camille ( 1926 feature film )
1926, george fitzmaurice, usa, 68 min. with rudolph valentino, vilma banky .
camille is a 1915 american silent film based on the story la dame aux camélias (the lady of the camellias) by alexandre dumas, fils, first published in french as a novel in 1848 and as a play in 1852. adapted for the screen by frances marion, camille was directed by albert capellani and starred clara kimball young as camille and paul capellani as her lover, armand .
, pickford made a definitive break from the stage by signing a film contract with adolph zukor and the famous players movie company. 1913 marked the dawn of the feature film, and mary pickford was about to become its biggest star .
this is the third known film version of the drama taken from the novel by alexander dumas. alla nazimova and rudolph valentino star in this feature that omits the death of the female lead as previously depicted in the book and earlier film versions. camille is taunted and humiliated by armand when she opts for the financial security of another to cover her gambling debts .
cast: norma talmadge [ marguerite gautier (camille) ], gilbert roland [ armand ], lilyan tashman [ olympe ], rose dione [ prudence ], oscar beregi [ count de varville ], harvey clark [ the baron ], helen jerome eddy [ camille’s maid ], alec b. francis [ the duke ], albert conti [ henri ], michael visaroff [ camille’s father ], evelyn selbie [ camille’s mother ], etta lee [ mataloti ], maurice costello [ armand’s father ]
the film has survived and has been made available to the public on dvd and vhs by various film distributors and independent dealers. it is presented as a bonus on the dvd copy of the 1936 version camille with greta garbo .
delightful film... remarkable in its sense of place, its mesmerizing stream of music, and its sharply observed supporting roles. if only more gay films had that kind of richness and humanity .
— camille paglia, bright lights film journal
the most important — and potentially problematic — development in the history of film restoration has been the shift from photochemical, film - based processes to digital processes. the first feature film to be restored digitally was disney’s snow white and the seven dwarfs in 1993. the prevalence of higher - resolution home - entertainment formats such as blu - ray and hdtv has increased the demand for superior copies that more closely approximate the film’s original theatrical quality .
camille: the fate of a coquette is a 1926 short film by ralph barton. this 33 - minute silent film was compiled from barton' s home movies and is loosely based on the french novel, la dame aux camélias (1848), by alexandre dumas, fils. the homemade film is a mish mash of dos and don' ts i. e. a group of people presumably drinking real alcohol from liquor bottles during prohibition. the appearance of a toilet in a bathroom scene had almost never be done in american silent films of the time, with the exception of the crowd (1928) .
camille is a 1915 film based on the 1852 novel and play la dame aux camélias by alexandre dumas, fils. it was adapted by frances marion and directed by albert capellani, and stars clara kimball young, paul capellani, lillian cook and robert cummings .
camille is a courtesan in paris. she falls deeply in love with a young man of promise, armand duval. when armand' s father begs her not to ruin his hope of a career and position by marrying armand, she acquiesces and leaves her lover. however, when poverty and terminal illness overwhelm her, camille discovers that armand has not lost his love for her .
three double reels of this film, which the afi cites on its list of most wanted lost films, exist in the film collection of the douris corporation .
“lush, exciting, genuinely erotic. ”—william k. everson, american silent film
the pickford corporation production; distributed by united artists corporation. / produced by mary pickford. scenario by c. gardner sullivan, from a screen story by winifred dunn. production design by harry oliver. electrical effects (lighting) by william johnson. assistant directors, tom mcnamara, carl harbaugh and earle brown. cinematography by charles rosher, hal mohr and karl struss. intertitles by george marion jr. edited by harold mclernon. / © 30 april 1926 by the pickford corporation [ lp22664 ]. premiered [? ] 19? september 1926 in new york, new york. / standard 35mm spherical 1. 33: 1 format. / [? ] the film may have been edited to six - seven reels for general release. the film was rereleased with synchronized music and sound effects at 81 minutes .
survival status: prints exist in the library of congress film archive (american film institute / mary pickford collection) [ 35mm color - tinted nitrate positive (incomplete, six reels) ], in the cinémathèque française film archive [ 35mm preservation positive (duplicated 1960s) ], and in the mary pickford institute for film education film collection [ 35mm duplicate negative, 35mm fine - grain duplicate master positives, 35mm duplicate positives ] .
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
camille is a 1984 television film based on the 1852 novel and play la dame aux camélias by alexandre dumas, fils. it was adapted by blanche hanalis and directed by desmond davis. it stars greta scacchi, colin firth, john gielgud, billie whitelaw, patrick ryecart, denholm elliott and ben kingsley .
2018 © san francisco silent film festival. true art transcends time. all rights reserved .
saturday double - bill discount! buy a ticket at our regular prices for the first
recently restored
film on any saturday in september, and get a ticket for the second
recently restored
film that day at the discounted rate with proof of your original purchase: general admission $ 7; students $ 5; members $ 4. this discount rate applies to the second feature only. discount available in person at the box office only .
new york film critics circle awards: nyfcc award; best actress, greta garbo; 1937 .
goble, alan. the complete index to literary sources in film. walter de gruyter, 1999 .
portions of the film, including the final scene, are featured in the 1982 musical film annie after the number
let' s go to the movies
. the final scene is also alluded to in the lyrics of the song :
greta garbo is probably crying / while robert taylor is locked in her dying embrace .
margaret booth (1898–2002) was the editor for camille and also the supervising editor for annie 45 years later .
special thanks to bret berg, american genre film archive; david marriott and ei toshinari, arbelos films; tim lanza, cohen film collection; clemence taillandier and maxwell wolkin, film movement; brian belovarac, janus films; jonathan hertzberg, kino lorber; dennis doros and amy heller, milestone film & video; andrea benveniste, 20th century fox; ben model, undercrank productions; dennis chong, universal pictures .
camille is a courtesan in paris. she falls deeply in love with a young man of promise, armand duval. when armand' s father begs her not to ruin his hope of a career and position by marrying... see full summary »
a growing source of silent era film information. this listing is from the progressive silent film list by carl bennett. copyright © 1999 - 2018 by carl bennett and the silent era company. all rights reserved .
charles burnett' s first feature is a landmark of african american cinema. unreleased for several years, it gradually attained classic status, winning top awards at the 1981 berlin and sundance film festivals and being chosen as one of the first twenty - five selections in the national film registry of culturally and artistically significant films. filmed in beautifully gritty 16mm black - and - white with unflinching and richly detailed realism, killer of sheep details the daily life of a watts slaughterhouse worker and his struggle to sustain his emotional and family life in the face of grinding poverty. 2k dcp digital restoration from milestone film & video. (mr )
these problems highlight an essential principle of film restoration: it is not simply a matter of replicating a universally agreed - upon original version of the film. the differences in the tools, materials, and conditions by which the restored version is produced and presented make such purity impossible. this was true of film - to - film restorations (such as those involving movies originally filmed on nitrate stock and / or projected on arc - lamp projectors), and it is even more true of film - to - digital ones. film restoration necessarily involves a negotiation between the original source and the current technology, and, accordingly, it requires a high degree of informed but inevitably interpretative judgment on the part of the restorationist .
the film was set in 1920s paris, whereas the original version took place in paris in the 1840s. it had lavish
the tomatometer score — based on the opinions of hundreds of film and television critics — is a trusted measurement of critical recommendation for millions of fans. it represents the percentage of professional critic reviews that are positive for a given film or television show .
this recurring series is by no means the only place in our program where restoration efforts are highlighted. three of our week - long runs this month — no maps on my taps, l' important c' est d' aimer, and il boom — feature restorations, as do our upcoming runs of jean - luc godard' s la chinoise and le gai savoir in early october .
references: film credits, film viewing: afi - f2 n. f2. 5293; bohn - light pp. 94, 108; brownlow - parade pp. 130, 134 - 135, 228, 229 - 230; everson - american pp. 124, 201; eyles - missing p. 70; eyman - pickford p. 333; geduld - birth p. 146; higashi - virgins pp. 43, 47, 48, 51; leyda - before p. 71; limbacher - feature p. 230; shipman - cinema p. 92; sweeney - coming p. 103: website - afi; website - legacy; website - pickford .
camille is a courtesan in 19th century paris: she falls deeply in love with a young man of promise, armand duval. when armand' s father begs her not to ruin his hope of a career and position by marrying armand, she acquiesces and leaves her lover, leading the two lovers to other relationships and to tragedy .
the film inspired milton benjamin to write and publish a song called
i' ll love like robert taylor, be my greta garbo
.
film restoration is distinguished from conservation (storing prints and other media in optimal conditions) and preservation (transferring a film to a more stable storage medium, such as from nitrate stock to safety stock). restoration involves a more active intervention designed to return a film to an original state that has been compromised by such factors as deterioration, damage, fading, loss of footage, and loss of information (such as color - tinting) .
realizing the painful wisdom of his advice, marguerite rejects armand, who continues to pursue her even as she contracts a serious case of tuberculosis. the film ends with marguerite' s tragic death in the arms of her suitor armand, who has been much changed over the course of the film .
survival status: print exists in the film holdings of the cohen media group (raymond rohauer collection) [ incomplete 35mm positive (4878 feet) ] .
preceded by woodberry' s short film the pocketbook (1980, 13 min .), based on a short story by langston hughes, in which an abandoned boy' s attempted purse - snatching leads to a glimpse of another kind of life. 2k dcp digital restorations from milestone film & video. (mr )
from september 1 through october 5, the gene siskel film center presents recently restored, a series of seventeen films showcasing recent achievements in film restoration. accompanying the series are several screenings of dawson city: frozen time, bill morrison' s imaginative and informative documentary centered on the discovery of long - lost silent films in a former yukon boomtown .
reflecting the increasing dominance of digital tools and processes in film restoration, all the films in this series are presented in digital formats. we want to emphasize, however, that important achievements in photochemical film restoration and preservation continue to be made, as demonstrated in the latest edition of the ucla festival of preservation, which will be presented here in october .
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 .
the film tells of marguerite gautier (greta garbo). she' s born into a lower - class family, but in time becomes well known, living in high society in paris .
according to mgm records the film earned $ 1, 154, 000 in the us and canada and $ 1, 688, 000 elsewhere resulting in a profit of $ 388, 000 .
sponsored by the los angeles anti - narcotic league, davenport reid’s first film after wallace reid’s death took on her late husband’s affliction. the film was granted a “special dispensation” from will hays’s censorship office, which objected to drug - taking as subject matter. to prepare for the role of the lead junkie, bessie love visited a sanitarium and was shown by one eager inmate how to inject morphine. to dramatize the fraught world of the dope - fiend, human wreckage used a caligari - style nightmarish, off - kilter street scene. a mixture of melodrama and message, the film was a hit .
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 .
alla nazimova is probably an acquired taste, as her appearance in' camille' (that poofy hair !) and her overly dramatic emoting create quite a combination. (perhaps she' s like blue cheese, strong, will make you sit up and take notice maybe not always in a good way, but somehow grows on you... but i digress .) together with heartthrob rudolph valentino, the film tells the story of the doomed love affair between a young law student and a society woman who is kept by rich suitors. there are some scenes that are touching and others that are too drawn out, but the art deco set designs from natacha rambova (who would later marry valentino) are fantastic throughout, and the biggest reason to see the film. the story itself and the acting aren' t going to blow you away, but it' s watchable despite its unevenness .
billy woodberry' s first (and, to date, only) dramatic feature was scripted and photographed by his colleague in the ucla - centered
la rebellion
movement, charles burnett. although it and killer of sheep are individually distinctive works, together they form a powerful statement on african american manhood, labor, and family life in the watts neighborhood of los angeles during the difficult period between the 1965 and 1992 uprisings. the film centers on charlie banks (hardman), whose position as head of a lower - income family is eaten away by chronic unemployment and his own evasions of responsibility. woodberry' s supremely observant style allows revelatory insights to emerge effortlessly from everyday activities, aided by ultra - naturalistic performances that peak in a celebrated, electrifying domestic argument filmed in an unbroken ten - minute take .
. in 1919, pickford cofounded united artists, the first independent film distribution company, with charlie chaplin, d. w. griffith, and her future husband, douglas fairbanks. she was only 27 years old .
the decade’s last year brought about major changes in the industry and for mary pickford. by 1929, the talkies had all but obliterated silent film. pickford knew she could not resist the change; she cut her old - fashioned curls and made two talkies before the decade ended .
mary pickford was the most famous and powerful woman in the film business during the silent era. she was an industry pioneer who became hollywood’s first movie star, with a cult - like popularity that made her a national icon and an international celebrity. pickford also had a business savvy that gave her nearly total control of her creative output, with her own production company and a partnership in a major film distribution company, all before she was 30 years old. she blazed a trail in an industry that was in its infancy, a trail few actors have walked .
, 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. ”
cast: mary pickford [ molly ], roy stewart [ dennis wayne ], mary louise miller [ doris wayne ], gustave von seyffertitz (gustav von seyffertitz) [ mr. grimes ], charlotte mineau [ mrs. grimes ], spec o’donnell [ ambrose grimes ], lloyd whitlock [ bailey ], billy butts [ sparrow orphan ], monty o’grady [ splutters ], jack levine [ sparrow orphan ], billy ‘red’ jones [ sparrow orphan ], muriel maccormac [ sparrow orphan ], florence rogan [ sparrow orphan ], mary frances mclean [ sparrow orphan ], sylvia bernard [ sparrow orphan ], seeseell ann johnson [ sparrow orphan ], camille johnson [ sparrow orphan ], a. l. schaeffer [ bailey’s confederate ], mark hamilton [ hog buyer ]
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
the son of the sheik was the final film of legendary silent - screen idol valentino, released shortly before his untimely death, and it is widely considered to be his finest effort. a follow - up to (and vast improvement on) the 1921 hit the sheik, this ripe slice of hollywood orientalism features valentino in a dual role as the original sheik and his headstrong son ahmed. the impulsive lad succumbs to the charms of yasmin (banky), an exotic dancer exploited by her ne’er - do - well father and his band of thieves, who kidnap and torture him. mistakenly believing that yasmin betrayed him, ahmed resolves to subject her to a revenge - worse - than - death. the 50 shades of grey of its day, the son of the sheik applies hollywood polish to the realm of borderline - transgressive sexual fantasy, with excellent trick photography, rousing action scenes, a solid script by frances marion, and impressive set design by william cameron menzies. silent film with recorded music score. 2k dcp digital restoration from the cohen film collection. (mr )
restoration is a relatively recent phenomenon in the timeline of film history, seldom undertaken before the 1970s. stimulated by the advent of the home - video market and cable movie - channels, restoration efforts gained momentum in the 1980s and 1990s, with several high - profile examples (napoleon, lawrence of arabia, vertigo) winning attention and even a degree of box - office success .
when rogers st. johns was a newspaper reporter she covered the real - life trial of gabrielle darley who was acquitted of murdering her philandering husband in 1915, and the story later became good fodder for mrs. wallace reid production’s “sins of the world” series. a small - town teacher marries a dandy and they move to new orleans. abandoned by him in storyville, the city’s notorious red - light district, gabrielle gets by the only way she can. when she finds her husband buying an engagement ring for another lover, she shoots him dead. when the real gabrielle darley saw the film, she sued for $ 50, 000 or $ 60, 000 (depending on the source). according to variety the suit was settled out of court in 1932. scenario by dorothy arzner, who directed her first film ,
dubbed “the ingmar bergman of 42nd street, ” joe sarno stood out among porn - purveyors of the pre - hardcore era for his films’ strong scripts, solid acting, and classy cinematography, though with a decidedly non - bergmanesque penchant for campy dialogue and bountiful breasts. sarno’s films were also distinctive for their concentration on women and female desire. men are indeed peripheral in vibrations, a manhattan tale of two sisters — one promiscuous, the other prudish — whose tense, incest - inflected relationship is aggravated by the passionate sounds emanating from the room next door, where a free - spirited nymph engages in group sex and lengthy bouts with (to quote one reviewer) “a vibrator the size of a canned ham. ” as an added attraction, the film’s running time is padded out with evocative views of rainy - day new york ca. 1967. prores digital restoration from film movement. (mr )
this success gave pickford incredible bargaining power. in 1916 she negotiated a contract that gave her a $ 10, 000 - dollar a week salary, 50 percent of her film profits, and her own production company. pickford had to sign off on every aspect of her productions, from the script to the director. she was even known to have a hand in editing. during these years she worked with directors maurice tourneur and marshall neilan, the writer frances marion, and made some of the best features of her career, including
fairbanks has an atypically serious role in this fascinating early anti - western that stays remarkably true to the anti - racist sentiments of the 1883 bret harte novella (
in the carquinez woods
) on which it is based. he plays lo dorman, the offspring of an indian woman who killed herself when his white father deserted her. arriving in the western town of excelsior, lo attracts the interest of the town flirt and the jealousy of her male admirers. he retreats to the nearby woods (with spectacular scenery filmed in sequoia national park), but the arrival of a snake oil salesman and his mexican mistress (rubens) threatens the half - breed' s sanctuary. the film takes a resoundingly dim view of the white townspeople; there is not an admirable one in the lot. in the end, its sympathies lie with neither the whites nor the indians, but with the archetypal american figure of the outcast. this restoration includes elements from the excavation that is detailed in dawson city: frozen time (playing sept. 15 - 20). silent film with recorded music score by donald sosin on thursday. 2k dcp digital restoration from kino lorber. (mr )
in 1909, when pickford was between stage engagements, she approached director d. w. griffith at the biograph company in new york and asked for work in moving pictures. she had no intention of working permanently in the new medium but hoped the income would tide her over before she went back to belasco and the stage. pickford was intrigued with film actin, and before long she began to enjoy “posing” for motion pictures. she stayed with the biograph company working as both an actress and writer from 1909 to 1911, leaving for a brief stint with the independent motion picture company and later with majestic. she returned to griffith at biograph in early 1912, finishing out the year with him. in 1913, after a run on broadway in
in 1920, mary pickford and doug fairbanks were wed in a private ceremony but shared their married life with the world. at first the couple had feared a negative reaction (both were already married when they met), but their union only fed into the romantic fantasies many fans had about hollywood. the couple was mobbed at every port on their whirlwind european honeymoon. back in california, they relished their place as the king and queen of hollywood, holding court at their home, known as pickfair. pickford decided to make only one film a year after 1921, focusing on the quality of her productions. many believe that she was at her creative peak during the teens, but her films of the 1920s were the most successful, including a remake of
in addition to codirecting, davenport also took a small role as mrs. merrill, who’s in charge of female “sex delinquents” at the local precinct. when a high - schooler and her platinum - blonde bestie head down the road to ruin paved with steamy romance novels, cigarettes, and booze, they end up across from davenport’s character who obliquely tells the girls they have to be tested for venereal disease and then counsels “intelligent sex education. ” the film earns its exploitation repute for a strip poker scene with lingerie - clad girls followed by a dip in the backyard pool but is also a heartfelt, if heavy - handed, portrayal of the tragic consequences of a back - alley abortion. davenport continued to work in films throughout the next two decades, taking credit as simply dorothy reid .
cult director jodorowsky (endless poetry, el topo) brings his cinema of surreal poetic shock to its apex with this violent tale of twisted mother - son love steeped in his unique blend of spiritualism and bloody carnality. fenix, a mexico city circus magician, is the product of the abusive union of a high - wire performer and an american knife - thrower. the child fenix goes mad after witnessing his father mutilate his mother, but a decade later she reappears armless, to lead him from the asylum in order to save and enslave him. mother and son travel the world performing a strange pantomime act and living like siamese twins in a relationship of utter dependency. when fenix feels the urge to stray, a mother’s jealousy unleashes the ultimate manifestation of her power. in english. 2k dcp digital restoration from the american genre film archive. (bs )
filming the scene in which mary carries the children to safety through the alligator - infested swamp was a story which pickford told, with many embellishments, throughout her life. she claimed that they rehearsed the scene repeatedly, with real alligators, and mary carrying a bag of flour instead of a baby. but she knew she would have to carry a real baby, and she told her husband douglas fairbanks that she worried about putting the child in danger, whereupon fairbanks marched down to the set and bawled out the director, william beaudine. but plucky mary went ahead and did the scene with real gators and real baby anyway. that’s also the way contemporary accounts told the story. but a close viewing of the film shows that the baby seems to be a dummy. as for alligators, it’s possible, but not probable, that pickford rehearsed with the real beasts, but after doug' s tantrum, it was done optically. hal mohr discounted that as well: “there wasn’t an alligator within ten miles of miss pickford, ” he scoffed. he then explained in detail how painstakingly the effect was accomplished. fake or real, the scene is frighteningly effective .
references: afi - f1 n. f1. 0579, geduld - birth p. 117; lahue - gentlemen p. 71; pohle - holmes p. 26; sinyard - silent p. 175; thompson - lost p. xiv; vermilye - twenties p. 210: website - talmadge: with additional information provided by greta de groat .
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jermaine fowler and omari hardwick of sorry to bother you take us back in time to the worst jobs of their careers .
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all she knew of life... . was love... . and that... . only as a thing men bargained for. (print ad - the evening news, (( san jose, calif .) ) 21 september 1927 )
explore popular sci - fi movies and tv shows available to stream with prime video .
an incomplete 35mm positive print exists in the raymond rohauer collection of the cohen media group, according to silentera. com .
johnny guitar: canción de peggy lee y escenas de la película. 1954 .
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fred de gresac (adaptation) olga printzlau (scenario) chandler sprague (scenario) george marion, jr. (intertitles )
positive print exists in the raymond rohauer collection of the cohen media group, according to silentera. com .
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, which was first published in french as a novel in 1848 and as a play in 1852 .
a young law student, armand (rudolph valentino) becomes smitten with a courtesan, marguerite (alla nazimova). marguerite is constantly surrounded by suitors, whom she entertains at her lavish apartment. she also has consumption and is frequently beset by bouts of illness .
armand sees marguerite at the opera and, later, pursues her when he attends one of her private parties. she rejects his advances at first, but eventually returns his affection .
the two live happily together until armand' s father, seeking to protect his family' s reputation, convinces marguerite to end the relationship. she finally relents and runs away to a wealthy client, leaving a note for armand .
when armand finds the note he is shattered. the sorrow eventually turns to rage, and he decides to plunge into parisian nightlife, associating himself with olympe, another courtesan. when he sees marguerite at a casino, he publicly denounces her .
marguerite gives up her life as a courtesan and quickly finds herself in massive debt. her illness also takes a heavy toll. eventually, as she lies dying in bed, her furniture and belongings are repossessed. she persuades the men taking her belongings to allow her to keep her most precious possession: a book - manon lescaut - armand gave to her .
marguerite dies lying in bed in her apartment holding the book armand gave her, wishing to sleep where she is happy dreaming about armand. marguerite' s maid nanine, and her newlywed friends gaston and nichette are at her bedside as she dies. the viewer is left to believe that armand never found out about his father forcing marguerite to leave him, and therefore never saw marguerite again after the casino scene .
of tradition are forgotten in the potent lure of the modern characterization of nazimova and rudolph valentino. bizarre, ephemeral, at moments, and at others, frenzied, their version promises a haunting succession of mesmeric pictures. it does not aim to present the
that successive generations have applauded and sniffled over. because it is nazimova' s presentation of a story that has survived even the buffetings of endless productions—good, bad, and indifferent—it promises to be interesting .
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early women filmmakers: an international anthology (1902 - 1943). films by blaché, weber, dulac and more! available from amazon
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digital tools have given archivists greater control over such factors as dirt, scratches, shrinkage, color grading, and even the replacement of damaged or missing areas by culling information from other, more intact areas of the print. digital restorations are currently considerably more expensive than photochemical ones. they also carry the danger of overzealously removing such perceived imperfections as grain, flicker, and jitter to produce a sterile, excessively smooth, and inauthentic result .
1989, alejandro jodorowsky, italy / mexico, 123 min. with axel jodorowsky, blanca guerra .
“a grand work of art, full of symbols and imagery that reach beyond language to something primal and original. ” — noel murray, av club
2001, david lynch, usa, 147 min. with naomi watts, laura harring .
using his favorite story hook of
a woman in trouble ,
lynch’s bizarre, beautiful mystery takes a walk on the dark side of hollywood. shortly after arriving in tinseltown, starry - eyed starlet betty (watts) finds an amnesiac stranger (harring) at her doorstep. as betty becomes obsessed with unraveling her new companion' s mystery, we begin to suspect that neither woman is quite who she appears to be, and that they might not be strangers after all. mulholland dr. was hailed as a return to form for lynch, earning him an oscar nomination for best director. 2k dcp digital restoration from janus films. (christopher sanew )
1922, robert g. vignola, usa, 117 min. with marion davies, forrest stanley .
this lavishly produced costume drama was an enormous, critically acclaimed hit, establishing william randolph hearst protégée marion davies as a bankable star and credible actress. she gives a winning performance, full of sass and charm, as mary tudor, henry viii' s kid sister, whose heart belongs to captain of the guard charles brandon (stanley) but whose blustering brother wants to palm her off in an alliance - cementing marriage to france' s doddering monarch louis xii. the excellent restoration from the only surviving 35mm nitrate print includes color - tinting and recreated hand - colored effects. 2k dcp digital restoration from undercrank productions. (mr )
“quite simply one of the best rock concert films ever, thanks not only to some great performances, but also to the way it sums up the spirit of the time. ” — geoff andrew, time out london
this pioneer music documentary by cinéma - vérité giant pennebaker set the template for countless rock concert films to follow, while also capturing the spirit of sixties counterculture at its grooviest high before the bad vibes set in. the occasion is the three - day monterey international pop festival that marked the beginning of 1967’s summer of love. using tight zooms and shallow focus to imbue the stars with a tactile aura, pennebaker and his seven - camera crew immortalize a wealth of legendary performers and performances, including janis joplin stomping out a ferocious “ball ‘n’ chain, ” jimi hendrix cremating his guitar for “wild thing, ” and ravi shankar mesmerizing the crowd with his sitar finale. 4k dcp digital restoration from janus films. (mr )
1986, donna deitch, usa, 96 min. with helen shaver, patricia charbonneau .
when todd haynes’s carol triumphed in 2015, several astute reviewers noted that it was following in the footsteps of this trailblazing thirty - year - old indie, similarly based on a vintage novel (by canadian gay author jane rule), and similarly dedicated to the proposition that lesbian romances need not have unhappy endings. vivian bell (shaver), a prim columbia university professor, arrives at a reno guest ranch in order to wait out the requisite six - week period for a quickie divorce. she quickly catches the eye of cay rivvers (charbonneau), a rowdy young casino worker with an actively gay lifestyle. cay’s determined pursuit sends vivian into an identity crisis, until the walls come tumbling down in a memorably authentic love scene, but cay, for the first time in her life, wants more than a brief affair. director deitch concentrates on the process of self - discovery rather than melodrama, framed by the neon - and - desert - sun tones of robert (there will be blood) elswit’s elegant cinematography. 4k dcp digital restoration from janus films. (mr )
1984, billy woodberry, usa, 86 min. with nate hardman, kaycee moore .
this wonderful neorealist look at a working - class black family in south central la is worthy of being placed alongside burnett' s killer of sheep. passionately recommended .
— jonathan rosenbaum, chicago reader
1978, charles burnett, usa, 93 min. with harry sanders, kaycee moore .
an american masterpiece, independent to the bone .
— manohla dargis, the new york times
1968, joe sarno, usa, 75 min. with maria lease, marianne prevost .
“classy and sophisticated, beautifully shot, a juicy script, filled with wonderful performances and sexy as hell. ” — casey scott, dvd drive - in
1916, allan dwan, usa, 73 min. with douglas fairbanks, alma rubens .
( 1917). with the birth of their first child wally jr. , she took a semi - hiatus, appearing in only three films. but her domesticated life ended after her husband’s death and subsequent scandal. injured on the set of
in 1919, reid became addicted to painkillers. although he eventually conquered his habit, his health was destroyed and he died in 1923 at age thirty - one. by this time davenport was already billing herself as davenport reid. as one newspaper noted when she added her husband’s last name, it “will be a great shock to the women who are new - fashioned enough to think that every member of the feminine sex should carve her career under her own name—especially when she has one as well known as dorothy davenport. ” after reid’s death, she took on the mantle of widow and reformer, listing herself in credits as mrs. wallace reid. the exact nature of her participation is still unclear but she was the impetus behind her films, whether producing or directing or writing, sometimes taking starring roles, sometimes small parts, or appearing in prologues to advocate for her positions on social issues of the day .
writer adela rogers st. johns, a davenport colleague and friend, contributed this “spare the rod spoil the child” morality play about a mother who is too indulgent with her young son. he grows up to be an irresponsible delinquent, keeping bad company (i. e. flappers) and driving too fast, until one night he runs over someone on his way home from carousing. davenport starred as the mother who dreamed the whole plot and, upon awaking, gives her boy, still thankfully just eight years old, a good spanking. “people who have a message are usually great bores, ” the reviewer in
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marguerite' s finances are covered by the wealthy baron de varville (henry daniell), but after many years of making money from her looks, she falls in love with armand (robert taylor), a handsome young man .
armand loves marguerite and she' s prepared to give up the baron and be with armand .
however, armand' s father (lionel barrymore) begs marguerite to turn away from his son, knowing her past will ruin his future in paris .
academy awards: oscar; best actress in a leading role, greta garbo; 1937 .
has been well received by critics since its release and the role of marguerite is generally regarded as greta garbo' s finest screen performance .
movies and tv shows are certified fresh with a steady tomatometer of 75% or higher after a set amount of reviews (80 for wide - release movies, 40 for limited - release movies, 20 for tv shows), including 5 reviews from top critics .
nazimova totally immerses her own distinct personality into that of the famed heroine. instead of the sinuous, clinging nazimova, she appears an actress almost new - born for the part .
great sets but everything else is why silents are often derided. nazimova could not possibly be more affected or more of a screen hog relegating everyone else to the sidelines. her hair is a rat' s nest of staggering proportions. valentino' s part is small and while he' s not great he' s better than almost everyone else. an artifact .
mary pickford (molly), gustav von seyffertitz (mr. grimes), charlotte mineau (mrs. grimes), spec o’donnell (ambrose grimes), roy stewart (dennis wayne), mary louise miller (doris wayne), lloyd whitlock (bailey), monty o’grady (splutters )
is equal parts gothic thriller and sentimental melodrama. set in a swamp in the deep south, it’s the story of a “baby farm” whose evil head keeps the children in squalor; spunky mary protects and ultimately saves the children from his evil clutches. the set for the farm was built on four acres of pickford’s studio. art director harry oliver transplanted hundreds of large trees and draped them with two boxcars’ worth of spanish moss. oliver personally aged every bit of wood used to build the decrepit farm and barns. some of the scenes, such as a moonlight chase on the lake, were achieved with a combination of a constructed three - foot deep lake, and miniatures. cameraman hal mohr recalled that for the miniature lake, oliver used flax seed on which he sprinkled aluminum powder. he then carved a model boat which he pulled through the “lake” with a concealed string, leaving a lovely wake .
( 1927), in which she played a shopgirl who falls for the boss’s son. her roles in her few talking films were all adults, but she soon realized she could never achieve the heights she’d reached as little mary in silent films. she retired to her home, pickfair, where she lived in semi - seclusion until her death in 1979 .
pickford was born gladys smith in 1892 in toronto, canada. after her father was killed in an accident, gladys, at age seven, became the family’s main breadwinner by performing in the theater. in fact, the stage became a family venture, as her younger siblings lottie and jack—and even her mother—took up the trade. but the drive and determination to be a star belonged solely to gladys. in 1907, her ambition led her to the broadway stage and famed producer - director david belasco, who had her change her name to mary pickford and gave her a part in
in fact, she came to features with a well - established legacy. “moving picture mary” was the first movie star to adorn the cover of the
, which she did in december 1911, an honor previously bestowed only on theatrical stars. and because moviegoers had already singled out pickford as a favorite, her success in features was guaranteed. in 1914, pickford’s
, the story of a fiery young woman fighting for the underclass, caused a sensation. the extraordinary reaction made pickford an international star and created fan worship never before been witnessed .
featured the much anticipated pairing of pickford and her husband fairbanks. but even with good reviews and promotion, these films were not as successful as her silent pictures .
pickford attempted two more sound features then retired in 1933 after 23 years of making movies. and though she kept producing films starring other actors after her retirement, she never found the experience as satisfying as her own career. pickford, whose professional decline had begun in the same year as the death of her beloved mother in 1928, saw her brother and sister die in the 1930s. in 1936, her fairytale marriage to douglas fairbanks ended in divorce. fairbanks died of heart failure only three years later. in 1937, pickford married actor charles “buddy” rogers, her costar in
it has been nearly 100 years since pickford walked in front of a motion picture camera for the first time, but that elusive something that audiences found so alluring in those first movies of the 20th century can still be found in her movies today. her tough but kind, sweet but strong characters who stand up for the underdog and pull themselves through the most harrowing of situations are as enjoyable to watch now as they were when first released .
this page was last modified on 7 january 2016, at 11: 04 .
this article' s content derived from wikipedia, the free encyclopedia (see original source) .
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camille is a 1926 american silent film based on the play adaptation of la dame aux camélias ( the lady of the camellias ) by alexandre dumas , fils , first published in french as a novel in 1848 and as a play in 1852 . adapted by fred de gresac , george marion jr. , olga printzlau , and chandler sprague , camille was a directed by fred niblo and starred norma talmadge as camille and gilbert roland as her lover , armand . it was produced by the norma talmadge film corporation and released by first national pictures . the film 's score was composed by william axt . 
camille is a 1926 american silent film based on the play adaptation of la dame aux camélias (the lady of the camellias) by alexandre dumas, fils, first published in french as a novel in 1848 and as a play in 1852. adapted by fred de gresac, george marion jr., olga printzlau, and chandler sprague, camille was a directed by fred niblo and starred norma talmadge as camille and gilbert roland as her lover, armand. it was produced by the norma talmadge film corporation and released by first national pictures. the film's score was composed by william axt.
camille is a 1926 american silent film based on the play adaptation of la dame aux camélias (the lady of the camellias) by alexandre dumas, fils, first published in french as a novel in 1848 and as a play in 1852. adapted by fred de gresac, george marion jr., olga printzlau, and chandler sprague, camille was a directed by fred niblo and starred norma talmadge as camille and gilbert roland as her lover, armand. it was produced by the norma talmadge film corporation and released by first national pictures. the film's score was composed by william axt.