was a popular success with critics drawing particular attention to a scene of an underground mine being flooded. [ 7 ]
below are lists of other pioneers that are related to florence turner by occupation or geography .
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the shooting party by isabel colegate, originally published in 1980, is a novel that takes the themes of blood and sport, ritual and tradition, and weaves them into a consuming narrative. set in the autumn of 1913 in england, the novel unfolds over a weekend in the last shooting season before the great war, in nettleby park, a fictitious country estate in oxfordshire. hosted by sir randolph nettleby, it is a meeting of british aristocrats and members of the upper classes, sprinkled with foreigners, who are obsessed with themselves and their ways .
in movies where drunkenness is not intended to be comic, there are not so well established codes of presentation. it is possible that the code for comic drunkenness here acts as a constraint: in a territory of behavior where there is such a well - established code, moviemakers may have been concerned to avoid any possibility that audiences would see the behavior as humorous. certainly some aspects of the presentation of drunkenness in serious contexts seem to play on the conventions of comic drunkenness. at the opening of the 1957
( 1941), bogart, as a hold - up man hiding out in the mountains, does not drink at all, and the film' s main drinking scene is an occasion for his disgust. he comes to see a young woman in whom he was romantically interested walk, after having paid for an operation on her clubfoot. he finds her dancing to a phonograph with her new beau and another couple. there has been quite a bit of drinking, and the woman of the other couple in particular is behaving suggestively. the scene is set up so we feel sympathetic to bogart' s disgust: the young woman has fallen from grace and purity by her drinking, her choice of companions, and her demeanor.
the road to ruin is an australian melodrama film directed by w. j. lincoln . it was one of the first movies from lincoln-cass films and is considered a lost film . 
the road to ruin is an australian melodrama film directed by w. j. lincoln. it was one of the first movies from lincoln-cass films and is considered a lost film.
the road to ruin is an australian melodrama film directed by w. j. lincoln. it was one of the first movies from lincoln-cass films and is considered a lost film.