the scarlet lady ( 1928 film )
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my lady' s lips (dir. james p. hogan, 1925 )
hello everyone i am looking for the silent film the scarlet lady (1928), i have understood that it is a great movie. if anyone has and wants to exchange for another movie. i have thousands of silent and sound films difficult to obtain. regards [ / img ]
the scarlet lady. dir. : alan crosland, st. : bess meredyth (columbia pictures corp. us 1928) cas. : lya de putti, si / sd, b & w, 35mm, 7 reels, 6, 443 ft. archive: itn .
lantern slide sailors’ wives (1928), bess meredyth (w). cpldg
ladies' night in a turkish bath (dir. edward cline, 1928 )
british film institute, library of congress. ucla film and television archive, warner bros. classics
lantern slide the little shepherd of kingdom come (1928), bess meredyth (w). cpldg
this was victor seastrom’s last american film. seastrom, hanson and gish had worked together on the very successful 1926 film the scarlet letter. in the wind, seastrom stretches the potential of silent film to its limit and beyond. his agile camera and imaginative eye make this a timeless film. while not as dramatic as the german directors of the period, his use of light and shadow adds just the right touch of stylization required for this nightmare version of texas .
at the age of 18, ms. scarlet came to study acting at the boston university college of fine arts. in 1950, vivienne scarlet earned her bachelor of fine arts degree. after graduating from the boston university college of fine arts, scarlet came to work at the west end theater, performing, as an understudy, in she stoops to commiserate. scarlet was later fired from the west end theater and went on to work on broadway starring in the importance of being frank. later into her acting career, she went on to star in the major film, ben hur, in hollywood, and received critically negative reviews [ 4 ] .
vivienne sakura scarlet was born on july 16, 1928 in cambridge, england to mrs. elizabeth peacock and the late dr. james scarlet during her parents' visit to england. unfortunately, her father was mysteriously murdered when he was pushed down the grand staircase at arlington grange. she was doted on by her mother and went to a boarding school in arlington until she was 17 years old [ 4 ] .
curated by jere guldin, film preservationist, ucla film and television archive and randy haberkamp, founder, the silent society, a committee of hollywood heritage inc .
dr. james scarlet (father) mrs. elizabeth peacock (mother) patrick peacock (maternal grandfather) henrietta peacock - gobelin (maternal grandmother )
a selection of feature films preserved by ucla film & television archive since 1977 .
( ucla film and television archive) directed by rex ingram, this was a remake of a 1914 film about a shipwrecked family. ingram is best known as the director of
listed by the american film institute as one of the ten most wanted lost films, this is the only surviving reel of greta garbo’s only lost film. it was directed by the great victor sjöström, who also directed lon chaney in
, opened in new york on january 6, 1928. some reviewers thought it was chaplin’s funniest film to date. chaplin received a special academy award in the first year of their presentation for “versatility and genius in writing, acting, directing, and producing
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 .
2018 © san francisco silent film festival. true art transcends time. all rights reserved .
, gish suggested to mgm studio head louis b. mayer that they film an adaptation of
deposited into
the clara bow film preservation fund
at the tompkins county trust company, ithaca, ny. at an appointed
( 1925). film historian jack spears summed up a talmadge film of the hollywood era: “a brave, tragic and sacrificing heroine, lavish settings and beautiful clothes, and buckets of tears before the eventual redemption at the fadeout. ”
killed the cop. ms. vivienne sakura scarlet [ 2 ] [ 3 ] (born july 16, 1928) is a vivacious and aspiring actress whose passion for fame, fortune, and especially men will let no one stand in her way. the glamorous daughter of mrs. elizabeth peacock and beautiful girlfriend of col. michael mustard, she resides at arlington grange with her mother and mrs. blanche white. ms. scarlet is very famous and the press in hollywood often question her about her disastrous love life. she was the former fiancée of mr. john boddy, who was mysteriously murdered .
( 1928) to the screen, everyone at the studio, including production chief irving thalberg, agreed the film was a masterpiece. but thalberg told gish the exhibitors wanted a happy ending, replacing the final scene of the heroine disappearing into a storm with a reunion of hero and heroine. when gish’s two - year mgm contract ended, she left to make a few films for united artists, including her first talkie
as a result of her unsuccessful acting in ben hur, vivienne went on to other ways of finding profit. scarlet traveled to macao and began a relationship with col. michael mustard who recognized her from her role in ben hur [ 4 ]. here, the two collaborated as foreign spies for macao in the society of fortune hunters quarterly against the united states government. as a spy, she was known under the aliases of the “crimson lady”, the “mercenary of macao”, and “sakura ming” [ 5 ] [ 3 ] [ 6 ]. she also began a relationship with sir humphrey ponsonby - smythe who directed ben hur; the man later died and scarlet inherited his wealth [ 4 ]. she also began relationships with wealthy older men to inherit their money. the tabloids began covering her disastrous love life, specifically with col. michael mustard [ 4 ] .
when her six - year famous players contract expired, she formed her own production company under first national pictures. the company’s first film ,
victor sjöström and lars hanson both returned to sweden in 1928. hanson continued making films into the 1950s and died in 1965. sjöström directed a few more films before concentrating on acting, giving his best - known performance in ingmar bergman’s
another reason for the amount of wind is the very concept of the film: letty is driven mad by it. that in itself requires more than a few dust storms for the audience to accept. (and, by the way, as a born and raised desert rat, i can assure you that there really isn’t all that much exaggeration in the film’s weather. )
letty mason (lillian gish) is a sweet virginia lass bound for her cousin’s ranch in texas. on the train, she meets cattleman wirt roddy (montagu love). roddy knows how to treat a lady. he tells her about the countryside and helps her get the dust off her clothes. there is a lot of dust in the air, the wind seems to blow constantly .
costs to preserve an early
talkie
. it costs about $ 7, 000 to convert nitrate film to a printed
john boddy invited vivienne scarlet to his thirtieth birthday party at the boddy estate on june 5, 1954. the guests were all blackmailed by mr. boddy who threatened to exploit their secrets because they had all hurt him in a way. boddy threatened to reveal ms. scarlet’s numerous affairs with col. mustard and her charges for espionage as she was working for macao. at 8: 30 p. m. , john boddy was murdered and his corpse was found on the cellar stairs. all of the guests had the perfect motive, but whodunit [ 4 ] [ 8 ] ?
donald, goofy, pluto, and… oswald the lucky rabbit. that’s how the list of major disney animated characters might read had certain events in the late 1920s unfolded differently, forever altering the history of animated film .
in the case of the wind, the original ending (letty wandering in the desert, alone and insane) would mean that the theme of the film is as follows: woman vs. nature. woman loses. boy, did she have a rotten life .
to play reverend dimmesdale, mayer suggested lars hanson, a newly arrived swedish actor. gish agreed after she saw his swedish film
film is approximately $ 15, 000. add on $ 10, 000 to this amount, and that' s how much it
after a year in baltimore, she and her sister cora made their way to new york city. beginning in 1900, she performed in 16 plays, six of which were starring roles, before embarking on a film career. her first film for famous players was
the man who laughs (1928) was an attempt to duplicate the success of universal’s the hunchback of notre dame. however, the film lacked popular appeal even though a grand music score and synchronized sound effects were added to boost its competitive edge against the fast growing popularity of the
talkies
. universal also added a happy ending and a chase scene to victor hugo’s most macabre novel—one that had seen the silver screen before as l’homme qui rit (1909) and as das grinsende gesicht (the smirking face) (1921) directed by julius herzka in austria for olympic films .
lucas, john meredyth. eighty odd years in hollywood: memoir of a career in film and television. jefferson: mcfarland, 2004 .
the yellow lily. dir. : alexander korda, cont. : bess meredyth (first national pictures, inc. us 1928) cas. : billie dove, jane winton, si, b & w, 8 reels, 7, 187 ft. archive: gbb .
founded by fritzi kramer, movies silently’s mission is to make silent film fun and accessible with reviews, articles, animated gifs and daily updates .
for her director, gish chose victor sjöström (the acclaimed swedish actor and filmmaker whose name was americanized to “seastrom” for u. s. audiences) after seeing his film
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 .
( oh, and since there are a ton of rumors attached to this film, from the mythical “original ending” to the weather conditions the cast had to contend with, i wrote an entire article of the wind myth - busting. enjoy! )
although she made many films in both new york and california, talmadge’s career didn’t take off until 1916 when she met and married loew’s theater chain executive joseph schenck. he wanted to break into film production and soon launched the norma talmadge film corporation. according to researcher greta de groat, most of talmadge’s early films were melodramas that “deal with a wider variety of contemporary social issues than her later films. ” her final film made at the new york studio was her biggest hit and one of her best, the supernatural romance
. for the rest of her career she alternated between stage, film, and television. her only oscar nomination, for best supporting actress, was for david o. selznick’s
( 1926), based on the opera by puccini and directed by king vidor. the film was a big hit and helped justify her huge salary, which gish herself feared could overwhelm her production’s budgets .
in 1970, gish received an honorary oscar “for superlative artistry and for distinguished contribution to the progress of motion pictures. ” seventy - five years after her screen debut, she made her final film, the
i think that the criticism fails to take into account that the wind is a subjective, rather than objective, film. this is from letty’s point of view. the wind is dramatically portrayed because that is how she perceives it. whatever part of virginia she is from, the climate is lovely. in comparison, the plains of texas are nothing but a vast landscape of stinging wind. too much wind? for realism, perhaps, but it fits the stylized nature of the film quite well .
the only film released by james b. leong productions, formed to produce all - chinese films in answer to racist representations of chinese in hollywood films. james leong entered the movies as d. w. griffith’s interpreter on
( please note that when i refer to the original ending, i mean the ending of the novel. despite what lillian gish claimed later, original scripts show that a happy ending was always intended for the film adaptation and no tragic ending was ever planned, let alone shot. )
) was scheduled for completion six months after production began in january 1926. it took two years. the first month’s work had to be reshot after scratches, made in the laboratory, were discovered on the negative. chaplin’s performance on the tightrope (which he taught himself for the film, practicing for weeks before stepping in front of the camera) took a month to film and consisted of more than 700 takes. seven months into production, a fire destroyed the main set, which then had to be rebuilt. then chaplin’s personal life interfered .
claimed “that this story … should have been put into film version in eight gorgeous and dazzling parts is one of the wonders of moviedom. ” in 1914, famous players had signed the four - foot - ten, 31 - year - old clark, a popular broadway actress, soon after she had completed two seasons as snow white on the stage. in the teens, film studios often looked to the theater for seasoned talent and paid handsomely to lure serious players to the screen. douglas fairbanks, marie dressler, nazimova, and the barrymores were among the broadway players that signed on to the “flickers. ”
a selection of extremely rare fragments from shorts produced by the vitagraph studio in new york, preserved on film from paper prints originally submitted to the library of congress to ensure copyright protection. the library of congress did not initially accept film as a suitable medium for filing to obtain copyright, so studios would transfer a few feet of each movie onto paper as proof of authenticity. in many instances, these paper prints are the only surviving record of thousands of lost films .
while the modern prodigal, a 1910 d. w. griffith film is extant, bess meredyth is not credited on fiaf and afi. victoria sturtevant claims the film is “based on the novel the southerner by bess meredyth. ” paul spehr also lists bess meredyth as the source author, and braff lists her as screenwriter. both spher and braff list henderson as cast only, not as story writer as he is credited by afi. a sailor’s heat (1912) is another extant title, but bess meredyth is not credited on fiaf, nor is the film listed in afi. spehr lists bess meredyth as an extra in this title. the not extant section of “4. bess meredyth as actress” is based on spehr’s list. many of these titles do not appear in afi and the ones that do make no mention of meredyth .
the first and most obvious advantage that the film has is the presence of lillian gish. one of the greatest screen actress of her era, she excelled at portraying innocents thrust into a harsh world. the wind gave her a chance to put a more sophisticated spin on the character. letty is innocent and basically good but she has her share of flaws. at the beginning of the film, she is taken in easily by the superficial. she is a pragmatic character, even egocentric, who goes on her way through life with little regard for the feelings of others, particularly lige and cora. these flaws balance the character and make her much more interesting than the usual virginal heroine. it makes her eventual journey to the brink of madness much more tragic and engrossing. this is a real person being driven insane .
the subjective nature of the film leads me to wonder just how reliable of a narrator letty is. it is clear from the film that she has an overactive imagination. (seeing the wind as a mustang, imagining other characters staring at her .) in the famous climax, where she shoots roddy and then imagines him rising from his grave, i wonder how much of it is real. no one but letty sees roddy double back to the house. when she confesses her crime to lige, he seems less than disturbed. is it possible that roddy never came back at all? that the whole sequence was a symbolic manifestation of her delusional terror of the wind ?
word is out: stories of some of our lives (dir. mariposa film group: peter adair, nancy adair, veronica selver, andrew brown, robert epstein, lucy massie phenix, 1977 )
this was rex ingram’s last american - made film. his artistic vision was not well suited to mgm, and after a quarrel with louis b. mayer, ingram’s films displayed the truncated credit “metro goldwyn presents, ” excluding all mention of mayer .
another criticism leveled against the film is that the original, tragic ending of the novel was replaced with a happier one. this was done against the wishes of both lillian gish and victor seastrom. but was it really such a desecration? there is a belief among many critics that sad endings are always better and happy ones are always inferior. i love a tragedy as much as the next girl but it has to fit. the best ending is the one that feels right for the story being told. period .
a woman of affairs. dir. : clarence brown, sc. : bess meredyth, michael arlen, marian ainslee, ruth cummings (metro - goldwyn - mayer corp. us 1928) cas. : greta garbo, si / sd, b & w, 35mm, 8, 319 ft. archive: usr, ses, dkk, beb, rob, def .
( 1978) that norma began posing for illustrated song slides as a teenager around 1910. mother peg then decided that her daughter belonged in motion pictures, and norma went to work at vitagraph studios. constance soon followed her sister into the movies, and the formidable peg even got natalie a clerical job in the film industry .
after completion of the film, conrad veidt decided to refrain from portraying any more grotesque characters. a remake was reportedly to star kirk douglas. however, after tracking down a print of the original and viewing it, douglas decided it was not as suitable a star vehicle as he had imagined .
in the year of the pig (dir. emile de antonio, 1968 )
the power and the glory (dir. william k. howard, 1933 )
the sign of the cross (dir. cecil b. demille, 1932 )
with the greeks in the firing line (dir. robert schwobthaler, 1913 )
the man who laughs is without doubt one of leni’s best films. the director unfortunately died the year after it was made at the age of 44 from blood poisoning, leaving us to wonder what he might have accomplished with the medium of sound and the other advances of the 1930s .
when bess got in wrong. sc. : a. e. christie (nestor film co. us 1914) cas. : bess meredyth, stella adams, si, b & w, 35mm. archive: usw .
for eight months while another circus — the divorce suit — raged on. the negative of the film was hidden to avoid its attachment by her attorneys. lita was finally awarded $ 600, 000 plus a trust fund for each of their two children, charles jr. and sydney earle (born on march 30, 1926, three months into production of
a year after the murder, mr. boddy’s “sister”, mme. rhoda rose, and his “lawyer”, m. alphonse brunette, called the original guests together to continue investigation for john boddy’s murder. the two forged a false will in order to try to kill the suspects and inherit mr. boddy’s wealth and sir hugh black’s wealth. after these events, the suspects, including those at the hearing of the will, all of the suspects tried to escape the united states after being placed on the federal bureau of investigation’s most wanted list; the investigation for finding these criminals was directed by inspector peter pry. eventually these suspects came together and traveled to paris, tangiers, and then to rangoon; they all collaborated to find and kill inspector pry, who was tracking them. ms. vivienne scarlet and her boyfriend col. michael mustard were arrested by inspector pry for espionage and murder [ 5 ] .
during this time, her mother, mrs. peacock, invited her to stay in boston where she met sir hugh black and his nephew, mr. john boddy, who was studying for a doctorate in anthropology at the time. john boddy and vivienne scarlet eventually fell in love, even though she was already dating mike mustard. in 1954, john boddy proposed to her, angering her boyfriend. however, boddy called off the engagement when he heard his best friend, mike mustard, was already in a relationship with her [ 7 ] .
in the land of the head hunters (dir. edward s. curtis, 1914 )
disney and iwerks developed an assembly - line system that met disney’s desire for top - quality animation, story, and character development as well as allowing them to churn out one film every two weeks, as mandated by their contract with mintz and universal. through oswald, disney also realized the potential for character merchandising. from the outset, universal had promoted oswald “tie - in” products, the first being an oswald the lucky rabbit chocolate bar that hit the shelves in 1927 .
an enemy of men fighting the flames fighting youth a fool and his money the great sensation justice of the far north the new champion sealed lips s. o. s. perils of the sea steppin' out when husbands flirt
go behind the scenes of the mission: impossible movies, check out the latest videos and trailers, and see which spy movies topped the box office in our mission: impossible guide .
the wind is one of those rare movies where everything comes together. the perfect director for the material, perfect cast, all working together .
wherever the proposed preservation project will be done). time is of the essence. as they
bred in the bone, 1913; gold is not all, 1913; bess the detectress in tick, tick, tick, 1914; bess the detectress or the dog watch, 1914; bess the detectress or the old mill at midnight, 1914; dangers of the veldt, 1914; the desert’s sting, 1914; father’s bride, 1914; her twin brother, 1914; the little autogomobile, 1914; stolen glory, 1914; willie walrus and the awful confession, 1914; the wooing of bessie bumpkin, 1914 .
lillian gish tended to be drawn to darker material and her acting thrives in this film. the climactic scene where she is trapped alone in her house with a norther blowing outside is a brilliant bit of virtuoso acting. gish excelled in controlled hysteria. her terror is heart - rending because it is completely believable .
at the town dance, letty is the belle of the ball. she is enduring the attentions of lige and sourdough when she spots a welcome face. roddy is at the dance. meanwhile, sourdough and lige announce to a delighted cora that the plan to propose letty that very night .
( american, 1928, 110 minutes, b & w, 16mm, silent) directed by paul leni cast: conrad veidt... ...... . gwynplaine mary philban... ...... . dea olga baclanova... ...... . duchess josiana josephine crowell... ...... . queen anne george siegmann... ...... . dr. hardqucinnone
seastrom employed extreme close - ups to suggest important events, leaving the overall scene to the viewer’s imagination .
veidt’s acting brings gwynplaine to life, much more than the make - up designed by jack pierce. the overall image provided batman - cartoonist bob kane with the model for his best - known villain, the joker .
most of the first reel of a two - reel comedy starring the king of the cowboys, tom mix, who also directed. the highest - paid western star of the 1920s, tom mix was a genuine rodeo champion who got his start in movies as a cattle wrangler .
hanson’s performance as lige is equal in every way to lillian gish’s as letty. lige is an unrefined western guy with a heart as big as a house. a real diamond in the rough. his acting is excellent throughout the start of the film but his character really comes into his own with the wedding night scene. when the scene opens, he is a slaphappy bridegroom just dying to please his new wife. her scornful rejection is like a splash of ice water. he matures before our eyes, realizing that he has been used, that his lovely bride can’t stand him. hanson plays this part of the scene almost entirely with his eyes. his subtlety is very effective .
the following is taken from a review by stephen d. smith that appeared in the first issue of monsterzine (fall 2000), an online magazine of the horror movie genre :
the rest of the supporting cast is uniformally good. montagu love is, as usual, an excellent bad guy. william orlamond is folksy and charming as the lovable lout sourdough .
the man who laughs is a melodrama focusing on one young man, the tragic gwynplaine, a boy forced to watch the execution of his father, a 17th century scottish nobleman (also portrayed by veidt) who has rebelled against the tyrannical king james ii. to avoid more unrest, the king spares the life of the tortured boy, but not before ordering that his face be carved into a permanent smile. in this wounded state, young gwynplaine is placed in the charge of a band of gypsies who are to take him to exile in france. the motley group abandon him during a severe snowstorm in the french countryside… .
roddy tells letty that she has to leave with him. he loves her. the cyclone passes and the unflappable lige announces that the party is back on. roddy asks letty to think it over. he will be in town until the next day .
so, while the happier ending is not ideal, to me it is much more satisfying than the original, tragic ending .
, the story is based on the legend of a girl who sacrifices her life to save her father’s reputation as an artisan .
, talmadge’s popularity was on the wane and her marriage was in trouble. she had begun an affair with mexican heartthrob gilbert roland on the set of camille (1927). schenck knew about the romance—talmadge had asked for a divorce—but realized that the two were a great box office team and paired them as costars three more times. in spite of excellent production values and the heat between the stars, the variety critic wrote that camille “lacks punch. ”
often imitated yet never equaled, charles spencer chaplin remains the most recognized of all the silent movie stars, thanks to the iconic character he created — “the tramp. ” a key factor in his films is their poignant blend of laughter and sorrow; reflections, perhaps, of the joys and hardships of this unique filmmaker’s own life .
( 1930). although mayer and thalberg respected gish, they were not sorry to see her go. their experience with her was one of the catalysts that propelled them to cultivate their own stars from the studio’s ranks, ensuring total control over their careers. it was the beginning of the star system, which lasted into the 1950s .
( 1921), turned out to be her last. she had planned to make a film or two each year, but after marrying louisiana plantation owner and aviation entrepreneur harry palmerston williams, she never performed again. “there comes a point when you can go no further and even if you have gone a long way life is empty without love. but there are no limits to happiness when you are married to the man you love. ”
disney was an expert storyteller and instinctively knew the shorts would be more successful if oswald was more than a bystander. instead, the humor arose from situations created for oswald’s world and his reactions to them. the quality of the animation was also superior to the work of other studios, mostly because of iwerks’s technical expertise and his skill at drawing perspective .
lige sits outside and broods. letty cries but soon her fear of the wind overwhelms her despair. it continues to blow through the night .
he leaves her alone in the bedroom. letty’s nerves begin to crumble. she tries to block the keyhole. she panics, pacing the room. her pacing is mirrored by lige, who is confused and frustrated .
illian gish plays an innocent girl thrust into the harsh elements of the american west. the unceasing wind batters the landscape and begins to unravel her sanity. beautiful direction from victor seastrom and intense acting from both gish and lars hanson. silent cinema at its finest. for goodness sake, see it !
at the time, new york city was still the capital of animation, home to the studios that produced popular animation like the felix the cat and krazy kat series. undeterred, disney opted for california, as his brother roy was already there convalescing from a bout of tuberculosis. in mid - 1923, with a reported $ 40 in his pocket, disney left for hollywood .
merchandise tie - ins, of course, were lucrative only to copyright holders. by early 1928, with oswald on a roll, disney felt confident enough to travel to new york to request an increase from $ 2, 250 to $ 2, 500 per short. before he left, iwerks alerted him that mintz was signing disney’s animators to new contracts, replacing disney as their boss. disney didn’t believe it until he arrived in new york, where mintz offered $ 500 less per short, plus 50 percent of any profits. mintz offered disney, who thought of himself as oswald’s owner, a contract to join mintz’s firm as an employee. disney learned that universal controlled the copyright to oswald and all profits from the character, regardless of who made the films. feeling betrayed, disney turned down mintz’s offer and vowed never again to relinquish control of any of his studio’s creations. before leaving new york, disney wired his brother roy to sign iwerks, his best animator—and one of the few who refused to sign with mintz—to an exclusive contract .
if the style be overcharged and overshining with bright sharp strokes and points, these are no fireworks of any mechanic' s fashion: these are the phosphoric flashes of the sea - fire running on the depth of the limitless and living sea. enough, that the book is great and heroic, tender and strong; full from end to end of divine and passionate love, of holy and ardent pity for men that suffer wrong at the hands of men; full, not less, of lyric loveliness and lyric force; and i for one am content to be simply glad and grateful: content in that simplicity of spirit to accept it as one more benefit at the hands of the supreme singer now living among us the beautiful and lofty life of one loving the race of men he serves, and of them in all time to be beloved .
letty is growing steadily more unnerved by the wind. lige doesn’t help matters by telling her that the wind storm they are experiencing is nothing compared to a “norther”, which panics the mustangs and can tear a man limb from limb .
if disney hadn’t lost oswald to mintz and universal, there might not have been a mickey mouse. from then on, disney fiercely protected his copyrights, affecting copyright laws of the u. s. and the world to this day. mickey and other disney characters would have long since passed into the public domain if not for the intense lobbying for copyright extensions by the walt disney company .
twenty years later, gwynplaine is known as
the man who laughs ,
a popular clown. though the jeers of the crowd pierce his heart, his popularity brings prosperity. he is in love with dea, the blind sideshow performer, and she with him. while touring in england, gwynplaine is discovered by the nobility and restored to his proper position, but this is no typical cinderella story. as in most of hugo’s work, the hero seldom wins .
charlie’s first impromptu bits of business in a sketch called “the football match” earned him a year’s contract. two years later, still with karno, he came to america, starring in “a night in an english music hall. ” the tour went west, opening in san francisco on june 4, 1911, at the empress theater on market street. the company returned to the bay area four times over the next two years, and each time chaplin’s billing in newspaper ads became more prominent, until it was on a par with the company name .
aressted for killing a police officer beating him over the head with a leadpipe .
barriers of the law (dir. j. p. mcgowan, 1925 )
the crime of doctor crespi (dir. john h. auer, 1935 )
the line - up at police headquarters (dir. frank beal, 1914 )
the lone star ranger (dir. a. f. erikson, 1930 )
sherlock holmes and the secret weapon (dir. roy william neill, 1942 )
sherlock holmes and the voice of terror (dir. john rawlins, 1942 )
song of the open road (dir. s. sylvan simon, 1944 )
tess of the storm country (dir. edwin s. porter, 1914 )
done with this title in the near future, it will disintegrate into nothing .
, clark spoke of being a practical woman, glad for the high paying work in the movies, but preferring the theater. “i am working simply and solely to earn my bread and butter, and my ambition is to find a good play… i shall remain in the pictures until i find one. you see how matter of fact i am. i confess that i really much prefer the stage to the pictures … after all, one loves to be able to talk. ”
but there were many ups and downs to follow. douglas fairbanks, whom chaplin called “my only real friend” in hollywood, died in 1939. a third marriage, to actress paulette goddard, failed in 1942. in 1943, chaplin married oona o’neill, daughter of playwright eugene o’neill, and geraldine, the first of their eight children, was born in 1944. while he was on a vacation to europe in 1952, chaplin’s re - entry permit was revoked by the united states attorney general, who believed chaplin’s liberal politics made him “an unsavory character. ” after his last american - made film ,
after boddy’s murder, the suspects returned to their homes in arlington, massachusetts. eventually, her mother ran for election as the massachusetts senate and won. during this time, many guests have come to arlington to visit the senator and other citizens of the town, but have met their fates as a result [ 2 ] .
but perhaps no death in these years was as a great a loss for the aesthetics of the cinema as that of german - born director paul leni. leni died in 1929. his vision was one of the most terrifying and influential in the cinema in his day, and yet now, it is almost a forgotten one .
“the thing that makes talmadge a star is the look in her eyes, ” mgm studio head and star - maker louis b. mayer once said of actress norma talmadge. one of the most popular stars of the silents, her career ended after two poorly received talkies, and she is nearly forgotten today. if talmadge is remembered at all, it is because of two iconic films of the 1950s. both feature characters based on erroneous impressions of talmadge: lina lamont, the silent screen star in
the bells of st. mary' s (dir. leo mccarey, 1945 )
the bridge of san luis rey (dir. rowland v. lee, 1944 )
the enforcer (dir. bretaigne windust, raoul walsh (uncredited), 1951 )
legong: dance of the virgins (dir. henri de la falaise, 1935 )
the man i killed [ broken lullaby ] (dir. ernst lubitsch, 1932 )
the moon' s our home (dir. william a. seiter. 1936 )
the mysterious dr. fu manchu (dir. rowland v. lee, 1929 )
the royal family of broadway (dir. cyril gardner and george cukor, 1930 )
smash up - the story of a woman (dir. stuart heisler, 1948 )
los tallos amargos [ the bitter stems ] (dir. fernando ayala, 1956 )
why we fight: the battle of russia (dir. frank capra, 1943 )
the mighty manner of victor hugo has given to this ghastly matter something even of a horrible charm—a shocking splendor of effect. the rhythmic horror of the thing penetrates us not with loathing, but with a tragic awe and terror as at… an actual caprice of the night’s, a portion of the tempest of things. so it is always; handle what he may, the touch of a great poet will leave upon it a spell to consume and transmute whatever a weaker touch would leave in it of repulsion .
letty accepts an apple from the oily roddy. no symbolism here, no sir !
once, recalling the death of his mother during its making, although she actually died eight months after its release. her death, in fact, brought closure to the previous two years’ traumatic events, perhaps the worst time of his life since childhood .
in contrast to the urbane roddy, lige and sourdough are positively primitive. they tussel like kids over who gets to sit by letty in the wagon and finally decide it with a shooting contest. a smirking roddy watches letty begin the last leg of her journey .
but chaplin’s stage success paled in comparison to his movie career. he began in films at the keystone company in january 1914 for $ 150 a week, ten times his karno salary. a year later he signed with the essanay film company for $ 1, 250 a week, plus a $ 10, 000 signing bonus. in 1916, he went to mutual for $ 10, 000 per week and a $ 150, 000 bonus. and in 1917, he agreed to produce eight two - reelers at first national for $ 1, 000, 000 with a $ 75, 000 bonus, the next logical step came in 1919 when he formed united artists with mary pickford, douglas fairbanks, and d. w. griffith, a move that gave them complete control over the production, releasing, and distribution of their films .
uncertainty, poverty, and madness were the perils of chaplin’s childhood. born in london on april 16, 1889, chaplin was the second of three sons by three different fathers born to music hall singer hannah hill chaplin. his father, charles chaplin sr. , also a music hall performer, left the family for a tour of america the following year. the separation ended the marriage. hannah’s youngest son, wheeler dryden (whose father leo was also a singer), was born in 1892. six months later the infant was whisked away by his father, a separation that would last until charlie was an adult .
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harmetz, aljean. round up the usual suspects. new york: hyperion, 1992 .
morgan' s raiders, 1918; the girl from nowhere, 1919 (uncredited) .
poisoned paradise: the forbidden story of monte carlo (dir. louis gasnier, 1924 )
the return of dr. fu manchu (dir. rowland v. lee, 1930 )
, which he made four years later and which stars olga baclanova as the female lead… .
roddy recovers and is soon trying to convince letty to leave with him. he tells her the wind is driving her mad, he can take her home to virginia. lige comes in and letty throws her arms around him. he is cold, as usual. he tells roddy that the men are rounding up the horses driven from the mountains by the nother, every man is needed. roddy agrees to help and goes to saddle his horse .
preservation is very expensive. mr. stenn reports that the average cost to preserve a silent
on that subject, the wind has been criticized for overdoing the weather. too much sand, too much wind, too much everything. how are people supposed to live in that ?
as for oswald, he had a life after disney. eclipsed by mickey’s fame, he faded from films in 1938, appearing one last time in 1943. he lasted longer in print, gracing the comic pages through the 1960s in the u. s. , and later in mexico and italy. in 2004 and 2005, the original oswald became a pop culture hit in japan, spawning a craze. finally, in 2006, the walt disney company reacquired oswald as part of an assets exchange with universal. after almost 70 years, oswald was finally home at disney, taking his place alongside mickey and the rest of the iconic disney characters .
magazine: “i suppose every girl who plays in amateur theatricals dreams of the night when the all - omnipotent manager from the great city will be a guest at the important function … one evening the dream came true, and when i was acting in a little charity affair, i heard it whispered that milton aborn had seen and had approved of my performance. and with mr. aborn i made my first real stage appearance one night in baltimore, maryland. ”
cora is a tough frontierwoman and she sees a threat to her family life. let’s face it, what woman would be comfortable in her position? so, while her methods in dealing with letty are harsh, cora is not an evil person. she is, in her mind at least, defending hearth and home from a sly interloper. dorothy cumming portrays this assertive character as a human being with feelings. it was (and still is, actually) all too common for anyone who opposed the protagonist in a film to be portrayed as a soulless villain. cora never falls into this category .
lantern slide rose of the golden west (1927), bess meredyth (w). cpldg
waller, tom. “bess meredyth. ” the moving picture world 2 july 1927: 15 .
anders als die andern [ different from the others ] (dir. richard oswald, 1919 )
the sid saga: parts i - iii (dir. sid laverents, 1985 - 1989 )
born october 14, 1896 (some sources say 1893), gish began her stage career at age five. lillian, her sister dorothy and their actress mother mary toured the country with various theatrical productions. in 1912, their friend mary pickford introduced the family to director d. w. griffith. griffith took an immediate liking to the gish sisters and put them in his films, giving them increasingly larger parts. in 1915, lillian played the lead in the groundbreaking and controversial
the following is taken from a contemporary review of victor hugo’s novel, l’homme qui rit, by critic and poet algernon charles swinburne. the review appeared in appletons’ journal, july 31, 1869 .
the alice series was popular with critics and audiences alike, but by 1927 the novelty of a live - action girl in a cartoon world had worn off. smartly, disney shifted focus from alice to the cartoon characters, notably her sidekick julius the cat. concurrently, winkler’s new husband charles mintz had taken over her business, and universal pictures tapped him to get them back in the animation business. universal, feeling there were already enough cartoon cats, suggested a series starring a rabbit .
the third performer who deserves special recognition is dorothy cumming as cora. the character could have been just a villainess but that never happens. cora’s motivations are always understandable and believable. letty irons the ruffles of her skirt and plays with the kids while cora has to butcher a steer for supper. letty dances and flirts at the party while cora wears and apron helps take care of the town’s children. beverly hugs and kisses his pretty cousin. they may be related but not closely enough to suit cora. cora’s own children flock to letty. cora feels frozen out of her own home .
robert frost: a lover' s quarrel with the world (dir. shirley clarke, 1964 )
the very fact that the wind can inspire criticism and comment after so many years is a testament to its power. it is a breathtaking piece of art and truly one of this country’s cinematic treasures .
( 1915), which starred gish, and it had been a huge hit, making him a wealthy man and setting him on the path to becoming one of the most powerful men in hollywood .
it is fascinating to see just how much more sympathy director paul leni holds for the circus world / characters than the world of the royal court, whose members are made up and costumed to look either utterly ludicrous or insane. this theme of insanity within royal blood (incest, inbreeding, rape) is quite common in the historical genre. as examples, look no further than sam jaffe’s dumbfounded expressions in
the scarlet lady is a 1928 american silent drama film , written by bess meredyth and directed by alan crosland . it was produced and distributed by columbia pictures . 
the scarlet lady is a 1928 american silent drama film, written by bess meredyth and directed by alan crosland. it was produced and distributed by columbia pictures.
the scarlet lady is a 1928 american silent drama film, written by bess meredyth and directed by alan crosland. it was produced and distributed by columbia pictures.