A cinephilac blog about an actress, silent film, and the Jazz Age, with occasional posts
about related books, music, art, and history written by Thomas Gladysz. Visit the
Louise Brooks Society™ at www.pandorasbox.com
Tuesday, December 12, 2017
Exploring the 1927 Laurel Canyon Home of Louise Brooks (part 2), by Philip Vorwald
This blog is authored by Thomas Gladysz, Director of the Louise Brooks Society™. Launched in 1995, the Louise Brooks Society is a pioneering website and online archive devoted to the legendary silent film star. The Louise Brooks Society operates with the consent of the Estate of Louise Brooks (Louise Brooks Heirs, LC), and have its permission to use the name and likeness of the actress. As an Amazon Associate, I earn from qualifying purchases. CONTACT: louisebrookssociety (at) gmail.com
Monday, December 11, 2017
Exploring the 1927 Laurel Canyon Home of Louise Brooks (part 1), by Philip Vorwald
This blog is authored by Thomas Gladysz, Director of the Louise Brooks Society™. Launched in 1995, the Louise Brooks Society is a pioneering website and online archive devoted to the legendary silent film star. The Louise Brooks Society operates with the consent of the Estate of Louise Brooks (Louise Brooks Heirs, LC), and have its permission to use the name and likeness of the actress. As an Amazon Associate, I earn from qualifying purchases. CONTACT: louisebrookssociety (at) gmail.com
Sunday, December 10, 2017
Pola Negri: Her films were silent. She wasn’t.
For
me, my revelatory, door-opening, light switch-on, “you’ve got to check
this out” Pola Negri moment came in 2016 when I saw the actress in A Woman of the World, a 1925 comedy screened at the San Francisco Silent Film Festival.
Of
course, I had known of Negri beforehand. I had seen countless images of
this Polish-born vamp who made a name for herself in Germany before
coming to the United States. I had also seen a few of her movies, movies
like The Spanish Dancer (1923), Hotel Imperial (1927), and A Woman Commands
(1932). In those films, she played passionate characters who could slay
you with just one look. She was gorgeous, exotic, stylish, and
temperamental. She was a femme fatale.
But in A Woman of the World, playing opposite sad-sack funnyman Chester Conklin, she seemed something else. In A Woman of the World,
Negri poked-fun of her image. And she succeeded brilliantly. She was
light, funny, witty and charming. That film made me want to see as many
of her other films as I could. And, to find out more.
To
date, there have been a handful of books on this singular silent film
star. In 1926, future director Robert Florey penned a small book for a
French publisher; this hard-to-find title has yet to be translated into
English. In 1970, Doubleday published the actress’ own Memoirs of a Star,
an unreliable book in which the actress embellished certain aspects of
her life. Some even called it “fiction” at the time of its release.
In 2014, the University Press of Kentucky published Mariusz Kotowski’s Pola Negri: Hollywood’s First Femme Fatale, a translation from the Polish of his 2011 book, Pola Negri: Legenda Hollywood.
It broke new ground, but leaned in the direction of the actress’
European career. Kotowski’s book was followed by Sergio Delgado’s Pola Negri: Temptress of Silent Hollywood, from McFarland, in 2016. It too is worthwhile, but leaned in the direction of Negri’s Hollywood career.
Now comes Tony Villecco’s self-published Pola Negri: The Hollywood Years.
As the author states, his book is “not intended to be a complete
historical retrospective or analysis of Pola Negri’s films. Rather, it
offers today’s readers and film fans an intriguing glimpse into the
life, times, and persona of a ‘silent’ star who lived at full volume
during the Golden Era of film.” In this regard, it succeeds. It is a
good read, full of fascinating information.
Negri
was born Apolonia Chalupec in Poland, then part of the Russian Empire,
in 1897. She acted on the Polish stage, and quickly became a star. At
the age of 17, she went to Berlin and was soon teamed with German
director Ernst Lubitsch. Together, they made a number of popular films,
including Madame DuBarry (1919); it was optioned for exhibition in the United States, and renamed Passion.
The film was such a success (despite American misgivings for German
films following WWI) that by 1922 she and Lubitsch were both offered
contracts to work in America.
Negri
was the first European film star to be invited to Hollywood, and in the
early 1920s, she became one of the most popular actresses in America. A
string of hits and near-hits followed, including A Woman of the World. And so did sensational headlines. [Louise Brooks was once compared to Negri, who was also working at Paramount. Negri was considered a "vamp," and Brooks a "junior vamp."]
There
were love affairs with and reported engagements to Charlie Chaplin and
Rudolph Valentino, as well as a marriage to a self-styled prince. (Negri
herself claimed to be of minor Polish nobility.) Tempestuous
relationships with colleagues—including Gloria Swanson, with whom she
had a rivalry and reported feud—kept Negri’s name in the news. Both had a
penchant for publicity.
However,
Negri’s American film career began to fade with the coming of sound.
There was the lingering perception, at least in some quarters, that her
mourning for Rudolph Valentino was less than sincere—while others
thought it over-the-top. And too, her thick Polish accent didn’t go over
well in English-language sound films.
In Pola Negri: The Hollywood Years, Villecco (the author of an earlier collection of interviews, Silent Stars Speak),
shares what has become lifelong fascination with the actress. Along
with chapters on Negri’s time in the United States, there are also
sections on her American films, including her final screen appearance,
the 1964 Disney film, The Moon Spinners. All this is
supplemented by accounts drawn from magazines and newspapers of the
time, reminiscences by Negri’s colleagues and friends, and more than 100
photographs, several of which Villecco notes were never before
available to the public.
Pola Negri: The Hollywood Years
is a book anyone interested in the actress will want to own. It is, in
the words of Valentino biographer Emily W. Leider, “An engaging, well
researched biography of one of the silent screen’s most luminous stars.”
Here Pola Negri sing on the Louise Brooks Society streaming station, RadioLulu.
Here Pola Negri sing on the Louise Brooks Society streaming station, RadioLulu.
Here Pola Negri sing on the Louise Brooks Society streaming station, RadioLulu.
Here Pola Negri sing on the Louise Brooks Society streaming station, RadioLulu.
a variant of this article by Thomas Gladysz first appeared on Huffington Post
This blog is authored by Thomas Gladysz, Director of the Louise Brooks Society™. Launched in 1995, the Louise Brooks Society is a pioneering website and online archive devoted to the legendary silent film star. The Louise Brooks Society operates with the consent of the Estate of Louise Brooks (Louise Brooks Heirs, LC), and have its permission to use the name and likeness of the actress. As an Amazon Associate, I earn from qualifying purchases. CONTACT: louisebrookssociety (at) gmail.com
Friday, December 8, 2017
Help fund Documentary of a Lost Girl
Charlottle Siller, the brilliant young documentary filmmaker, has launched a Go Fund Me campaign aimed at the completion of her Louise Brooks film, Documentary of a Lost Girl. Siller's Go Fund Me page contains more information, images, and a video excerpt. It is very promising. I encourage everyone to check it out HERE, and if possible, make a donation.
This blog is authored by Thomas Gladysz, Director of the Louise Brooks Society™. Launched in 1995, the Louise Brooks Society is a pioneering website and online archive devoted to the legendary silent film star. The Louise Brooks Society operates with the consent of the Estate of Louise Brooks (Louise Brooks Heirs, LC), and have its permission to use the name and likeness of the actress. As an Amazon Associate, I earn from qualifying purchases. CONTACT: louisebrookssociety (at) gmail.com
Thursday, December 7, 2017
Rescuing the Past: The Fall and Rise of Silent Film
With
the advent of the talkies, silent film took a hit. A big hit. The
silent cinema was devalued. In fact, things got so bad that some studios
melted down their old films, believing a print’s meager silver content
more valuable than whatever artistry contained in the movie itself. In
this way, hundreds if not thousands of titles were lost to posterity.
Others were thrown away, or abandoned. Others simply disintegrated over
time, and no one much cared.
There
was also a perception problem. Aside from a few exceptions, like
Charlie Chaplin or your grandparent’s favorites, silent movies were
never thought to be all that good. They were herky-jerky, and overly
melodramatic. If you are old enough, you might remember those ridiculous
compilations they once showed on television where “humourous” dialogue
was added over sped-up excerpts from the “flickers,” making everything
seem rather corny.
These days, however, silent film is seemingly on the ascendancy.
Led by the pioneering Pordenone Silent Film Festival in Italy and the San Francisco Silent Film Festival
in the United States, like-minded and rather well-attended festivals
seem to be springing up just about everywhere. Among others, there is a
silent film festival in Kansas, one in Toronto, Canada,
and one in Manila, in the Philippines. And too, one-off screenings of
movies by favorites like Buster Keaton and Louise Brooks are taking
place at a frequency that is almost startling. One section on NitrateVille.com—an
old-school bulletin board site devoted to talking about, collecting and
preserving classic film—is devoted entirely to listing silent film
screenings. They’re everywhere. In Cambridge, Massachusetts, in Chicago,
Illinois, and in Fremont, California at the Niles Essanay Silent Film Museum. Yes, there’s an entire museum devoted to silent film.
One
way to mark this resurgence of interest is through the number of
documentary films related to early film. It started back in the late
1960s and early 1970s with Kevin Brownlow, the English documentary film maker and author; in 2010, he became to the first film historian to become an Academy Award honoree. In his acceptance speech, he hit back at an industry that has all-too-often neglected it past.
A more traditional documentary, The Champion: The Story of America’s First Film Town (Milestone), has also received a good deal of attention, and rightly so. It tells the fascinating story of a small New Jersey town, located just a ferry ride away from Manhattan, that gave birth to the American film industry. In other words, before there was Hollywood, there was Fort Lee.
Here, many of the major studios of the time—including the Goldwyn Picture Corporation, Fox, Metro, Paramount ArtCraft, and Selznick—established themselves alongside smaller outfits like Champion Studios. And with them came a score of the biggest names in early film, including Will Rogers and Alice Guy-Blaché, Lillian Gish, Douglas Fairbanks, Theda Bara, Mabel Normand, Mary Pickford, and Barrymore family, to name just a few. And then it ended, when the industry moved to sunnier California. However, for a few years in the 1910’s, Fort Lee was the place to be. A two disc set, The Champion includes five rare short films made at the Champion Studios, none of which have previously been released on DVD. Notably, these films mark the beginnings of today’s Universal, which purchased Champion and its building in 1912.
This year has been an exceptional year for documentaries related to silent film. One promising example, Saving Brinton,
premiered earlier this year at the AFI Docs Film Festival in Washington
D.C. It unreels the story of an eccentric collector who found a cache
of rare films in Iowa, including a once lost Georges Méliés short, while
offering a glimpse into the worlds of early film exhibition and
modern-day film preservation.
There are others, including three documentaries released on DVD / Blu-ray. The one receiving the biggest buzz—the one even non-film buffs might have heard of—is Dawson City: Frozen Time (Kino Lorber), by Decasia director Bill Morrison. Part film history, part Gold Rush history, part poetic meditation on the fragility of just about everything, Dawson City: Frozen Time obliquely tells the incredible but true story of hundreds of silent film reels, buried for nearly half-a-century, in a swimming pool located deep in the Yukon permafrost.
At
the beginning of the 20th century, Dawson City was a Gold Rush boom
town (located about 150 miles south of the Arctic Circle) largely gone
bust but still in need of entertainment, and that included the movies.
Among the cast of characters who passed through Dawson (and some who
resided there) were actor Roscoe “Fatty” Arbuckle, showman Sid Grauman,
impresario Alexander Pantages, and future director William Desmond
Taylor (each a key figure in early Hollywood history), as well as poet
Robert Service, businessman Solomon R. Guggenheim, boxing promoter Tex
Rickard, and even Donald Trumps’ grandfather, Frederick Trump, who made a
fortune operating a brothel. Dawson City: Frozen Time is an
impressionistic documentary of-a-kind, told mostly without dialogue
(silent film style) using the fragments of film found abandoned in this
last place on earth which also happened to be the end of the
distribution line for the films shown there. There are others, including three documentaries released on DVD / Blu-ray. The one receiving the biggest buzz—the one even non-film buffs might have heard of—is Dawson City: Frozen Time (Kino Lorber), by Decasia director Bill Morrison. Part film history, part Gold Rush history, part poetic meditation on the fragility of just about everything, Dawson City: Frozen Time obliquely tells the incredible but true story of hundreds of silent film reels, buried for nearly half-a-century, in a swimming pool located deep in the Yukon permafrost.
A more traditional documentary, The Champion: The Story of America’s First Film Town (Milestone), has also received a good deal of attention, and rightly so. It tells the fascinating story of a small New Jersey town, located just a ferry ride away from Manhattan, that gave birth to the American film industry. In other words, before there was Hollywood, there was Fort Lee.
Here, many of the major studios of the time—including the Goldwyn Picture Corporation, Fox, Metro, Paramount ArtCraft, and Selznick—established themselves alongside smaller outfits like Champion Studios. And with them came a score of the biggest names in early film, including Will Rogers and Alice Guy-Blaché, Lillian Gish, Douglas Fairbanks, Theda Bara, Mabel Normand, Mary Pickford, and Barrymore family, to name just a few. And then it ended, when the industry moved to sunnier California. However, for a few years in the 1910’s, Fort Lee was the place to be. A two disc set, The Champion includes five rare short films made at the Champion Studios, none of which have previously been released on DVD. Notably, these films mark the beginnings of today’s Universal, which purchased Champion and its building in 1912.
Another documentary, this one focusing on an early key figure, is John Bunny – Film’s First King of Comedy
(Mind Pilots Media). Though little known today, Bunny was one of the
biggest comedic stars of his time. His personality driven, situational
comedy set the stage for later greats like W.C. Fields and Jackie
Gleason.
Born during the Civil War, Bunny worked on the stage and only achieved modest success. He likely would have been forgotten had it not been for the advent of motion pictures. This new medium, which required a different kind of acting, brought Bunny stardom. In fact, during his brief four year career in front of the camera, from 1911 to 1915, Bunny was a sensation, hugely popular in the United States, but even more so in England and Russia. Film historian Steve Massa and legendary film archivist Sam Gill offer insightful commentary. John Bunny – Film’s First King of Comedy includes four short films showcasing Bunny’s talents.
Born during the Civil War, Bunny worked on the stage and only achieved modest success. He likely would have been forgotten had it not been for the advent of motion pictures. This new medium, which required a different kind of acting, brought Bunny stardom. In fact, during his brief four year career in front of the camera, from 1911 to 1915, Bunny was a sensation, hugely popular in the United States, but even more so in England and Russia. Film historian Steve Massa and legendary film archivist Sam Gill offer insightful commentary. John Bunny – Film’s First King of Comedy includes four short films showcasing Bunny’s talents.
Though not a documentary, also newly out and of related historical interest is Little Orphant Annie,
a film restoration by Eric Grayson. Everybody knows of the character
Little Orphan Annie, whether through James Whitcomb Riley’s original
1885 poem, the long-running comic strip which debuted in 1924, the radio
and film adaptions of the 1930s, the smash-hit Broadway musical from
1977, or its three subsequent film adaptions, the most recent in 2014.
Grayson, a film historian and preservationist, has painstakingly restored Little Orphant Annie
from five different prints, making this release the longest version of
the 1918 film ever commercially available. It also recreates the tints
that were seen in the now-lost 35mm nitrate print. It’s a beauty.
Notably,
this silent film represents the character’s earliest cinematic
incarnation. Full of vanished Americana as well as striking dreamlike
imagery, this entertaining film features the earliest surviving
appearance by actress Colleen Moore (one of the biggest stars of the
1920s) as Annie, as well as a rare screen appearance by the once popular
poet who started it all (Riley died two years before the film was
released).
This crowd-funded project includes a number of special documentary features, among them a valuable booklet essay and commentary track by Moore biographer Jeff Codori, notes on the restoration and a commentary by Grayson, a behind-the-scenes featurette from the restoration premiere, and more. This worthwhile disc is one that silent film buffs, Little Orphan Annie collectors, and those interested in children’s literature will want to get.
This crowd-funded project includes a number of special documentary features, among them a valuable booklet essay and commentary track by Moore biographer Jeff Codori, notes on the restoration and a commentary by Grayson, a behind-the-scenes featurette from the restoration premiere, and more. This worthwhile disc is one that silent film buffs, Little Orphan Annie collectors, and those interested in children’s literature will want to get.
Next year looks to be as promising as this for silent film documentaries. Among the works set for completion in 2018 is Charlotte Siller’s Documentary of a Lost Girl,
a film that uses newly uncovered archival materials, interviews with
surviving friends, and location shoots to reveal the life—away from the
camera—of film icon Louise Brooks. There is also a documentary about Alice Guy-Blaché, the first female film director, in the works. It is called Be Natural: The Untold Story of Alice Guy-Blache. I am looking forward to both.
a variant of this article by Thomas Gladysz first appeared on Huffington Post
This blog is authored by Thomas Gladysz, Director of the Louise Brooks Society™. Launched in 1995, the Louise Brooks Society is a pioneering website and online archive devoted to the legendary silent film star. The Louise Brooks Society operates with the consent of the Estate of Louise Brooks (Louise Brooks Heirs, LC), and have its permission to use the name and likeness of the actress. As an Amazon Associate, I earn from qualifying purchases. CONTACT: louisebrookssociety (at) gmail.com
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