dinty ( film )
the film titled stewski was done by bbdo minneapolis advertising agency for dinty moore in united states. it was released in feb 2017 .
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released november 29, 1920, dinty was successful. a booklet on wesley barry' s life was put out concurrently, part of the movie' s promotional strategy. neilan also used the release of dinty to debut a campaign to improve the artistic quality of film stills .
still from the american comedy film dinty (1920) with colleen moore and wesley barry, on page 83 of the october 30, 1920 exhibitors herald. | pinterest | colle…
still from the american comedy film dinty (1920) with colleen moore, on page 83 of the october 30, 1920 exhibitors herald. | pinterest | colleen moore, comedy …
click on the first link on a line below to go directly to a page where
dinty
is defined .
who was never at any stage of production to be included in the film .
moore, on loan from christie film company, would sign a lucrative contract with neilan when production for dinty was completed. anna may wong appeared in an uncredited role that also led to more work with neilan; after dinty, he created a role for her in bits of life for which she earned her first screen credit .
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to support herself and her infant son dinty, doreen labors night shifts as a scrub woman until, at the age of twelve, dinty (wesley barry) becomes the family' s breadwinner by selling newspapers. doreen, meanwhile, suffers from tuberculosis and gets weaker by the day .
dinty is a newsboy whose fight to care for his ailing mother leads him into conflicts with the other boys on the street and then with drug smugglers in chinatown .
talking about how the book couldn' t possibly be told in one film at any especially slow moment .
meanwhile, in chinatown, when judge whitely (j. barney sherry) imprisons the son of opium smuggler wong tai (noah beery), wong tai retaliates by kidnapping the judge' s daughter (marjorie daw). dinty, whose work as a newsboy has familiarized him with the chinese underworld, leads police to wong tai' s hideout and saves the judge' s daughter from a bizarre death by torture. as dinty' s mother has succumbed to tuberculosis, the grateful judge whitely adopts dinty .
portions of the film were shot on location in san francisco including chinatown and adolph b. spreckels' mansion. the end of the film was shot on location on catalina island. sets were designed by ben carré .
in an earlier film, go and get it (1920), barry played a supporting role as a paperboy named
dinty
. neilan used the character to create a story in a similar vein as a starring vehicle for barry, who was being groomed by the studio .
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thanks for the link. i was watching this, unfortunately it froze up at about the 26 minute mark. interesting film .
as soon as the film starts, we get :
and we' re back with indiana jones and the goblet of fire .
was discovered at the czech national film archive in 2001. the academy of motion picture arts and sciences spent $ 80, 000 to restore it and translate the czech titles back into english, and audiences can once again enjoy a film featuring one of the silent era’s most delightful comediennes .
asks film and tv critics two questions and publishes the results on monday morning. (the answer to the second, “what is the best film in theaters right now? ” can be found at the end of this post .) send suggestions for future questions to sam at indiewire dot com .
when i hear “independent film” these days, i think of something not financed and / or distributed by one of the major film studios. it may come from a smaller department within one of these large companies, but odds are it was made for less than $ 10 million and there’s typically a limited number of screens on which it will screen. the film might star one or many recognizable actors, all of whom took a giant pay cut because they believed in the material, but probably not someone who’s won an academy award in the last few years. i don’t mind using “indie film” for these kinds of movies, but for the modern micro - budget, no - name equivalents of slacker, clerks, and pi, maybe something like “diy film” is more appropriate. that term suggests that the film truly was made independent from the studio system with more than just filmmaking performed by its creators .
the ballad of narayama
is a japanese film of great beauty and elegant artifice, telling a story of startling cruelty. what a space it opens…
. moore protested her husband’s firing by walking out on the film she was acting in at the time, and threatened to retire. first national responded by threatening to sue. eventually they came to an agreement, and both moore and mccormick returned to the studio. the first film moore made after the incident was
when the title appears at the end, and the trio presumes the movie was filmed backwards, wondering what kind of crazy director would film their movie backwards ...
as a descriptor, “independent film” does still mean something — consider all of the low - budget films that are released simultaneously on vod and in theaters, something that still seems very far out of reach for anything with a moderately big budget or actors attached — but it’s not as easy to pinpoint as it used to be. when, say, the weinstein company has its own smaller distribution arm (radius) to release something smaller than philomena or august: osage county, the concept of independent film is expanded to a near - comical point. i’d say that, ideally, a film that’s crowdfunded on kickstarter or indiegogo is closer to a true “independent” film, but then, the upcoming veronica mars movie isn’t that independent. “independent film” still means something, but i think it’s becoming a more crowded field, as opposed to something that’s soon to be replaced .
in 2012, west of memphis, the documentary film based on echols’ story, directed by academy award nominated filmmaker amy berg and produced by echols and davis in collaboration with the multiple academy award winning team of peter jackson and fran walsh — both long time supporters of echols — premiered at the sundance film festival and was released to theaters in late december .
snape: what would three young gryffindors such as yourselves be doing inside... on a day like this? bill (as harry): we were going to eat dinty moore straight from the can and leer at the victoria' s secret catalogue. oh wait, that' s you, professor !
first off i want to say that i' m not going to write about neither the plot nor the contents of this film, while it' s rather unnecessary. the best way to describe
dirty pretty things
, is in my opinion, that it is like a beautiful poem. it flows easily and because of the fact that the cast are such good actors / actresses, almost every scene in the film affects you in some way. this is certainly not another hollywood flick, because of the fact that it is so realistic. at times you actually forget that you are watching a film. chiwetel ejiofor, audrey tautou, sergi lópez and the rest of the brilliant cast were new to me but i am going to keep following their careers, as i am hopeful that they will rise and get recognized for the great actors that they are. i strongly recommend this film, for it is most certainly like a breath of fresh air in the otherwise monotonous movie jungle... i easily give this film a 9 out of 10 .
for me, “independent film” is about the circumstances under which a film is made. when a filmmaker doesn’t have to worry about market research or product placement or what some higher - up has to say, then that’s independent, regardless of how much it costs or who’s writing the checks. likewise, a film made completely outside of all traditional forms of financing and distribution still may not be independent if there are behind - the - scenes moneymen who can dictate choices. there just aren’t that many truly independent films out there these days - but that number is thankfully increasing through crowdsourcing, which is fascinating and exciting, but also doubly burdensome on the viewer .
. the film caused a sensation, and made the flapper style and look instantly popular. overnight, moore became the onscreen epitome of the flapper. she and mccormick married that same year, and both of their careers flourished .
that “colleen can’t get a break. ” without missing a beat, another offer came her way: “although she signed with neilan and will begin work in a month, film director king vidor decided nobody but colleen would do as costar in his upcoming film opposite david butler, prevailed upon neilan to loan her out. …miss moore is going to work as a vidor star beginning next week, instead of partying around with a certain handsome dark young man. ”
by the way, are films disappearing from the site? i did have down that the betty compson version of the little minister was on the site, but i ca' nt find it now (unfortunately i didn' t save the url and i think it may have been under another title). nor can i find the film il veleno della parole. also, i know i watched a few minutes of the 1914 film focolare domestico which was at the the url :
never mind, again, because anna and the boy import dramatic interest into the story when it needs it. and director francis lawrence generates suspense effectively, even though it largely comes down to the monster movie staple of creatures leaping out of the dark, gnashing their fangs and hammering at things. the special effects generating the zombies are not nearly as effective as the other effects in the film; they all look like creatures created for the sole purpose of providing the film with menace and have no logic other than serving that purpose .
. though, blind, she is given sight the hero, who has fallen in love with her. the film was a hugh e. dierker photo drama production. though technically working for al christie, he was more than happy to let her pursue her career .
independent film has a meaning, but it’s gotten more specific. it’s no longer an umbrella term that applies to non - mainstream entertainment. this year’s independent spirit best feature nominees, all good films, are an example of how the line between independent and wide releases are blurred (e. g. inside llweyn davis is a nominee, and it’s distributed by cbs films, which is hardly independent). nowadays true “independent film” applies to work that eschews the system altogether. shane carruth’s upstream color is a great example, as it was truly made without assistance from a boutique distribution company. this development is not a bad thing — it’s genuinely heart - warming that large - ish companies embrace cinema — but it forces us to adjust what it means to make a film without the usual channels for help .
the film echoes, in its brief running time, the main plot and the story drawn from duhham' s frustrated screenplay, with events being mirrored from one to the other as she pursues the next level of her relationship with her roommate. dunham is a recent college graduate, and creative nonfiction often plays like a sophomore project: her character is an awkward mary sue, the dialogue veers wildly between naturalistically affectless and calculatingly clever, and the whole film often plays like the work of someone who thinks she' s the first person to have a good idea .
, and in it colleen played indira, a young persian woman; a more exotic background for her character than usual, though she pulled it off. the film was produced by hayworth pictures corporation, sessue hayakawa' s own company, with its offices on the corner of sunset and hollywood boulevard; after years of being shunted into stereotypical asian roles, sessue had formed his company to have control over his own material and productions. the film was released in early may, 1920. just prior to its release, she has appeared as the blind girl mary harrison in
in
i am legend ,
the situation raises questions of logic. if neville firmly believes he is the last healthy man alive, who is the vaccine for? only himself, i guess. fair enough, although he faces a future of despair, no matter how long his cans of spam and dinty moore beef stew hold out; dogs don' t live forever. and how, i always wonder, do human beings in all their infinite shapes and sizes mutate into identical pale zombies with infinite speed and strength ?
as the author of independent queer cinema, i like to think “independent film” is a phrase that describes those filmmakers who are creating work outside the traditional, or mainstream parameters. writer / directors like todd verow and everett lewis, who make great gay films on micro - budgets and on their own terms. they resist big money and “name” actors and tell original stories. i admire them because they are truly “independent, ” insisting on operating outside of any studio system, much like john cassavetes did when he started directing and the term “independent film” was first coined. in this digital age, where almost anyone can (and does) make movies, verow and lewis continue to forge their own paths for themselves and their fans, like me .
reviews of the film were generally favorable. the dramatic mirror called it
a photoplay of remarkable direction, excellent acting... and perfect photography
. the reviewer for motion picture news wrote :
there are enough elements in this feature to please every type of picturegoer .
positive reviews appeared in trade papers variety, wid' s, and the exhibitors herald .
this is a tough one. in the strictest sense, an independent film is a movie produced outside the hollywood studio system. but there are problems with such a reductive definition. the studios are headed toward a place where they just produce tent poles. it’s unclear what “hollywood studio system” even means in 2014. clearly, the “majors” don’t tell the whole story. where do companies like annapurna pictures, cbs films and the weinstein company fit on that spectrum? budget doesn’t seem to be an appropriate limiting factor either; in many ways, a $ 30 million film could be produced in the same fashion as a $ 200, 000 production or a $ 50, 000 film. i think of “independent” more as a state of mind than anything else, connoting a willingness to tell a real story about real people unencumbered by megalithic corporate influence. it’s sad that we’ve gotten to a place where the standards have been so severely lowered that we need a special term for movies like that, and it’s probably time to start thinking about a more useful way to consider what independent cinema really means. i wish i had the answers .
dinty w. moore i s author of dear mister essay writer guy: advice and confessions on writing, love, and cannibals (random house 2015), as well as the memoir between panic & desire, winner of the grub street nonfiction book prize. moore has published essays and stories in the southern review, the georgia review, harpers, the new york times sunday magazine, the philadelphia inquirer magazine, and the normal school among numerous other venues. a professor of nonfiction writing at ohio university, moore lives in athens, ohio, where he grows heirloom tomatoes and edible dandelions .
btw, using david kiehn' s great book on anderson ,
de lafaard
(
the coward
) with broncho billy anderson must be
the cowboy coward
from 1911. he notes that a print of it exists at the nederlands filmmuseum and the summary of the plot matches the film exactly (although the names of the characters were changed in the dutch titles) .
independent film is a genre. an unclear, defined genre that filmmakers and studios seem to try and fit into. i also feel like it is, borderline, a derogatory term in this day and age. i don’t use it that way, i rarely use the term in any way shape or form, but when i hear it used it is almost always with a negative connotation .
was released in october 1920, and while colleen appears tense in many scenes (almost afraid at some of the antics going on around her, although that could have been part of her characterization) her comic timing can be seen getting better. the film was adapted for an oliver moresco comedy / musical play that had been a hit a year or so earlier, the play itself an adaptation of a play just a few years earlier called
bella i love you... edward i love you... kevin oh, they love each other? ! well, that hadn' t been made clear to me over the course of the eight hours of film leading up to this (speaking in an increasingly enraged and frustrated tone) which consisted entirely of these two... idiots! !! sitting in a field of buttercups! !! mumbling about how much they love one another! !! ! !
jerry' s mother in law and a lesson in jealousy both have sidney drew, but paired with clara kimball young instead of mrs. drew. i found the former film the funnier of the two. i just watched father' s hatband last night, and it' s a way better print than the grapevine version found on the films of norma talmadge. it' s sharper, better contrast, better framing, and more complete. so if you' ve only seen the grapevine version, it' s worth a look. cute film, too. another good vitagraph comedy that steve didn' t mention is stenographer troubles, which has a great cast. i spotted norma talmadge, clara kimball young, lillian walker, and probably anita stewart (can anyone confirm ?), as well as the featured cast of john bunny, florence turner and flora finch. who is the pretty girl who is the first stenographer? does anyone recognize any of the men? greta
last week, i saw that a nearby theater had put up posters for her and inside llewyn davis in a local bookstore, with an ad underneath that read: “independent film in denton. ” i don’t know the ins and outs of how these movies were financed, but the wording of the ad threw me. are these really independent films? her may have an “indie” feel, but it still opens with the warner bros logo front and center. to my mind, an independent film in today’s world looks more like upstream color. carruth’s fingerprints are everywhere on that movie creatively, but he also orchestrated its theatrical roll - out. her and inside llewyn davis aren’t exactly “mainstream, ” but they were put out by very well - oiled operations. to say that a movie is a bona - fide “indie” today, i think you would have to consider how that movie was released and not just how it was financed or how much control the filmmaker had over the project .
creative nonfiction isn' t a disaster by any means. dunham, who has done interesting web design work for nerve, has a keen visual sensibility, and brings a solid grasp of composition and framing to the film, which is sometimes a joy to look at despite its low budget. it' s unlikely that it' ll get picked up for distribution without some major changes and a padded run - time, which is only likely to benefit its director, who needs to mature a bit until her storytelling abilities match her visual ones .
once filming was complete, moore went on a sailing trip with her parents, leaving the increasingly difficult mccormick behind. he stayed drunk the entire time she was gone, and insisted on re - editing the film in her absence. when moore returned, she found that he had shortened almost every scene, ruining the payoffs to all the jokes. fortunately, the editor had kept all the footage cut by mccormick, and he, moore, and neilan restored it while mccormick was drying out in a sanatorium. moore finally divorced mccormick in 1930 .
( 1937). at least two incidents in the film were based on their life: a drunken mccormick once attempted suicide by walking into the ocean, although, unlike the fictional norman maine, he survived; and, in 1927, when he was fired from first national for his drinking, moore, then at the height of her popularity, phoned an executive at the studio and announced herself by saying, “this is mrs. john mccormick. ” adela rogers st. johns, one of moore’s closest friends (she would write moore’s biggest hit, 1928’s
oooh, thanks for posting the note about a vitagraph romance, that' s a different version than the blackhawk version, which i have been told is the same as the moma version and just consists of the last part of the film starting with clara and jimmy going to the vitagraph lot, and has intertitles identifying blackton, et al. this one ended abruptly, i' m not sure if it got stuck or if i really came to the end. anyway, i was certainly delighted to see that (and will now need to update my website accordingly) greta
first on the slate was creative nonfiction, the feature film debut from lena dunham. the story involves a self - flattering college student who' s involved in a quasi - platonic relationship with her male roommate, and is struggling to complete a screenplay which, for reasons of quirkiness and archaic hipsteris, she is composing on an old electric typewriter. if nothing else, creative nonfiction lives up to its title, as it mirrors the often - bewildering aesthetic of the' fifth style' of writing which brought us such heavy - on - the - creative, light - on - the - nonfiction stories as a million little pieces .
( 1933) written by preston sturges and co - starring spencer tracy, but she came to recognize that she was too strongly identified with an era that had now passed, and she retired from the screen. after a brief second marriage, she wedded a widowed chicago businessman with two children in 1937, and kept busy with philanthropic work, raising her family, and playing the stock market. she was a founder of the chicago international film festival. after her husband’s death in 1964, she moved to a ranch in paso robles next to the home of old friend king vidor. she remarried once more in 1983, and died in 1988 .
it wouldn' t be terrible hard to get the beginning translations done of these with using ocr with screen shots. you would do the negative image function of your image software to get black text on white background. then you would copy and paste them to a larger sheet, and feed that into a common optical character recognition to get text that you could do computer translations with, and then re - enter and edited version of that into titled image files to re - insert into the film, or use as sub - titles. of course, having a fluent dutch proofreader would be important. - - robert pearson paramind brainstorming software urltoken telical books urltoken
did you ever get through the rest of the film? i' m kind of aghast what looked like the plot resolution as best as i could figure out with the dutch titles - - it didn' t really match the afi description. the dream sequences were the best part, but i kept waiting impatiently for a dance sequence, but no such luck. she did take out a shoe and look longingly at it at one point. nice clothes and very nice sets, but very heavy with titles, and mae' s not a particularly good actress. it came off to me as pretty ridiculous. i' m looking forward to seeing her other films, though .
thanks for posting. it took some work to get it to play but was worth seeing. marjorie daw has nothing really to do, but nice to see her in anything. i' m pretty sure i spotted arhur hoyt. the site got me curious so i tried other actors and companies. i found
a vitagraph romance
1912 with james morrison, clara kimball young and even flora finch. great scenes of the lot and some cameos. of course, the subtitles are in dutch. i also found an annie bos film from 1913 ,
de lavende ladder
, with, of course titles in english. it takes forever to get them to play, but maybe someone is willing to look for more .
these days i tend i think of it as more of an aesthetic descriptor than a real movement. that said, i do like the way that the “independent” american picture is in a constant cycle of reinvention, and believe that this is a fundamental element of the american film industry. just as the new hollywood saw a sea - change in the industry, the post - tarantino boom of the early - 90’s developed in to a new hierarchy of interesting, creatively - driven hollywoodcinema (outlined in great detail in books like sharon waxman’s rebels on the backlot). similarly i wouldn’t be surprised to see the current heavyweights of indie one day occupy the same kind of spots that the likes of paul thomas anderson and david o. russell do right now .
“independent film” as a sub - hollywood genre is long - dead, but the spirit of independently produced cinema will forever remain. startling films are consistently being made on the fringes, with the obvious winds of cheap technology and easy outlets for online distribution at the backs of artists everywhere. from alex ross perry to joshua oppenheimer, filmmakers continue to do their thing and many eventually break through to a more mainstream context. and here’s the thing: because the possibility for actually making money is so remote, the motivations for making films in the first place is being fueled by some of the more interesting human impulses (everything from political activism to the need to feed ego), which results in more interesting films. let’s call this new wave the free cinema .
anne waldman is a poet & teacher, and with allen ginsberg co - founder of the jack kerouac school of disembodied poetics at naropa institute in boulder, colorado in 1974. during the late sixties she ran the st. mark’s church poetry project, and gave exuberant, highly physical readings of her own work. she was featured along with ginsberg in bob dylan’s experimental film ‘renaldo and clara. ’waldman is one of the most interesting, vibrant and unpredictable members of the post - beat poetry community. her list of publications is voluminous. she has written more than 42 books, most recently kill or cure (penguin poets) and her book - length poem, iovis (coffee house press). she is now working on book iii of iovis. waldman has been acknowledged as a major–and a mature–voice in american poetry. urltoken
the main problem with american prince is pallotta' s hyperactive camera work, all wandering focus and unnecessary close - ups. instead of sticking with scorsese' s measured, controlled focus, pallotta makes the mistake many documentarians do when faced with subject matter that boils down to a series of talking heads: he thinks the solution is to have the camera hop all over the place in what needs to me nothing more than a master shot of a man talking in a hotel room. but the camerawork is secondary to prince' s unparalleled ability to hypnotize an audience with his stories, and that comes through in spades. he was present at one of the most dynamic periods in film history, and while he claims not to miss the movie biz at all, he accumulated enough stories during that time to entertain audiences for a generation. any opportunity to get him in front of a camera should be taken .
fiction writer jennifer egan is the author of the 2011 pulitzer prize - winning novel a visit from the goon squad. her book, which chronicles characters involved in the san francisco punk - rock scene, was optioned for a tv series by hbo in 2011. a visit from the goon squad also won the national book critics award for fiction, and was named to the best novels of 2010 list of the new york times, the washington post, time, slate, salon, and people. she is the author of the invisible circus, a novel which became a feature film starring cameron diaz in 2001; look at me, a finalist for the national book award in fiction in 2001; emerald city and other stories and the bestselling the keep. her short stories have appeared in the new yorker, harper’s magazine, granta, and mcsweeney’s. she is the recipient of a guggenheim fellowship in fiction .
this is an interesting one. instead of getting into a long, drawn out diatribe, i’ll just tell a story. a few weeks ago i was on a first date with someone and she brought it up to me that she didn’t like independent movies. i resisted the urge to lecture her about generalizations (though considering there was no second date, it wasn’t like i had anything to lose) and instead asked what she meant, and she said “you know, movies with actors i don’t recognize and sad story lines. ” basically, i tell that quick story to illustrate that i don’t think the average moviegoer knows what an independent film is anymore. when i told her that technically the wolf of wall street was funded independently, her mind was blown. she sees a shaky camera and thinks indie, not where the money came from or who’s behind it, and that’s probably a more common line of thinking than i realized .
kevin: words wordswordswords words... words words words. mike: (whenever neo asks a question) no, don' t ask! oh god, he' s gonna go on for like ten minutes... no, don' t encourage him! bill: well good, we' re done, can we - (the architect starts talking again) gah! the guy' s like a parrot in a cracker factory. kevin: that' s right, folks, the action flick of the summer! the instruction manual for my snow blower is gripping compared to this clown! mike: oh look, bite my nuggets, colonel sanders. kevin: look, jack perkins, could you sum up, my car' s doubled - parked! our priority, the next film will be two solid hours of fighting robots. bill: oh dear god, get off the screen! kevin: words words wordswordswords words words .
the last screening of the night — and well - attended it was, too — was the documentary best worst movie. writer / director michael stephenson takes a look at troll 2, an ultra - low - budget horror flick thrown together in 1989 by a hack italian director and a well - meaning but largely hapless cast. it so happens that stephenson was part of that cast: at 11 years old, he was the child star of troll 2, which has gone on — by dint of its low budget, terrible acting, bizarre dialogue and completely incomprehensible plot — to become a cult phenomenon, widely beloved despite the fact that it is frankly terrible. stephenson sets out to gather together the people he worked with on the film, and come to terms with how troll 2 has been transformed from something they were all embarrassed to admit they had anything to do with to something that is a source of some pride, albeit in an incredibly perverse way .
i' m only halfway through
the right to love ,
but am impressed enough with that to comment. far from finding it excruciating, i think it' s a stunning production in regards to the lighting, cinematography, and sets - all on good display in a beautiful, if damaged, print. one wishes there were more of george fitzmaurice' s silents around to see. (the opening title on the transfer miscredits direction to richard wallace, who helmed an unlrelated 1930 film with the same title .) the acting from both murray and david powell is restrained, and very good. while it is a bit title heavy, it didn' t seem extraordinarily so for the period. unfortunately, many of the shots are abbreviated, some lasting less than a second, which throws the pacing off kilter. it could also stand to be run a bit faster than 18 fps - not that i' m complaining. delighted to be seeing it at all! the plot is probably not to all tastes, but if you do have a taste for romantic melodrama artfully staged, i highly recommend it !
this question of “what is an independent film” has tantalized us for the better part of at least three decades, and has been answered through so many phases and filters for understanding the purpose of movies. each attempt at answering exposes an underlying set of assumptions of how we think independent movies should define themselves within / around / against / underneath the conventions of art, industry and politics. after all this time, i wonder if it’s now better to simply abandon the term. what if we instead call all movies “dependent” films? what if we focus our attention on how “independent” movies, like all movies, are subservient in some way to a given set of ideological agendas and economic forces that drive them into existence? our very desire for “independent” may belie a dependency on our part: a belonging within a system, coupled with a desire to break free from it, a desire for freedom that itself threatens to enslave us in it. instead of seeking to understand that system more thoroughly, we seek to escape from it by embracing anything that offers itself as “independent”. it’s like a shimmering oasis at the far horizon of the desert of our culture, beckoning to us. this time, instead of rushing after it as i have so many times in the past, i’m increasingly inclined to ask myself what i might do if it’s not really there .
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millionaire' s son duke wants to be a champion boxer but takes time out to enroll in college when he sees co - ed susie. the students wonder about his having a chauffeur and house full of... see full summary »
on coney island in the 1950s, a lifeguard tells the story of a middle - aged carousel operator, his beleaguered wife, and the visitor who turns their lives upside - down .
an intrepid newspaper reporter attempts to solve a series of murders committed by a gorilla carrying the transplanted brain of a human .
to avoid the heat of a sweltering summer night a 9 - year - old manhattan boy decides to sleep on the fire escape and witnesses a murder, but no one will believe him .
the mansion shown in the street view at 00: 53: 10 with first the pedestrian walking away, then a ford model t roadster moving from right to left before it is passed in the opposite direction by a cable car was built by sugar magnate adolph spreckels at 2080 washington street, san francisco, in 1912 as a gift to his daughter alma and is now the home of novelist danielle steel .
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explore popular sci - fi movies and tv shows available to stream with prime video .
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 .
with jurassic world: fallen kingdom now in cinemas, we take a look at how imdb users rated the films of the franchise. plus, browse exclusive lego® jurassic world playsets, presented by lego .
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in a village in the irish woods, young doreen adair (colleen moore) falls in love with a young man, danny o' sullivan (tom gallery). one day, danny receives notice that he is offered a job in america. before leaving, he marries doreen. a year later, a son is born, and doreen decides to follow her husband to america. upon arriving in san francisco from ireland, doreen discovers through danny' s landlady mrs. o' toole (kate price) that her husband has been killed in a car accident .
some of the positive reviews were conditional. the photoplay reviewer commented that neilan' s
human touch... however obvious and conventional it may become, is usually effective
. the new york times critic noted the
deliberateness
that led to a deficiency in
genuineness
, especially in the dramatic and action scenes .
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cecil b. demille' s production of
union pacific ,
a labor, we understand, only slightly less herculean than the building of the railroad itself, has come to the paramount the veriest bit behind schedule. view full article in timesmachine »
we are continually improving the quality of our text archives. please send feedback, error reports, and suggestions to archive _ feedback @ nytimes. com .
with the headline: the screen in review; cecil be de mille continues his historical roadwork with' union pacific' opening at the paramount - -' hotel imperial' is shown .
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basically the story of a man forced to finally see the injustice around him. riley’s movie is designed to do the same thing to you. …
roger ebert' s speech on empathy for the
11th hour
series on april 9th, 1994, being republished here in honor of his birthday june 18 .
roger ebert was born on this day in 1942, and died a little over five years ago. i owe a good part of my success…
a look back at robert zemeckis' half - animated classic, who framed roger rabbit, on its 30 - year anniversary .
a tribute to the late tab hunter, a gay matinee idol and hollywood trailblazer .
the opening scenes of
i am legend
have special effects so good that they just about compensate for some later special effects that are dicey. we see manhattan three years after a deadly virus has killed every healthy human on the island, except one. the streets are overgrown with weeds, cars are abandoned, the infrastructure is beginning to collapse. down one street, a sports car races, driven by robert neville (will smith), who is trying to get a good shot at one of the deer roaming the city. he has worse luck than a lioness who competes with him .
neville has only his dog to keep him company. he lives barricaded inside a house in greenwich village, its doors and windows sealed every night by heavy steel shutters. that' s because after dark the streets are ruled by bands of predatory zombies - - hairless creatures who were once human but have changed into savage, speechless killers with fangs for teeth. in his basement, neville has a laboratory where he is desperately seeking a vaccine against the virus, which mutated from a cure for cancer .
the story is adapted from a 1954 sci - fi novel by richard matheson, which has been filmed twice before, as
the last man on earth
( 1964) starring vincent price, and
the omega man
( 1971) starring charlton heston. in the original novel, which stephen king says influenced him more than any other, neville cultivated garlic and used mirrors, crosses and sharpened stakes against his enemies, who were like traditional vampires, not super - strong zombies. i am not sure it is an advance to make him a scientist, arm him and change the nature of the creatures; matheson developed a kind of low - key realism that was doubly effective .
never mind. given its setup ,
i am legend
is well - constructed to involve us with dr. neville and his campaign to survive. there is, however, an event which breaks his spirit and he cracks up - - driving out at night to try to mow down as many zombies with his car as he can before they kill him. he is saved (i' m not sure how) by a young woman named anna (alice braga), who is traveling with a boy named ethan (charlie tahan) .
he takes them home, and she explains they are trying to get to a colony of survivors in vermont. neville doubts that such a colony exists. i doubt that she and the boy would venture through manhattan to get there. yes, she has doubtless heard his nonstop taped voice on all am frequencies, asking to be contacted by any other survivors. but we have seen every bridge into manhattan blown up as part of a quarantine of the island, so how did they get there? boat? why go to the risk ?
i am legend
does contain memorable scenes, as when the island is being evacuated, and when neville says goodbye to his wife and daughter (salli richardson and willow smith), and when he confides in his dog (who is not computer - generated, most of the time, anyway). and if it is true that mankind has 100 years to live before we destroy our planet, it provides an enlightening vision of how manhattan will look when it lives on without us. the movie works well while it' s running, although it raises questions that later only mutate in our minds .
an interview with terry gilliam, director of
the man who killed don quixote .
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dinty is a 1920 american silent comedy drama film written by marshall neilan specifically for wesley barry , a young actor known for his freckled complexion . prominent among the supporting players were colleen moore , marjorie daw , pat o'malley , and noah beery . the film is extant , archived in the filmmuseum in amsterdam . 
dinty is a 1920 american silent comedy drama film written by marshall neilan specifically for wesley barry, a young actor known for his freckled complexion. prominent among the supporting players were colleen moore, marjorie daw, pat o'malley, and noah beery. the film is extant, archived in the filmmuseum in amsterdam.
dinty is a 1920 american silent comedy drama film written by marshall neilan specifically for wesley barry, a young actor known for his freckled complexion. prominent among the supporting players were colleen moore, marjorie daw, pat o'malley, and noah beery. the film is extant, archived in the filmmuseum in amsterdam.