The Best Picture win at the Oscars is the highest prize in the film industry. However, some films manage to take home the top award, yet they still don’t manage to stand the test of time. There are some Best Picture winners that no one talks about, even though they’ll always be a part of Academy Award history.
‘The Broadway Melody’ (1929) L-r: Charles King as Eddie Kearns, Bessie Love as Harriet ‘Hank’ Mahoney, Mary Doran as Flo, Anita Page as Queen Mahoney, and Nacio Herb Brown as Pianist | John Springer Collection/Corbis/Corbis via Getty Images
Harriet ‘Hank’ Mahoney (Bessie Love) and Queenie Mahoney (Anita Page) are vaudeville sister performers looking to break into the Broadway scene. However, romantic melodrama quickly overshadows their attempt to pursue fame as a duo.
The Broadway Melody is the second film to win the Best Picture Oscar, with only Wings coming before it.
‘The Broadway Melody’ (1929) L-r: Charles King as Eddie Kearns, Bessie Love as Harriet ‘Hank’ Mahoney, Mary Doran as Flo, Anita Page as Queen Mahoney, and Nacio Herb Brown as Pianist | John Springer Collection/Corbis/Corbis via Getty Images
Harriet ‘Hank’ Mahoney (Bessie Love) and Queenie Mahoney (Anita Page) are vaudeville sister performers looking to break into the Broadway scene. However, romantic melodrama quickly overshadows their attempt to pursue fame as a duo.
The Broadway Melody is the second film to win the Best Picture Oscar, with only Wings coming before it.
- 2/28/2023
- by Jeff Nelson
- Showbiz Cheat Sheet
The experts were right when they said that silent filmmaking was developing something unique and beautiful, before talkies came along and spoiled the party with all that noise. This ‘handy three-pack’ of once-obscure Josef von Sternberg classics proves the theory 100% — his intense dramas excite audiences with something that’s gone missing from the movies, or the cinema or whatever you want to call it: the magic of visual stylization in the service of basic human emotions. Before Marlene there was Evelyn Brent and Betty Compson: Sternberg presents them as shimmering visions.
3 Silent Classics by Josef von Sternberg
Blu-ray
The Criterion Collection 529, 530, 531
1927-28 / B&w / 1:33 Silent Ap / 81, 88, 75 min. / available through The Criterion Collection / Street Date October 8, 2019 / 79.96
Starring: George Bancroft, Evelyn Brent, Clive Brook; Emil Jannings, Evelyn Brent, William Powell; George Bancroft, Betty Compson, Olga Baclanova.
Cinematography: Bert Glennon; Bert Glennon; Harold Rosson
Original Music: multiple scores by Robert Israel,...
3 Silent Classics by Josef von Sternberg
Blu-ray
The Criterion Collection 529, 530, 531
1927-28 / B&w / 1:33 Silent Ap / 81, 88, 75 min. / available through The Criterion Collection / Street Date October 8, 2019 / 79.96
Starring: George Bancroft, Evelyn Brent, Clive Brook; Emil Jannings, Evelyn Brent, William Powell; George Bancroft, Betty Compson, Olga Baclanova.
Cinematography: Bert Glennon; Bert Glennon; Harold Rosson
Original Music: multiple scores by Robert Israel,...
- 10/22/2019
- by Glenn Erickson
- Trailers from Hell
Delirious silver-screen glamour never disappoints! Marlene Dietrich’s six Paramount pictures for Josef von Sternberg arrive in a beautifully annotated disc set. The most creative director-muse relationship of the 1930s created an all-conquering German siren-goddess, a screen icon vom kopf bis fuss.
Dietrich & von Sternberg in Hollywood
Blu-ray
Morocco, Dishonored, Shanghai Express, Blonde Venus, The Scarlet Empress, The Devil is a Woman
The Criterion Collection 930
1930-1035 / B&W / 1:19 Movietone (2), 1:37 flat Academy (3) / 542 min. / available through The Criterion Collection / Street Date July 3, 2018 / 124.95
Starring: Marlene Dietrich, Gary Cooper, Victor McLaglen, Clive Brook, Herbert Marshall, Cary Grant, Sam Jaffe, Lionel Atwill, Cesar Romero.
Directed by Josef von Sternberg
Dietrich & von Sternberg in Hollywood assembles a package we’ve long desired, a quality set of the duo’s highly artistic Paramount pictures from the first half of the 1930s. The Scarlet Empress arrived in a sub-par Criterion disc early in 2001, and three more...
Dietrich & von Sternberg in Hollywood
Blu-ray
Morocco, Dishonored, Shanghai Express, Blonde Venus, The Scarlet Empress, The Devil is a Woman
The Criterion Collection 930
1930-1035 / B&W / 1:19 Movietone (2), 1:37 flat Academy (3) / 542 min. / available through The Criterion Collection / Street Date July 3, 2018 / 124.95
Starring: Marlene Dietrich, Gary Cooper, Victor McLaglen, Clive Brook, Herbert Marshall, Cary Grant, Sam Jaffe, Lionel Atwill, Cesar Romero.
Directed by Josef von Sternberg
Dietrich & von Sternberg in Hollywood assembles a package we’ve long desired, a quality set of the duo’s highly artistic Paramount pictures from the first half of the 1930s. The Scarlet Empress arrived in a sub-par Criterion disc early in 2001, and three more...
- 6/30/2018
- by Glenn Erickson
- Trailers from Hell
On Monday, August 28, 2017, Turner Classic Movies will devote an entire day of their “Summer Under the Stars” series to the late, great Louis Burton Lindley Jr. If that name doesn’t sound familiar, well, then just picture the fella riding the bomb like a buckin’ bronco at the end of Dr. Strangelove…, or the racist taskmaster heading up the railroad gang in Blazing Saddles, or the doomed Sheriff Baker, who gets one of the loveliest, most heartbreaking sendoffs in movie history in Sam Peckinpah’s Pat Garrett and Billy the Kid.
Lindley joined the rodeo circuit when he was 13 and soon picked up the name that would follow him throughout the length of his professional career, in rodeo and in movies & TV. One of the rodeo vets got a look at the lank newcomer and told him, “Slim pickin’s. That’s all you’re gonna get in this rodeo.
Lindley joined the rodeo circuit when he was 13 and soon picked up the name that would follow him throughout the length of his professional career, in rodeo and in movies & TV. One of the rodeo vets got a look at the lank newcomer and told him, “Slim pickin’s. That’s all you’re gonna get in this rodeo.
- 8/27/2017
- by Dennis Cozzalio
- Trailers from Hell
Alfred Hitchcock, Cary Grant, and Ingrid Bergman: The 'Notorious' British (Hitchcock, Grant) and Swedish (Bergman) talent. British actors and directors in Hollywood; Hollywood actors and directors in Britain: Anthony Slide's 'A Special Relationship.' 'A Special Relationship' Q&A: Britain in Hollywood and Hollywood in Britain First of all, what made you think of a book on “the special relationship” between the American and British film industries – particularly on the British side? I was aware of a couple of books on the British in Hollywood, but I wanted to move beyond that somewhat limited discussion and document the whole British/American relationship as it applied to filmmaking. Growing up in England, I had always been interested in the history of the British cinema, but generally my writing on film history has been concentrated on America. I suppose to a certain extent I wanted to go back into my archives,...
- 1/5/2016
- by Andre Soares
- Alt Film Guide
'Saint Joan': Constance Cummings as the George Bernard Shaw heroine. Constance Cummings on stage: From sex-change farce and Emma Bovary to Juliet and 'Saint Joan' (See previous post: “Constance Cummings: Frank Capra, Mae West and Columbia Lawsuit.”) In the mid-1930s, Constance Cummings landed the title roles in two of husband Benn W. Levy's stage adaptations: Levy and Hubert Griffith's Young Madame Conti (1936), starring Cummings as a demimondaine who falls in love with a villainous character. She ends up killing him – or does she? Adapted from Bruno Frank's German-language original, Young Madame Conti was presented on both sides of the Atlantic; on Broadway, it had a brief run in spring 1937 at the Music Box Theatre. Based on the Gustave Flaubert novel, the Theatre Guild-produced Madame Bovary (1937) was staged in late fall at Broadway's Broadhurst Theatre. Referring to the London production of Young Madame Conti, The...
- 11/10/2015
- by Andre Soares
- Alt Film Guide
Constance Cummings in 'Night After Night.' Constance Cummings: Working with Frank Capra and Mae West (See previous post: “Constance Cummings: Actress Went from Harold Lloyd to Eugene O'Neill.”) Back at Columbia, Harry Cohn didn't do a very good job at making Constance Cummings feel important. By the end of 1932, Columbia and its sweet ingenue found themselves in court, fighting bitterly over stipulations in her contract. According to the actress and lawyer's daughter, Columbia had failed to notify her that they were picking up her option. Therefore, she was a free agent, able to offer her services wherever she pleased. Harry Cohn felt otherwise, claiming that his contract player had waived such a notice. The battle would spill over into 1933. On the positive side, in addition to Movie Crazy 1932 provided Cummings with three other notable Hollywood movies: Washington Merry-Go-Round, American Madness, and Night After Night. 'Washington Merry-Go-Round...
- 11/5/2015
- by Andre Soares
- Alt Film Guide
What a treat I gave myself. I went to the Billy Wilder Theater to see Director Dorothy Arzner’s films “The Wild Party” (1929, Paramount) and “Anybody’s Woman” (1930, Paramount) as restored by UCLA Film & Television Archive with funding provided by the David and Lucile Packard Foundation, in cooperation with Universal Studios and Paramount Pictures.
And as good as these two films were (fantastic!), the audience was just as good. I saw our old friend Alan Howard with his friends David Ansen and Mary Corey, my best friend during our oh-so-long-ago freshman year at Brandeis. A perfect segue into the film “The Wild Party” Clara Bow’s first sound feature. I had never seen Clara Bow before, nor had I seen a Dorothy Arzner film. And I had only seen Mary Corey once since we both left Brandeis after our freshman year and went our separate ways.
It somehow never occurred to me that Dorothy Arzner would have a particular point of view as a woman; but she certainly did. Lesbian herself, she made women’s films about women and men who were always slightly slighted by her, but with a loving touch. These were the opening films to the Dorothy Arzner Retrospective held in the Billy Wilder Theater of the Armand Hammer Museum. Alison Anders will present August 30th’s film “The Red Kimon” and “Old Ironsides” . The series runs until September 18. Do yourself a favor and catch at least one of these historic films by a historic director…an anomaly perhaps still yet to be surpassed.
"The Wild Party" (1929)
In “The Wild Party” Clara Bow plays Stella is an inveterate partier at an all-girl college. She is tough – when drunken men molest her and her friends and even kidnap her to rape her – she fights. When a favorite classmate is implicated in a scandal, Stella heroically defends her friend's reputation at the expense of her own. Rich with pre-Code delights (including furtive, "innocent" bed-hopping with college professors), one may easily detect the film's insistence on the supremacy of female friendships.
Clara Bow, the “It” Girl, in my mind was a live Betty Boop; what the “it” meant in her nickname was not clear though I knew it had something to do with sexy. Actually, her breakthrough film was entitled “It”. She is a wonderful comedian and her expressive eyes and face rule the screen; she was America’s first sex symbol. She won a photo beauty contest which launched her movie career that would eventually number 58 films, from 1922 to 1933.
Paramount Famous Lasky Corp. Producer: E. Lloyd Sheldon. Director: Dorothy Arzner. Screenwriter: E. Lloyd Sheldon. Based on a story by Warner Fabian. Cinematographer: Victor Milner. Editor: Otto Lovering. With: Clara Bow, Fredric March, Marceline Day, Shirley O’Hara, Adrienne Doré. 35mm, b/w, 77 min.
Restored by UCLA Film & Television Archive with funding provided by the Myra Reinhard Family Foundation, the National Endowment for the Arts, and Jodie Foster, in cooperation with Universal Studios.
"Anybody's Woman" (1930)
“Anybody’s Woman” holds lots of surprises including the title itself. The cheesy out-of-work chorine Pansy Gray (Ruth Chatterton) accepts an irresponsible marriage proposal from Neil Dunlap (Clive Brook), an intoxicated but elegant upper crust attorney, and winds up in high society, to the horror of her newfound "family." Reforming her dissolute husband and striving to be an honest social success, Pansy is compromised by the flirtations of several men, including Neil's most important client, for which she is denounced as a seductress.
As David described Clive Brook as stiff and Mary defended his acting because the role called for such a stiff actor, Kevin Thomas was introduced to David and joined our little group; the talk veered into other directions and so did I. But I want to say that Paul Lukas, the Hungarian born actor held a very special place in this film; elegant but vulgar, open and mysterious, he was able to play the thin line of a slightly compromised but sincere character. He went on to win the Oscar for Best Actor for “Watch on the Rhine” in 1948.
Ruth Chatterton herself began as a chorus girl at age 14 so her role must have felt very natural to her. She became a Broadway star with "Daddy Long Legs" in 1914 and appeared in various shows before moving to Hollywood in 1925. As her film career faded in the late 1930s, she returned to the stage in revivals, and radio and TV performances, including "Hamlet." In the 1950s, she began a successful writing career. She was nominted twice for an Academy Award for Best Actress. She had no children.
Paramount Publix Corp. Director: Dorothy Arzner. Screenwriter: Zoë Akins, Doris Anderson. Cinematographer: Charles Lang. Editor: Jane Loring. With: Ruth Chatterton, Clive Brook, Paul Lukas. 35mm, b/w, 80 min.
Read about this film series in the Los Angeles Times and Wall Street Journal.
The UCLA Film Archive is pleased to commemorate the indispensable career of director Dorothy Arzner (1897-1979) as part of a year-long commemoration of our own 50th Anniversary. This retrospective features six Archive restorations of Arzner's work, which have helped to spur scholarship into and retrospectives of the director's remarkable achievements. The UCLA School of Theater, Film and Television is also proud to claim Arzner as a former professor. A remarkable and nearly unique figure in American film history, Arzner forged a career characterized by an individual worldview, and a strong, recognizable voice. She was also, not incidentally, the sole female director in the studio era to sustain a directing career, working in that capacity for nearly two decades and helming 20 features—conspicuously, still a record in Hollywood. Distinguished as a storyteller with penetrating insight into women's perspectives and experiences, Arzner herself emphatically made the point that only a woman could offer such authority and authenticity. At a time when the marginalization of women directors in the American film establishment is still actively debated, we celebrate Dorothy Arzner, and the Archive's long association with her legacy.
Special thanks to: Peggy Alexander, Curator—Performing Arts Special Collections, UCLA Library; Gayle Nachlis, Kirsten Schaffer—Women in Film, Los Angeles.
And as good as these two films were (fantastic!), the audience was just as good. I saw our old friend Alan Howard with his friends David Ansen and Mary Corey, my best friend during our oh-so-long-ago freshman year at Brandeis. A perfect segue into the film “The Wild Party” Clara Bow’s first sound feature. I had never seen Clara Bow before, nor had I seen a Dorothy Arzner film. And I had only seen Mary Corey once since we both left Brandeis after our freshman year and went our separate ways.
It somehow never occurred to me that Dorothy Arzner would have a particular point of view as a woman; but she certainly did. Lesbian herself, she made women’s films about women and men who were always slightly slighted by her, but with a loving touch. These were the opening films to the Dorothy Arzner Retrospective held in the Billy Wilder Theater of the Armand Hammer Museum. Alison Anders will present August 30th’s film “The Red Kimon” and “Old Ironsides” . The series runs until September 18. Do yourself a favor and catch at least one of these historic films by a historic director…an anomaly perhaps still yet to be surpassed.
"The Wild Party" (1929)
In “The Wild Party” Clara Bow plays Stella is an inveterate partier at an all-girl college. She is tough – when drunken men molest her and her friends and even kidnap her to rape her – she fights. When a favorite classmate is implicated in a scandal, Stella heroically defends her friend's reputation at the expense of her own. Rich with pre-Code delights (including furtive, "innocent" bed-hopping with college professors), one may easily detect the film's insistence on the supremacy of female friendships.
Clara Bow, the “It” Girl, in my mind was a live Betty Boop; what the “it” meant in her nickname was not clear though I knew it had something to do with sexy. Actually, her breakthrough film was entitled “It”. She is a wonderful comedian and her expressive eyes and face rule the screen; she was America’s first sex symbol. She won a photo beauty contest which launched her movie career that would eventually number 58 films, from 1922 to 1933.
Paramount Famous Lasky Corp. Producer: E. Lloyd Sheldon. Director: Dorothy Arzner. Screenwriter: E. Lloyd Sheldon. Based on a story by Warner Fabian. Cinematographer: Victor Milner. Editor: Otto Lovering. With: Clara Bow, Fredric March, Marceline Day, Shirley O’Hara, Adrienne Doré. 35mm, b/w, 77 min.
Restored by UCLA Film & Television Archive with funding provided by the Myra Reinhard Family Foundation, the National Endowment for the Arts, and Jodie Foster, in cooperation with Universal Studios.
"Anybody's Woman" (1930)
“Anybody’s Woman” holds lots of surprises including the title itself. The cheesy out-of-work chorine Pansy Gray (Ruth Chatterton) accepts an irresponsible marriage proposal from Neil Dunlap (Clive Brook), an intoxicated but elegant upper crust attorney, and winds up in high society, to the horror of her newfound "family." Reforming her dissolute husband and striving to be an honest social success, Pansy is compromised by the flirtations of several men, including Neil's most important client, for which she is denounced as a seductress.
As David described Clive Brook as stiff and Mary defended his acting because the role called for such a stiff actor, Kevin Thomas was introduced to David and joined our little group; the talk veered into other directions and so did I. But I want to say that Paul Lukas, the Hungarian born actor held a very special place in this film; elegant but vulgar, open and mysterious, he was able to play the thin line of a slightly compromised but sincere character. He went on to win the Oscar for Best Actor for “Watch on the Rhine” in 1948.
Ruth Chatterton herself began as a chorus girl at age 14 so her role must have felt very natural to her. She became a Broadway star with "Daddy Long Legs" in 1914 and appeared in various shows before moving to Hollywood in 1925. As her film career faded in the late 1930s, she returned to the stage in revivals, and radio and TV performances, including "Hamlet." In the 1950s, she began a successful writing career. She was nominted twice for an Academy Award for Best Actress. She had no children.
Paramount Publix Corp. Director: Dorothy Arzner. Screenwriter: Zoë Akins, Doris Anderson. Cinematographer: Charles Lang. Editor: Jane Loring. With: Ruth Chatterton, Clive Brook, Paul Lukas. 35mm, b/w, 80 min.
Read about this film series in the Los Angeles Times and Wall Street Journal.
The UCLA Film Archive is pleased to commemorate the indispensable career of director Dorothy Arzner (1897-1979) as part of a year-long commemoration of our own 50th Anniversary. This retrospective features six Archive restorations of Arzner's work, which have helped to spur scholarship into and retrospectives of the director's remarkable achievements. The UCLA School of Theater, Film and Television is also proud to claim Arzner as a former professor. A remarkable and nearly unique figure in American film history, Arzner forged a career characterized by an individual worldview, and a strong, recognizable voice. She was also, not incidentally, the sole female director in the studio era to sustain a directing career, working in that capacity for nearly two decades and helming 20 features—conspicuously, still a record in Hollywood. Distinguished as a storyteller with penetrating insight into women's perspectives and experiences, Arzner herself emphatically made the point that only a woman could offer such authority and authenticity. At a time when the marginalization of women directors in the American film establishment is still actively debated, we celebrate Dorothy Arzner, and the Archive's long association with her legacy.
Special thanks to: Peggy Alexander, Curator—Performing Arts Special Collections, UCLA Library; Gayle Nachlis, Kirsten Schaffer—Women in Film, Los Angeles.
- 8/3/2015
- by Sydney Levine
- Sydney's Buzz
Ian McKellen brings affection and grace to a whimsical portrait of an elderly Sherlock Holmes, struggling with his memory and his myth
Is there a version of Sherlock Holmes we haven’t seen? Screen incarnations of Arthur Conan Doyle’s most celebrated character date back to the birth of cinema (the tricksy short Sherlock Holmes Baffled was made at the turn of the century), and Conan Doyle himself praised actor Eille Norwood’s “wonderful impersonation of Holmes” in shorts and features from the early 1920s. John Barrymore, Raymond Massey and Clive Brook all played the detective before The Hound of the Baskervilles (1939) established Basil Rathbone as the iconic bearer of the deerstalker and pipe combo. More recently we’ve had Robert Downey Jr as a pugilist detective in Guy Ritchie’s punchy reboots, and Benedict Cumberbatch as a thoroughly modern Sherlock in the hit BBC TV series.
Now comes Sir Ian McKellen,...
Is there a version of Sherlock Holmes we haven’t seen? Screen incarnations of Arthur Conan Doyle’s most celebrated character date back to the birth of cinema (the tricksy short Sherlock Holmes Baffled was made at the turn of the century), and Conan Doyle himself praised actor Eille Norwood’s “wonderful impersonation of Holmes” in shorts and features from the early 1920s. John Barrymore, Raymond Massey and Clive Brook all played the detective before The Hound of the Baskervilles (1939) established Basil Rathbone as the iconic bearer of the deerstalker and pipe combo. More recently we’ve had Robert Downey Jr as a pugilist detective in Guy Ritchie’s punchy reboots, and Benedict Cumberbatch as a thoroughly modern Sherlock in the hit BBC TV series.
Now comes Sir Ian McKellen,...
- 6/22/2015
- by Mark Kermode, Observer film critic
- The Guardian - Film News
Ian McKellen brings affection and grace to a whimsical portrait of an elderly Sherlock Holmes, struggling with his memory and his myth
Is there a version of Sherlock Holmes we haven’t seen? Screen incarnations of Arthur Conan Doyle’s most celebrated character date back to the birth of cinema (the tricksy short Sherlock Holmes Baffled was made at the turn of the century), and Conan Doyle himself praised actor Eille Norwood’s “wonderful impersonation of Holmes” in shorts and features from the early 1920s. John Barrymore, Raymond Massey and Clive Brook all played the detective before The Hound of the Baskervilles (1939) established Basil Rathbone as the iconic bearer of the deerstalker and pipe combo. More recently we’ve had Robert Downey Jr as a pugilist detective in Guy Ritchie’s punchy reboots, and Benedict Cumberbatch as a thoroughly modern Sherlock in the hit BBC TV series.
Now comes Sir Ian McKellen,...
Is there a version of Sherlock Holmes we haven’t seen? Screen incarnations of Arthur Conan Doyle’s most celebrated character date back to the birth of cinema (the tricksy short Sherlock Holmes Baffled was made at the turn of the century), and Conan Doyle himself praised actor Eille Norwood’s “wonderful impersonation of Holmes” in shorts and features from the early 1920s. John Barrymore, Raymond Massey and Clive Brook all played the detective before The Hound of the Baskervilles (1939) established Basil Rathbone as the iconic bearer of the deerstalker and pipe combo. More recently we’ve had Robert Downey Jr as a pugilist detective in Guy Ritchie’s punchy reboots, and Benedict Cumberbatch as a thoroughly modern Sherlock in the hit BBC TV series.
Now comes Sir Ian McKellen,...
- 6/22/2015
- by Mark Kermode, Observer film critic
- The Guardian - Film News
'Sherlock Holmes' movie found at Cinémathèque Française (image: William Gillette in 'Sherlock Holmes') Sherlock Holmes, a long-thought-lost 1916 feature starring stage performer and playwright William Gillette in the title role, has been discovered in the vaults of the Cinémathèque Française. Directed by the all-but-forgotten Arthur Berthelet for the Chicago-based Essanay production company, the approximately 90-minute movie is supposed to be not only the sole record of William Gillette's celebrated performance as Arthur Conan Doyle's detective, but also the only surviving Gillette film.* In the late 19th century, William Gillette himself wrote the play Sherlock Holmes, which turned out to be a mash-up of various stories and novels featuring the detective, chiefly the short stories "A Scandal in Bohemia" and "The Final Problem." ("May I marry Holmes?" Gillette, while vying for the role, telegraphed Conan Doyle. The latter replied, "You may marry or murder or do What you like with him.
- 10/3/2014
- by Andre Soares
- Alt Film Guide
‘Midnight Madness’ movie lacks both ‘midnight’ and ‘madness’ (photo: Clive Brook and Jacqueline Logan in ‘Midnight Madness’) Screened at the 2014 San Francisco Silent Film Festival, Midnight Madness has a very curious title: there is no "midnight" or "madness" to be found in the film. The story’s original name, The Lion Trap, from a play by Daniel Nathan Rubin, would have been a much more appropriate title. Norma (Jacqueline Logan, best known as Mary Magdalene in Cecil B. DeMille’s The King of Kings) lives in a squalid apartment behind a shooting gallery, with her good-for-nothing father (James Bradbury). She goes to work each day as a secretary at a Diamond Broker Company, looking forward to romantic trysts with her boss, Childers (Walter McGrail). Norma takes the relationship seriously, but Childers is a schemer. When wealthy client Richard Bream (Clive Brook, best known for the Best Picture Academy Award winner...
- 8/11/2014
- by Danny Fortune
- Alt Film Guide
"Nobody's really captured the quality of a film festival," observed musician/composer Neil Brand, "You're doing something that's pleasurable, but then the fatigue sets in..." It's true—a celluloid feast like Il Cinema Ritrovato in Bologna is a particular case, too, since so many of the films are rarities. It's like being a cake specialist and suddenly somebody offers you fifty magnificent cakes of unique recipe but says "You have to eat them all in an hour or I'll take them away and you'll never see them again." You plunge in, and even when nausea starts to replace pleasure you can't bring yourself to stop...
Cinephiles like to grumble, and the venues of Bologna attract a certain amount of criticism (one has a bar which runs between the front row and the screen, cutting the subtitles in half; air conditioning is switched on and off at random; and then there's...
Cinephiles like to grumble, and the venues of Bologna attract a certain amount of criticism (one has a bar which runs between the front row and the screen, cutting the subtitles in half; air conditioning is switched on and off at random; and then there's...
- 7/7/2014
- by David Cairns
- MUBI
This past weekend I had the pleasure of attending the TCM Festival in Hollywood. I had a full weekend and got to enjoy the true movie experience---great movies projected on big screens with enthusiastic and appreciative audiences. Between films we'd emerge onto Hollywood Boulevard with its own movie being created live and in the moment. As comedian Dana Gould said in his introduction to Freaks "the Boulevard was the only place you are likely to stand next to Cher at the urinal in the men's room. Take a look at the schedule, Here
Among the celebrities I saw on the red carpet and clicked photos of were Maureen O'Hara (still gorgeous), Kim Novak, Shirley Jones and Margaret O'Brien---and in the background were Chaplins, Marilyns, Elvis, Michael Jackson and multiple copies of Spiderman, Superman, Wonder Woman, Iron Man, Star Wars characters, Transformers, Pirates (I heard one woman excitedly say, "Oh my god...it's Johnny Depp."), Mickey and Minnies and Elmo. In the parking lot elevator one night I stood next to a tall African American male, his Elmo head ticked under his arm next to his furry red body. I asked if he had a long and hot day. He told me that he comes around 4pm when it isn't so warm and works until midnight. "Do you do ok?"
"An average weekend brings in $700-800 and it is fun." I asked him what he does the rest of the week and he told me he created movie money props for films and sells copies on ebay.
I saw 17 films and three special events. What a pleasure to see classics projected on the big screen (a mix of 35mm and Dcp) to packed houses of appreciative fans. Once again I was impressed with the diversity of the audiences. Couples, young people and people of color far out-numbered the stereotype of middle aged white film geek guys. And they knew their movies.
I saw a few classics I had never seen --- Mary Poppins (when it came out in 1964 a left-leaning high school kid would not be caught dead seeing that) and The Best Years of Our Lives (I just never saw it--no excuses). Both were great for different reasons.
There were rare discoveries such as the pre-code Hat Check Girl (racy Ginger Rogers) and the powerful and all but forgotten The Stranger's Return directed by King Vidor withLionel Barrymore and Miriam Hopkins (when will someone do a major tribute?)
But the true revelation was the 1944 British comedy of mannersOn Approval . This was a joy of witty banter, great acting and certainly one of the most bizarre finales I have ever experienced with stuffed animal heads coming to life among other visions you have never seen. The first show sold out so an extra screening was scheduled and it too was full. Lucky or me I got in after being turned away from the first one. The film was restored by that hero of lost cinema, David Shepard.
I just got an email from Jessica Rosner that she will have a 35mm print available. There is also a BluRay and if there is enough demand the owners might consider making a Dcp.
She wrote:
“It is about two couples in Victorian England ( and Scotland) who try a shocking experiment in living together to see if they are "compatible" before marriage. The magnificent foursome is led by Clive Brook who also directed and adapted the famous play upon which it is based. The extraordinary Beatrice Lillie co-stars in one of her very few film appearances and she is aided by the lovely if oddly named Googie Withers and the always fine Roland Culver.
This Brand New print is from a negative made from a nitrate fine grain at the BFI. It is not flawless but it looks excellent.
Below is a link to the write up on the fest site about On Approval and audience reaction to it. I urge you to read it as it really captures the film much better than my write up.
http://filmfestival.tcm.com/on-approval-sparkles-with-wit/
This second link is for local news station festival write up highlighting On Approval as fest fave
(scroll down till you see the still) http://www.kpbs.org/news/2014/apr/14/rants-and-raves-tcm-film-festival/
===========
Thanks Jessica. After the screening I wanted to know how the film could be shown in cinemas and you have answered my question.
And here are some good articles about the movie.
http://www.examiner.com/article/clive-brook-adapts-directs-and-stars-on-approval-1944
http://www.examiner.com/article/classic-films-focus-on-approval-1944
Anthony Slide writes: http://books.google.com/books?id=Rf5CCA7_Lv4C&printsec=frontcover&source=gbs_summary_r&cad=0#v=onepage&q&f=false...
Among the celebrities I saw on the red carpet and clicked photos of were Maureen O'Hara (still gorgeous), Kim Novak, Shirley Jones and Margaret O'Brien---and in the background were Chaplins, Marilyns, Elvis, Michael Jackson and multiple copies of Spiderman, Superman, Wonder Woman, Iron Man, Star Wars characters, Transformers, Pirates (I heard one woman excitedly say, "Oh my god...it's Johnny Depp."), Mickey and Minnies and Elmo. In the parking lot elevator one night I stood next to a tall African American male, his Elmo head ticked under his arm next to his furry red body. I asked if he had a long and hot day. He told me that he comes around 4pm when it isn't so warm and works until midnight. "Do you do ok?"
"An average weekend brings in $700-800 and it is fun." I asked him what he does the rest of the week and he told me he created movie money props for films and sells copies on ebay.
I saw 17 films and three special events. What a pleasure to see classics projected on the big screen (a mix of 35mm and Dcp) to packed houses of appreciative fans. Once again I was impressed with the diversity of the audiences. Couples, young people and people of color far out-numbered the stereotype of middle aged white film geek guys. And they knew their movies.
I saw a few classics I had never seen --- Mary Poppins (when it came out in 1964 a left-leaning high school kid would not be caught dead seeing that) and The Best Years of Our Lives (I just never saw it--no excuses). Both were great for different reasons.
There were rare discoveries such as the pre-code Hat Check Girl (racy Ginger Rogers) and the powerful and all but forgotten The Stranger's Return directed by King Vidor withLionel Barrymore and Miriam Hopkins (when will someone do a major tribute?)
But the true revelation was the 1944 British comedy of mannersOn Approval . This was a joy of witty banter, great acting and certainly one of the most bizarre finales I have ever experienced with stuffed animal heads coming to life among other visions you have never seen. The first show sold out so an extra screening was scheduled and it too was full. Lucky or me I got in after being turned away from the first one. The film was restored by that hero of lost cinema, David Shepard.
I just got an email from Jessica Rosner that she will have a 35mm print available. There is also a BluRay and if there is enough demand the owners might consider making a Dcp.
She wrote:
“It is about two couples in Victorian England ( and Scotland) who try a shocking experiment in living together to see if they are "compatible" before marriage. The magnificent foursome is led by Clive Brook who also directed and adapted the famous play upon which it is based. The extraordinary Beatrice Lillie co-stars in one of her very few film appearances and she is aided by the lovely if oddly named Googie Withers and the always fine Roland Culver.
This Brand New print is from a negative made from a nitrate fine grain at the BFI. It is not flawless but it looks excellent.
Below is a link to the write up on the fest site about On Approval and audience reaction to it. I urge you to read it as it really captures the film much better than my write up.
http://filmfestival.tcm.com/on-approval-sparkles-with-wit/
This second link is for local news station festival write up highlighting On Approval as fest fave
(scroll down till you see the still) http://www.kpbs.org/news/2014/apr/14/rants-and-raves-tcm-film-festival/
===========
Thanks Jessica. After the screening I wanted to know how the film could be shown in cinemas and you have answered my question.
And here are some good articles about the movie.
http://www.examiner.com/article/clive-brook-adapts-directs-and-stars-on-approval-1944
http://www.examiner.com/article/classic-films-focus-on-approval-1944
Anthony Slide writes: http://books.google.com/books?id=Rf5CCA7_Lv4C&printsec=frontcover&source=gbs_summary_r&cad=0#v=onepage&q&f=false...
- 4/20/2014
- by Gary Meyer
- Sydney's Buzz
Schoolgirl Zoë Smith was penning lucid movie reviews back in 1932, and when our veteran film critic retired, she sent him her work. He was so impressed, he drove to her home to meet her
A few months ago a rather special present arrived on my 80th birthday, my final day as film critic of the Observer. It was a small, lined notebook, seven by four-and-a half inches. On the first page was a drawing of the matinee idol Clive Brook under the title "Film Criticisms 1932". It had been sent from south London by the 97-year-old Zoë Di Biase. She'd been a regular Observer reader since the age of 18, she said, and this was a gift to mark my retirement. "I've always enjoyed the cinema and you were a great follow-on to CA Lejeune," she wrote, referring to my predecessor who was this paper's critic from 1928 to 1960. "Turning out the other day,...
A few months ago a rather special present arrived on my 80th birthday, my final day as film critic of the Observer. It was a small, lined notebook, seven by four-and-a half inches. On the first page was a drawing of the matinee idol Clive Brook under the title "Film Criticisms 1932". It had been sent from south London by the 97-year-old Zoë Di Biase. She'd been a regular Observer reader since the age of 18, she said, and this was a gift to mark my retirement. "I've always enjoyed the cinema and you were a great follow-on to CA Lejeune," she wrote, referring to my predecessor who was this paper's critic from 1928 to 1960. "Turning out the other day,...
- 12/29/2013
- by Philip French
- The Guardian - Film News
November seems to be the month for exciting things in the world of film preservation. Last year, Martin Scorsese released Hugo, a lovely film that was just as much about the value of George Melies’ films as it was the titular character. This year, Alfred Hitchock fans are in for a treat.
Although Hitchcock, the recently released film about the making of Psycho, has been drawing in decidedly mixed reviews, the National Film Preservation Foundation has successfully restored part of The White Shadow, Hitchock’s earliest surviving film. The film, a 1924 melodrama that Hitchcock wrote, edited, assistant directed and headed the art direction for, is streaming for free here for the next two months.
The White Shadow is very much a work of its time. Its silent actors are far more physical than most of their modern contemporaries, and communicate more through body language and gesture than the intertitles. Its...
Although Hitchcock, the recently released film about the making of Psycho, has been drawing in decidedly mixed reviews, the National Film Preservation Foundation has successfully restored part of The White Shadow, Hitchock’s earliest surviving film. The film, a 1924 melodrama that Hitchcock wrote, edited, assistant directed and headed the art direction for, is streaming for free here for the next two months.
The White Shadow is very much a work of its time. Its silent actors are far more physical than most of their modern contemporaries, and communicate more through body language and gesture than the intertitles. Its...
- 11/27/2012
- by Justin Harrison
- We Got This Covered
Actor of poise and beauty who enjoyed a rich and productive career on both sides of the Atlantic
Faith Brook, who has died aged 90, was an actor of remarkable elegance, poise and beauty. She was the daughter of Clive Brook, a pillar of the so-called Hollywood Raj, the British acting community that settled in Los Angeles in the 1930s. He appeared opposite Marlene Dietrich in Shanghai Express. Even if she was never a star on the scale of her father, Faith enjoyed a rich and productive career in theatre, film and television on both sides of the Atlantic.
She was born in York and moved with Clive and her mother, Mildred, to California, where her father had already put down roots. Her brother, Lyndon, was born four years after Faith and also became a successful actor.
She was educated in Los Angeles, London and Gstaad, Switzerland. She made her stage...
Faith Brook, who has died aged 90, was an actor of remarkable elegance, poise and beauty. She was the daughter of Clive Brook, a pillar of the so-called Hollywood Raj, the British acting community that settled in Los Angeles in the 1930s. He appeared opposite Marlene Dietrich in Shanghai Express. Even if she was never a star on the scale of her father, Faith enjoyed a rich and productive career in theatre, film and television on both sides of the Atlantic.
She was born in York and moved with Clive and her mother, Mildred, to California, where her father had already put down roots. Her brother, Lyndon, was born four years after Faith and also became a successful actor.
She was educated in Los Angeles, London and Gstaad, Switzerland. She made her stage...
- 3/15/2012
- by Michael Billington
- The Guardian - Film News
If there is one famous literary character that has made such an impact on film and television, it has to be Sir Arthur Conan-Doyle’s immortal detective. Holmes has generated such a fascination for filmmakers; he is probably more popular, and certainly more prolific, than Dracula and James Bond put together. The number of Holmes films produced since the pioneering days of the silent era is so extensive it’s unlikely the Great Detective will ever be absent from our screens for very long.
Within the last couple of years, Holmes has become fashionable again thanks to Robert Downey Jr’s cinematic reinvention of the role in two successful Guy Ritchie movies and the excellent TV series Sherlock, which effectively transports Holmes (brilliantly played by Benedict Cumberbatch) to modern day London. Oddly enough the concept is not a new one considering Holmes, like Dracula, is a man of his time...
Within the last couple of years, Holmes has become fashionable again thanks to Robert Downey Jr’s cinematic reinvention of the role in two successful Guy Ritchie movies and the excellent TV series Sherlock, which effectively transports Holmes (brilliantly played by Benedict Cumberbatch) to modern day London. Oddly enough the concept is not a new one considering Holmes, like Dracula, is a man of his time...
- 2/13/2012
- Shadowlocked
Marlene Dietrich on TCM Pt.2: A Foreign Affair, The Blue Angel Schedule (Et) and synopses from the TCM website: 6:00 Am The Monte Carlo Story (1957) Two compulsive gamblers fall in love on the French Riviera. Dir: Samuel A. Taylor. Cast: Marlene Dietrich, Vittorio De Sica, Arthur O'Connell. C-101 mins, Letterbox Format. 7:45 Am Knight Without Armour (1937) A British spy tries to get a countess out of the new Soviet Union. Dir: Jacques Feyder. Cast: Marlene Dietrich, Robert Donat, Irene Van Brugh. Bw-107 mins. 9:45 Am The Lady Is Willing (1942) A Broadway star has to find a husband so she can adopt an abandoned child. Dir: Mitchell Leisen. Cast: Marlene Dietrich, Fred MacMurray, Aline MacMahon. Bw-91 mins. 11:30 Am Kismet (1944) In the classic Arabian Nights tale king of the beggars enters high society to help his daughter marry a handsome prince. Dir: William Dieterle. Cast: Ronald Colman, Marlene Dietrich, James Craig.
- 9/1/2011
- by Andre Soares
- Alt Film Guide
Marlene Dietrich is Turner Classic Movies last "Summer Under the Stars" star of 2011. Today, TCM is showing 12 Marlene Dietrich movies, in addition to J. David Riva's 2001 documentary Marlene Dietrich: Her Own Song. Riva, I should add, is the son of Maria Riva and Dietrich's grandson. [Marlene Dietrich Movie Schedule.] Unfortunately, TCM isn't presenting any Marlene Dietrich movie premieres today. In other words, no Dietrich opposite David Bowie in Just a Gigolo, or Dietrich next to Jean Gabin in Martin Roumagnac / The Room Upstairs, or any of Dietrich's little-known German-made silents, e.g., Ich küsse Ihre Hand, Madame / I Kiss Your Hand, Madame; Das Schiff der verlorenen Menschen / The Ship of Lost Men; and Gefahren der Brautzeit / Dangers of the Engagement. None of the silents are exactly what I'd call good movies — nor is Just a Gigolo — but they all are worth a look if only because Dietrich is in them. Another option for...
- 9/1/2011
- by Andre Soares
- Alt Film Guide
Underworld
Directed by Josef von Sternberg
United States, 1927
Josef von Sternberg’s pre-code gangster picture – the one that started it all – plays akin to the director’s vision throughout his career: hazy deep focus shots, sensuality that anticipates his collaborations with Marlene Dietrich, tough guy theatrics, and an eye for poetic framing. Though its more name-famous companion piece, Howard Hawks’ Scarface, was produced five years later and during the Production Code, von Sternberg’s film is surprisingly less violent than Hawks’.
Underworld finds von Sternberg staple George Bancroft in the role of “Bull” Weed – gangster extraordinaire. When Bull happens upon a learned alcoholic itinerant after one of his infamous heists he takes the man under his wing, cleans him up, and nicknames him Rolls Royce (Clive Brook). Rolls Royce’s suave, quiet manner immediately endears him to “Feathers” McCoy (Evelyn Brent), Bull’s girlfriend. While a precarious love triangle develops,...
Directed by Josef von Sternberg
United States, 1927
Josef von Sternberg’s pre-code gangster picture – the one that started it all – plays akin to the director’s vision throughout his career: hazy deep focus shots, sensuality that anticipates his collaborations with Marlene Dietrich, tough guy theatrics, and an eye for poetic framing. Though its more name-famous companion piece, Howard Hawks’ Scarface, was produced five years later and during the Production Code, von Sternberg’s film is surprisingly less violent than Hawks’.
Underworld finds von Sternberg staple George Bancroft in the role of “Bull” Weed – gangster extraordinaire. When Bull happens upon a learned alcoholic itinerant after one of his infamous heists he takes the man under his wing, cleans him up, and nicknames him Rolls Royce (Clive Brook). Rolls Royce’s suave, quiet manner immediately endears him to “Feathers” McCoy (Evelyn Brent), Bull’s girlfriend. While a precarious love triangle develops,...
- 8/16/2011
- by Ricky
- SoundOnSight
Alfred Hitchcock was one of the most talented filmmakers to ever come around, his films are incredible, but before he became the big brand name that he did the director had to start somewhere.
The National Film Preservation Foundation and the New Zealand Film Archive have discovered the first 30 minutes of a 1923 silent British film, called The White Shadow, which is considered to be the earliest feature film in which Alfred Hitchcock was given credit.
Hitchcock was 24 years old when this film was made and he served as the writer, assistant director, editor and production designer on the project. The movie starred Betty Compson who played twin sisters in the story. One was good and the other was bad. Clive Brook also starred in the film.
The actual director of the film was Graham Cutts who was described by National Society of Film Critics chairman and Hitchcock expert David Sterritt...
The National Film Preservation Foundation and the New Zealand Film Archive have discovered the first 30 minutes of a 1923 silent British film, called The White Shadow, which is considered to be the earliest feature film in which Alfred Hitchcock was given credit.
Hitchcock was 24 years old when this film was made and he served as the writer, assistant director, editor and production designer on the project. The movie starred Betty Compson who played twin sisters in the story. One was good and the other was bad. Clive Brook also starred in the film.
The actual director of the film was Graham Cutts who was described by National Society of Film Critics chairman and Hitchcock expert David Sterritt...
- 8/4/2011
- by Venkman
- GeekTyrant
[1] The New Zealand Film Archive and the National Film Preservation Foundation (Nfpf) announced this week that they had discovered the first 30 minutes of The White Shadow, a 1923 silent film considered to be the first credit by Alfred Hitchcock. Although Hitchcock did not direct the movie -- Graham Curtis did -- the now-legendary filmmaker, then 24, served as assistant director, editor, and production designer. The British melodrama follows twin sisters -- one evil, one good -- both played by Betty Compson, and co-stars Clive Brook. Read more details, including information on its American "re-premiere," after the jump. The La Times [2] reports that film was recently rediscovered when the Nfpf received a grant from the Andrew W. Mellon Foundation, allowing an archivist to sort through American films within the New Zealand archive's collection of nitrate prints. The White Shadow had been brought there in 1989 by Tony Osborne, grandson of New Zealand projectionist and collector Jack Murtagh,...
- 8/4/2011
- by Angie Han
- Slash Film
Betty Compson, Clive Brook, Woman to Woman Despite some confusion in various reports, the 1923 melodrama The White Shadow, half of which was recently found at the New Zealand Film Archive, is not Alfred Hitchcock's directorial debut. It isn't Hitchcock's first ever credited effort, either. That honor apparently belongs to Woman to Woman, which came out earlier that same year. The White Shadow, in fact, was a Woman to Woman afterthought. Both movies were directed by Graham Cutts, both were produced by future British film industry stalwarts Victor Saville and Michael Balcon, both were based on works by Michael Morton (the earlier film was taken from a Morton play; the later one from a Morton novel), and both starred Clive Brook and Hollywood import Betty Compson. (Compson plays two parts in both films as well; but whereas in The White Shadow she plays two actual characters, in Woman to Woman...
- 8/3/2011
- by Andre Soares
- Alt Film Guide
Betty Compson, The White Shadow About thirty minutes from the long thought-lost The White Shadow / White Shadows (1923), believed to be the earliest surviving feature with an Alfred Hitchcock credit, has been unearthed at the New Zealand Film Archive. Directed by Graham Cutts, and starring Betty Compson and Clive Brook, The White Shadow was found among a number of unidentified American nitrate prints safeguarded for more than two decades at the archive. Based on Michael Morton's novel Children of Chance, The White Shadow was written and edited by Hitchcock, who also served as assistant director and production designer. The future director of Blackmail, The Lady Vanishes, Rebecca, Lifeboat, Strangers on a Train, Rear Window, North by Northwest, Psycho, and The Birds, was 24 years old at the time. Three out of The White Shadow's six reels have been found. In the words of National Society of Film Critics Chairman David Sterritt,...
- 8/3/2011
- by Andre Soares
- Alt Film Guide
It's been a big year for Hitchcock devotees. First, there was the latest unveiling of the 12-hour audio file from Hitchcock's famous interview with French critic and director Francois Truffaut. Now, the National Film Preservation Foundation and the New Zealand Film Archive have announced their discovery of the opening half-hour of The White Shadow, Hitchcock's first credited film. In 1923, a 24-year old Hitchcock served as the writer, director, editor and production designer for a melodrama starring Clive Brook and Betty Compson, who played two twin sisters, one good, one bad. Hitchcock scholar David Sterritt, chairman of the National Society of Film Critics, calls the find a "missing link" between the director's early years as a writer and his eventual rise as a major filmmaker. ...
- 8/3/2011
- Thompson on Hollywood
It’s odd to think that a cavalcade of releases from iconic master of suspense Alfred Hitchcock are lost to history. Involved in 17 silent-era efforts, the director may be better known for his talkies, but these silent projects are the films that have become the topic of conversation thanks to the National Film Preservation Foundation.
According to the La Times, the Nfpf has revealed that roughly thirty-minutes, three reels in total, have been uncovered from a film entitled The White Shadow. Penned by Hitchcock, the 1923 film features Hitchcock aboard as an assistant director, an editor, and even as a production designer.
Starring Betty Compson and Clive Brook, the film is considered by many historians to be Hitchcock’s first major film. Sitting comfortably in the New Zealand Film Archive for damn near two decades, the Nfpf was able to gain access to the American films within the archive, which happened to include this film,...
According to the La Times, the Nfpf has revealed that roughly thirty-minutes, three reels in total, have been uncovered from a film entitled The White Shadow. Penned by Hitchcock, the 1923 film features Hitchcock aboard as an assistant director, an editor, and even as a production designer.
Starring Betty Compson and Clive Brook, the film is considered by many historians to be Hitchcock’s first major film. Sitting comfortably in the New Zealand Film Archive for damn near two decades, the Nfpf was able to gain access to the American films within the archive, which happened to include this film,...
- 8/3/2011
- by Joshua Brunsting
- CriterionCast
Footage from 1923 melodrama The White Shadow, one of the first films that Hitchcock worked on, identified in New Zealand film archive
It's the kind of unpredictable twist that even the celebrated film-maker might have found surprising: footage from a lost silent movie featuring work by Alfred Hitchcock has been discovered in New Zealand.
The White Shadow, from 1923, is a melodrama starring Us actor Betty Compson as twin sisters – one good, one evil – and Clive Brook. It was the first film that the 24-year-old Hitchcock worked on. He was writer, assistant director, editor and production designer on the project. Three reels comprising the first 30 minutes of the movie were left at the New Zealand Film Archive in 1989 by the family of a New Zealand projectionist and film collector, but were only recently identified. No one knows where the remaining three reels are and no other copy of the film is thought to exist.
It's the kind of unpredictable twist that even the celebrated film-maker might have found surprising: footage from a lost silent movie featuring work by Alfred Hitchcock has been discovered in New Zealand.
The White Shadow, from 1923, is a melodrama starring Us actor Betty Compson as twin sisters – one good, one evil – and Clive Brook. It was the first film that the 24-year-old Hitchcock worked on. He was writer, assistant director, editor and production designer on the project. Three reels comprising the first 30 minutes of the movie were left at the New Zealand Film Archive in 1989 by the family of a New Zealand projectionist and film collector, but were only recently identified. No one knows where the remaining three reels are and no other copy of the film is thought to exist.
- 8/3/2011
- by Ben Child
- The Guardian - Film News
Cavalcade (1933) Direction: Frank Lloyd Cast: Clive Brook, Diana Wynyard, Herbert Mundin, Una O'Connor, Beryl Mercer, Irene Browne, Merle Tottenham, Frank Lawton, Ursula Jeans, Margaret Lindsay Screenplay: Reginald Berkeley, Sonya Levien; from Noel Coward's 1931 play Oscar Movies, Pre-Code Movies Herbert Mundin, Diana Wynyard, Clive Brook, Una O'Connor, Cavalcade Synopsis: Upstairs, Robert and Jane Marryot (Clive Brook, Diana Wynyard), and downstairs, Alfred and Ellen Bridges (Herbert Mundin, Una O'Connor), in a British household, from 1900 to 1933. The Pros: Cavalcade won Best Picture and Best Director Oscars for the period 1932-33 (basically from Aug. '32-Dec. '33) and was reportedly the biggest box-office hit of 1933, grossing more than $3.5m (approx. $121m today*). That makes it a historical curiosity. Best Actress Oscar nominee Diana Wynyard has one remarkable moment, walking among armistice revelers but not feeling at all like celebrating after having lost a son to the Great War. Noel Coward, for his [...]...
- 2/11/2011
- by Andre Soares
- Alt Film Guide
Marlene Dietrich, Gary Cooper, Morocco Turner Classic Movies is dedicating this evening to filmmaker Josef von Sternberg, best known for his elaborate pageants starring Marlene Dietrich. One of those, Shanghai Express (1932) was shown earlier this evening; another, the creaky melodrama Morocco (1930), which earned Dietrich her sole Academy Award nomination, is on right now. Gary Cooper and Adolphe Menjou co-star. Next, TCM will present Crime and Punishment (1935) an atmospheric but melodramatic adaptation of Dostoevsky's novel. I've yet to sit through the last three: The Shanghai Gesture (1941), Macao (1952), and The King Steps Out (1937). Schedule and synopses from the TCM website: 5:00pm [Romance] Shanghai Express (1932) A beautiful temptress re-kindles an old romance while trying to escape her past during a tension-packed train journey. Cast: Marlene Dietrich, Clive Brook, Anna May Wong, Warner Oland Dir: Josef von Sternberg Bw-82 mins 6:30pm [Romance] Morocco (1930) A sultry cabaret singer falls [...]...
- 1/4/2011
- by Andre Soares
- Alt Film Guide
"He's a chin." Such was Josef von Sternberg's summation of Clive Brook, delivered when Marlene Dietrich asked what her leading man in Shanghai Express(1932) was like. Since Brook had already given a sympathetic and subtle performance for Sternberg in Underworld (1927), and since he was one of the few actors who actually liked Sternberg, this remark should perhaps be taken less as an insult, and more as a statement of intent: in Shanghai Express, Sternberg reduces his chum to a chin, rigid and inexpressive.
The real Brook was different, as his sole film as director attests. On Approval (1944) climaxed Brook's acting career (he returned to the screen in 1963 for John Huston, in The List of Adrian Messenger: the rest is silence) and serves as a definitive rebuttal to Sternberg's put-down, as it's a gay, wildly creative, consistently funny comedy. Being based on a play that was then fifty years...
The real Brook was different, as his sole film as director attests. On Approval (1944) climaxed Brook's acting career (he returned to the screen in 1963 for John Huston, in The List of Adrian Messenger: the rest is silence) and serves as a definitive rebuttal to Sternberg's put-down, as it's a gay, wildly creative, consistently funny comedy. Being based on a play that was then fifty years...
- 12/30/2010
- MUBI
On Tuesday morning, Wamg was invited to the Academy of Motion Picture Arts and Sciences’ special press preview of John Ford’s Upstream (1927), one of 75 films recently found in the New Zealand Film Archive and repatriated to the U.S. with the cooperation of the National Film Preservation Foundation.
The 1927 silent film, that was thought lost for decades, had it’s re-premiere Wednesday night, September 1, at the Samuel Goldwyn Theater in Beverly Hills. Many of the VIP’s on hand included Silent Film Historians and those involved with the restoration, as well as the general public.
Having seen the film on Tuesday, I must say the transfer is absolutely beautiful. I was so impressed by the special care taken with the film’s clarity and how vibrant the tinting is on the multiple color frames throughout. The smoky special effects combined with the subtle transitions made me forget I was...
The 1927 silent film, that was thought lost for decades, had it’s re-premiere Wednesday night, September 1, at the Samuel Goldwyn Theater in Beverly Hills. Many of the VIP’s on hand included Silent Film Historians and those involved with the restoration, as well as the general public.
Having seen the film on Tuesday, I must say the transfer is absolutely beautiful. I was so impressed by the special care taken with the film’s clarity and how vibrant the tinting is on the multiple color frames throughout. The smoky special effects combined with the subtle transitions made me forget I was...
- 9/2/2010
- by Michelle McCue
- WeAreMovieGeeks.com
Crime has not just been good to the criminals; it's been awfully good to Hollywood as well. It so happens I just finished watching Josef Von Sternberg's "Underworld" (1927), the first in a compilation of three silent classics from famed director Josef Von Sternberg, now out via the esteemed Criterion Collection. For those unfamiliar with Von Sternberg, he would become best known later as the director who launched Marlene Dietrich's career in "The Blue Angel" (1930) and "Morocco" (1930). Basically a love triangle involving a crime boss (George Bancroft), the alcoholic former lawyer he saves from the gutter (Clive Brook), and the girl torn between the two men (Evelyn Brent), the movie also features lots of rat-tat-tat action as the mobster rids himself of a key criminal rival. When the film debuted in 1927, at a moment when gangsters were still riding...
- 8/16/2010
- by John Farr
- Huffington Post
Talk about a treasure chest of films.
Over the weekend, a massive collection of early U.S. films, clocking in at a robust 75 films, was discovered in a vault in New Zealand. According to Variety, the collection of films will be preserved by the New Zealand Film Archive and National Film Preservation Foundation, along with the help of the Academy of Motion Picture Arts and Sciences, George Eastman House, UCLA Film and Television Archive, as well as the Library of Congress, and the Museum of Modern Art to boot.
Among the films, there are films showing such things as how hats are made by Stetson, how someone can set an underwater explosive, and a neo-commercial for a Ford tractor trailer. However, the most interesting piece is not something like that at all.
Uncovered in this collection is an early film from the filmography of John Ford. Upstream, a film previously thought to have been lost,...
Over the weekend, a massive collection of early U.S. films, clocking in at a robust 75 films, was discovered in a vault in New Zealand. According to Variety, the collection of films will be preserved by the New Zealand Film Archive and National Film Preservation Foundation, along with the help of the Academy of Motion Picture Arts and Sciences, George Eastman House, UCLA Film and Television Archive, as well as the Library of Congress, and the Museum of Modern Art to boot.
Among the films, there are films showing such things as how hats are made by Stetson, how someone can set an underwater explosive, and a neo-commercial for a Ford tractor trailer. However, the most interesting piece is not something like that at all.
Uncovered in this collection is an early film from the filmography of John Ford. Upstream, a film previously thought to have been lost,...
- 6/7/2010
- by Joshua Brunsting
- CriterionCast
I first caught Josef von Sternberg’s Underworld (1927) at the Pacific Film Archive von Sternberg retrospective earlier this year accompanied by Judith Rosenberg on piano. I welcomed the opportunity to watch the film again projected on the Castro’s giant screen with live piano accompaniment by the indefatigable Stephen Horne for the specific intent of savoring the scene where “Feathers” McCoy (Evelyn Brent) first comes to the attention of “Rolls Royce” Wensel (Clive Brook); namely, by way of an ostrich feather shaken loose from McCoy’s outfit, drifting down to Wensel who is sweeping the floor below. Entrances are rarely so insinuating.
Eddie Muller, the “Czar of Noir”, had the honors of introducing Underworld to its Sfsff audience. Often asked—in his capacity as the Czar—what he considers to be the first film noir, Muller admitted he rarely answers the question because he considers trying to pin down the...
Eddie Muller, the “Czar of Noir”, had the honors of introducing Underworld to its Sfsff audience. Often asked—in his capacity as the Czar—what he considers to be the first film noir, Muller admitted he rarely answers the question because he considers trying to pin down the...
- 7/14/2009
- by Michael Guillen
- Screen Anarchy
Blonde Venus (1932)—Josef von Sternberg’s preposterously mesmerizing tale of mother love—runs the gamut from the glamorous heights of fame and success to the dilapidated depths of despair and ruin. Yet another melodramatic narrative of what Juliet Clark calls “the woman’s way” of upholding honor through dishonor, Magdalenian inferences still apply. This would be a great double bill with Emilio Fernández’s Víctimas del pecado (1951). What a mother won’t do for her child, including another john. Again, I have to wonder how influenced “El Indio” was by Sternberg’s melodramatics?
As Judy Bloch nails it in her capsule for Pfa’s ongoing Sternberg retrospective: “It’s not surprising that the French Surrealists gave themselves over to Sternberg’s films with Marlene Dietrich, who for them embodied the disruptive force. Marlene singing ‘Hot Voodoo’ in a gorilla suit brings the exotic home in Sternberg’s only Dietrich film set in America.
As Judy Bloch nails it in her capsule for Pfa’s ongoing Sternberg retrospective: “It’s not surprising that the French Surrealists gave themselves over to Sternberg’s films with Marlene Dietrich, who for them embodied the disruptive force. Marlene singing ‘Hot Voodoo’ in a gorilla suit brings the exotic home in Sternberg’s only Dietrich film set in America.
- 2/16/2009
- by Michael Guillen
- Screen Anarchy
It takes more than one viewing of Josef von Sternberg’s Shanghai Express (1932) to fully appreciate why Magdalen (Marlene Dietrich) changed her name to Shanghai Lily, the “notorious white flower of China.” This is my third viewing and—as some say—therein lies the charm.
As Juliet Clark succinctly synopsizes in her capsule for Pacific Film Archive‘s ongoing von Sternberg retrospective: “In Sternberg’s fantasy of China, ‘the realism of place was given over to the loveliness of decor and the ambiguous iconography of the love goddess’ (David Thomson). A train crossing this land of picturesque squalor becomes a political, moral, and romantic battleground where Shanghai Lily (Dietrich), ‘notorious white flower of China,’ faces a reckoning with her former lover Doc (Clive Brook). A revolutionary episode advances the plot, but for Sternberg, suspense is a matter of sexual rather than political tension. A hostage situation is a test of devotion,...
As Juliet Clark succinctly synopsizes in her capsule for Pacific Film Archive‘s ongoing von Sternberg retrospective: “In Sternberg’s fantasy of China, ‘the realism of place was given over to the loveliness of decor and the ambiguous iconography of the love goddess’ (David Thomson). A train crossing this land of picturesque squalor becomes a political, moral, and romantic battleground where Shanghai Lily (Dietrich), ‘notorious white flower of China,’ faces a reckoning with her former lover Doc (Clive Brook). A revolutionary episode advances the plot, but for Sternberg, suspense is a matter of sexual rather than political tension. A hostage situation is a test of devotion,...
- 2/15/2009
- by Michael Guillen
- Screen Anarchy
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