Why don't we have more of these?
I discovered a wonderful action figure of Lon Chaney from the famous (and, sadly, lost) film London After Midnight. You can also get figures of him as Erik in Phantom of the Opera and as Quasimodo in The Hunchback of Notre Dame.
I did find, much to my delight, a series called Silent Screamers Action Figures. These gems include the Frankenstein monster from Edison's 1910 version of the classic tale (in which Charles Ogle played the monster) and Count Orlok from Murnau's classic Nosferatu.
These figures were all sold out at the website I checked. But they're sold all over the place.
How about some other figures?
- John Gilbert and Lillian Gish in La Boheme
- Valentino and Agnes Ayres in The Sheik
- Buster Keaton and Brown Eyes in Go West
- Harold Lloyd and Jobyna Ralston in Girl Shy
- Ronald Colman and Vilma Banky in any of their movies
- Richard Barthelmess and Lillian Gish in Way Down East
- Wallace Reid and Gloria Swanson in The Affairs of Anatol
- George O'Brien and Janet Gaynor in Sunrise
Come on, people! Get with it! Make some!
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Showing posts with label john gilbert. Show all posts
Showing posts with label john gilbert. Show all posts
Thursday, February 4, 2010
Tuesday, June 2, 2009
Flicker Alley
Big news!
Flicker Alley has released a John Gilbert double feature on DVD. The two films are Bardelys the Magnificent and Monte Cristo.
I don't know what else is in it; I know that we can count on the good people at Flicker Alley to throw in all kinds of delightful goodies, though. The first film is one I saw last year at the Pordenone festival, and I loved it. One reel was missing, so when it was restored by Lobster Films in France, they used stills to recreate the story during that scene. Bardelys is about a 17th-century Parisian nobleman who finds himself betting an acquaintance that he can "make" a young noblewoman of the country fall in love with and marry him. And that's just the beginning of the story.
I've never seen Monte Cristo, but Gilbert is in it. That's good enough for me.
Flicker Alley has released a John Gilbert double feature on DVD. The two films are Bardelys the Magnificent and Monte Cristo.
I don't know what else is in it; I know that we can count on the good people at Flicker Alley to throw in all kinds of delightful goodies, though. The first film is one I saw last year at the Pordenone festival, and I loved it. One reel was missing, so when it was restored by Lobster Films in France, they used stills to recreate the story during that scene. Bardelys is about a 17th-century Parisian nobleman who finds himself betting an acquaintance that he can "make" a young noblewoman of the country fall in love with and marry him. And that's just the beginning of the story.
I've never seen Monte Cristo, but Gilbert is in it. That's good enough for me.
Saturday, May 30, 2009
Pordenone '09
Some of the films to be shown are already on the Giornate's site. The opening event will be Erich von Stroheim's The Merry Widow, starring John Gilbert and Mae Murray.
An article about the making of the film, written by Kevin Brownlow, accompanies the listing. It seems that the movie encountered enormous problems almost every step of the way, with Stroheim disappointed in the leading man who was foisted upon him (according to Gilbert, they eventually became friends after a little drinking session), and wonder boy Irving Thalberg calling the shots.
You can see a short clip of the waltz scene on YouTube, with the lovely melody "Love Unspoken" on the soundtrack. The video is scratchy, and I hope that the print they show at Pordenone will be better; the good people at the Giornate have a real genius for finding the best existing prints of the films they present.
That's the main news from the Giornate. Not much else to report.
An article about the making of the film, written by Kevin Brownlow, accompanies the listing. It seems that the movie encountered enormous problems almost every step of the way, with Stroheim disappointed in the leading man who was foisted upon him (according to Gilbert, they eventually became friends after a little drinking session), and wonder boy Irving Thalberg calling the shots.
You can see a short clip of the waltz scene on YouTube, with the lovely melody "Love Unspoken" on the soundtrack. The video is scratchy, and I hope that the print they show at Pordenone will be better; the good people at the Giornate have a real genius for finding the best existing prints of the films they present.
That's the main news from the Giornate. Not much else to report.
Tuesday, May 12, 2009
John Gilbert - where is his tribute?
I've seen documentaries of other stars - Mary Pickford, most notably, Greta Garbo, Theda Bara, and even a lesser-known name to modern audiences, Olive Thomas.
Why haven't I seen a John Gilbert documentary?
If there is one, I haven't heard of it. John Gilbert certainly deserves one; I'd be willing to bet that his daughter, Leatrice Gilbert Fountain (author of the Gilbert biography Dark Star - would help with it.
As I mentioned in my post about John Gilbert, he was one of THE stars of the silent era, especially in his teamings with Garbo; I don't think I've ever seen her heat up the screen except when paired with her one-time fiance. He become the leading Hollywood heartthrob after Valentino's death, made film after film in the '20s, and then fell into a decline that ended with his sudden, tragic death.
Let's see this man get the tribute he so richly deserves.
Why haven't I seen a John Gilbert documentary?
If there is one, I haven't heard of it. John Gilbert certainly deserves one; I'd be willing to bet that his daughter, Leatrice Gilbert Fountain (author of the Gilbert biography Dark Star - would help with it.
As I mentioned in my post about John Gilbert, he was one of THE stars of the silent era, especially in his teamings with Garbo; I don't think I've ever seen her heat up the screen except when paired with her one-time fiance. He become the leading Hollywood heartthrob after Valentino's death, made film after film in the '20s, and then fell into a decline that ended with his sudden, tragic death.
Let's see this man get the tribute he so richly deserves.
Thursday, February 5, 2009
The Show
This one fascinates me. John Gilbert, as Cock Robin (now, there's a name for you!) is the ultimate antihero here; loud, coarse, manipulative, angry, violent, greedy. His usual expression is a hard, suspicious glare. We've all experienced something like it. He is constantly gauging other people, measuring them up, deciding the best way to use them.
He regards women greedily, wondering how much money he can get from them; in an early scene, he tells a besotted young country girl that he will "let" her buy him dinner that night, then later upbraids her for failing to meet him at the restaurant, complaining that he had to buy his own dinner. The man is a nightmare.
Of course, he has a Good Woman in love with him, though in this case, she's not entirely submissive. Salome (Renee Adoree) is Robin's partner in a popular show, which allows him to take advantage of a wide variety of women, and allows her to watch him do it.
We know that the two were involved earlier, and that Salome is deeply jealous of Robin, frightening away the women who are interested in him, which in itself is a full-time job. To complicate matters, the Greek (Lionel Barrymore), another member of the show, has decided that he owns Salome, and is more than ready to kill Robin to get her.
With the exception of an unintentionally funny scene where both Robin and the Greek are trying to avoid an enraged, deadly poisonous killer iguana, the movie is fabulously dark. As a matter of fact, most of the scenes take place after nightfall.
The title is particularly appropriate, because more than one show is seen here. We have the stage show, the one that scares the hell out of the audiences. We have the show that Salome puts on in front of other women, as if she and Robin are truly involved. We have Robin's show, when he masquerades as a dependable human being. And we have the most important shows, both Salome's, concerning her life at home; this is by far the most touching part of the film.
I did like the ending, despite its happy nature. John Gilbert really pulled off the part, and even his transformation - taking place gradually - is believable. Plus, given the tragically early deaths of both the leads (Renee Adoree died of tuberculosis in the early 1930s; John Gilbert was taken by a heart attack in 1936), it's good to see them playing characters who have a solid future ahead of them.
He regards women greedily, wondering how much money he can get from them; in an early scene, he tells a besotted young country girl that he will "let" her buy him dinner that night, then later upbraids her for failing to meet him at the restaurant, complaining that he had to buy his own dinner. The man is a nightmare.
Of course, he has a Good Woman in love with him, though in this case, she's not entirely submissive. Salome (Renee Adoree) is Robin's partner in a popular show, which allows him to take advantage of a wide variety of women, and allows her to watch him do it.
We know that the two were involved earlier, and that Salome is deeply jealous of Robin, frightening away the women who are interested in him, which in itself is a full-time job. To complicate matters, the Greek (Lionel Barrymore), another member of the show, has decided that he owns Salome, and is more than ready to kill Robin to get her.
With the exception of an unintentionally funny scene where both Robin and the Greek are trying to avoid an enraged, deadly poisonous killer iguana, the movie is fabulously dark. As a matter of fact, most of the scenes take place after nightfall.
The title is particularly appropriate, because more than one show is seen here. We have the stage show, the one that scares the hell out of the audiences. We have the show that Salome puts on in front of other women, as if she and Robin are truly involved. We have Robin's show, when he masquerades as a dependable human being. And we have the most important shows, both Salome's, concerning her life at home; this is by far the most touching part of the film.
I did like the ending, despite its happy nature. John Gilbert really pulled off the part, and even his transformation - taking place gradually - is believable. Plus, given the tragically early deaths of both the leads (Renee Adoree died of tuberculosis in the early 1930s; John Gilbert was taken by a heart attack in 1936), it's good to see them playing characters who have a solid future ahead of them.
Friday, December 12, 2008
Performances
Here is a list of some of my favorite performances in silent film. Yes, I'm sure I'll be returning to this topic, too.
Lillian Gish. Well. Is there anything Lillian couldn't do? I doubt it. I don't have just one favorite performance; here are some of them:
Lucy in Broken Blossoms. Pushing up the corners of her mouth in a rictus rather than a smile, while her eyes overflow with terror; regarding a doll with wonder and quiet joy.
Anna in Way Down East. The baptism scene is my favorite in the movie. She gently applies water to the baby's head, then looks heavenward with an expression of pleading on her face. Lillian claimed that the baby's father, who was watching the filming of this scene, fainted while it was being filmed. She heard a thump as he slid to the floor.
Mimi in La Boheme. Starving herself for three days to make her death scene more realistic. Holding the back of a cart and letting it drag her along a street. Throwing herself at John Gilbert as he attempts to storm out of the room. Everything works in this performance.
Okay, on to other performers.
John Gilbert in The Show. God, what a triumph it was for him, and what a great talent was dimmed so soon. He's the ultimate anti-hero; someone you simply can't stand, with no redeeming qualities whatsoever, but Gilbert makes you watch him. You can't take your eyes away.
Henry B. Walthall in The Birth of a Nation. Such a shame the film took the slant that it did. Walthall effortlessly takes control of his scenes, matched only by Lillian Gish as his love interest. His best scenes, for me, are the battle scenes where Ben Cameron is ducking bullets; the scenes in the hospital, when he is recovering from his wounds; and the love story with Elsie Stoneman.
Conrad Veidt in The Man Who Laughs. Having the corners of his mouth wired in a permanent smile, able to show his feelings only through his eyes. How many other actors could do it?
Lon Chaney. Here's another one with a string of excellent performances. Among them:
Tito in Laugh, Clown, Laugh. Portraying a middle-aged man who has fallen in love with his foster daughter, to whom he can only ever be her father. The look of pain on his face when interacting with her near the end of the film is heartrending.
The Miracle Man. I know, I know - only a few minutes of footage still exist. Even so, it's enough to show Chaney's incredible ability to work with his body, as his character is "healed" by faith.
The Penalty. He was brutal in that film, and it works perfectly. His physical stunts were no less impressive; hauling his whole body upwards by means of pegs inserted into holes in the wall never ceases to amaze me.
Buster Keaton. Everything Buster did, was uniquely his. That ability he had to convey a wide range of emotions without laughing or smiling is one that nobody will ever be able to do again. All of his performances are my favorites, even if not all of the films are.
Harold Lloyd in Girl Shy. Harold's "glasses" character can get on my nerves, but here, rather than being the typically brash young man, he's shy, withdrawn, and has a stutter. I was most impressed by the scene where he is pretending to his girlfriend that she never meant anything to him, and begins to laugh. In the midst of his laughter, you see an expression of deep disgust on his face that makes the scene even more poignant.
More later.
Lillian Gish. Well. Is there anything Lillian couldn't do? I doubt it. I don't have just one favorite performance; here are some of them:
Lucy in Broken Blossoms. Pushing up the corners of her mouth in a rictus rather than a smile, while her eyes overflow with terror; regarding a doll with wonder and quiet joy.
Anna in Way Down East. The baptism scene is my favorite in the movie. She gently applies water to the baby's head, then looks heavenward with an expression of pleading on her face. Lillian claimed that the baby's father, who was watching the filming of this scene, fainted while it was being filmed. She heard a thump as he slid to the floor.
Mimi in La Boheme. Starving herself for three days to make her death scene more realistic. Holding the back of a cart and letting it drag her along a street. Throwing herself at John Gilbert as he attempts to storm out of the room. Everything works in this performance.
Okay, on to other performers.
John Gilbert in The Show. God, what a triumph it was for him, and what a great talent was dimmed so soon. He's the ultimate anti-hero; someone you simply can't stand, with no redeeming qualities whatsoever, but Gilbert makes you watch him. You can't take your eyes away.
Henry B. Walthall in The Birth of a Nation. Such a shame the film took the slant that it did. Walthall effortlessly takes control of his scenes, matched only by Lillian Gish as his love interest. His best scenes, for me, are the battle scenes where Ben Cameron is ducking bullets; the scenes in the hospital, when he is recovering from his wounds; and the love story with Elsie Stoneman.
Conrad Veidt in The Man Who Laughs. Having the corners of his mouth wired in a permanent smile, able to show his feelings only through his eyes. How many other actors could do it?
Lon Chaney. Here's another one with a string of excellent performances. Among them:
Tito in Laugh, Clown, Laugh. Portraying a middle-aged man who has fallen in love with his foster daughter, to whom he can only ever be her father. The look of pain on his face when interacting with her near the end of the film is heartrending.
The Miracle Man. I know, I know - only a few minutes of footage still exist. Even so, it's enough to show Chaney's incredible ability to work with his body, as his character is "healed" by faith.
The Penalty. He was brutal in that film, and it works perfectly. His physical stunts were no less impressive; hauling his whole body upwards by means of pegs inserted into holes in the wall never ceases to amaze me.
Buster Keaton. Everything Buster did, was uniquely his. That ability he had to convey a wide range of emotions without laughing or smiling is one that nobody will ever be able to do again. All of his performances are my favorites, even if not all of the films are.
Harold Lloyd in Girl Shy. Harold's "glasses" character can get on my nerves, but here, rather than being the typically brash young man, he's shy, withdrawn, and has a stutter. I was most impressed by the scene where he is pretending to his girlfriend that she never meant anything to him, and begins to laugh. In the midst of his laughter, you see an expression of deep disgust on his face that makes the scene even more poignant.
More later.
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